View allAll Photos Tagged VisualArtist
I spent 10 days in Berlin ( late 2021). It was INCREDIBLE. So much brilliant and powerful street art.
D607_148
26/09/2011 : Jersey City, NJ, Liberty State Park: Empty Sky (New Jersey September 11th Memorial) (Jessica Jamoz, Frederic Schwartz, 2011)
"*!\SERIOUSLY/!*EXCEED The "Courage" Of Your Restrictions. Your Own Inner Light Alone Is The Only KEY. Shine Through, Shine oN. Early Adopter, Late Bloomer--DON'T Let THIS NAO PASS Into Never SAW What It Came To MEAN...That You Completely SEE..."--Wyatt Matturs--(OneStrokeArtWater) MRI (MysteryRepeatsItself) The World's First Bowhammer Cymbalom CD "Radically Repurposed" For Surreal Form, Spectral Figure, & Haunted Face-Lift From 'Flared' Bodies Of Water (Sea, Lake, Creek, Puddle) StillorMoving
MAIN GALLERY CURATION IN PROGRESS (From Thousands)
Meyer's description of the creative process behind Adam and Eve and Friends. Full story found at www.jennycutlerlopez.com
Javier Sicilia the 56 year old Mexican poet, journalist and activist who launched a grassroots movement with aims to end the ‘War on Drugs’ after his 24 year old son was murdered by a drug cartel, has been interviewed by Connor Guy and Umar Farooq for The Nation magazine. Sicilia states “Cartels have a lot of bosses. We are talking now about fifteen cartels [in Mexico]. And they have multiplied since President Calderón’s [2006 military] strategy to make war on them. …A path to peace is to change the national security law to a human law for peace. And the allowance of regulated drug use, because its not a national security issue, it's a public health issue, and attacking drug abuse is causing a tremendous harm to the country. …The US has forbidden drug use, which should be a public health issue. And then they set up for us this war. Over $2 billion have been invested in this war [on drugs]—mostly for guns, for weapons and military intelligence. …if we can get support from the media, we would be able to put this on the politicians’ agendas, because it’s a problem in the US and Mexico. It’s a bi-national problem. Not only that, it is a continental problem, and if we are really serious, it is a world problem.” Inspired by The Nation ow.ly/bJ8I6 image source Twitter ow.ly/bJ8Gb
By Naoki Enyo - photoshop / made for Trinity Graves , owner CEO of Avante Modeling Agency : The Avante Vision ....* FASHION to the EXTREME above and beyond the normal... pushing the limits of BEAUTY in SL *
Portrait Andreas B. Vornehm: Autor, Betreiber des des Kreativbüros für Texte und visuelle Kommunikation "MINI-KASHUGI", Grafik-/Webdesigner, Herausgeber des Berlin Kurzgeschichtenheftes "Storyatella"
©crazyneopop All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission
© crazyneopop Alle Rechte vorbehalten. Dieses Bild ist nicht für den Einsatz auf Websites, Blogs oder anderen Medien ohne ausdrückliche schriftliche Zusage
Spanish painter Pablo Piccasso, surrounded by artworks, at his villa La Californie in Cannes in 1955.
Installation shot from the exhibition "Ectopia" @ Rogaland Kunstsenter. Curated by Geir Haraldseth. jan 29 - march 1.
OSWA (OneStrokeWaterArt) w/ Uniquely Re-Purposed Optic Playback "Brush" MRI (MysteryRepeatsItself)--The World's First 'Bowhammer' Cymbalom CD On A Selfie-Stick For San Francisco BayFlare Pareidolia (SciFi, Alien, Surreal, Mythic & Celestial Faces, Figures & Abstract Form-Streams--(Real-TimeSpace Existence Duration: Less Than A Second--Cloud-Uploaded? Quasi-Permanent 'Posterity'--From Anchored Raft--L-Hand Lifting "Sumthin' In The Water Brought-To Light, R-Hand SnapShot
MAIN GALLERY CURATION IN PROGRESS (From Thousands)
A charity project through Bridge Communities; 'A Chair Affair' was an event where artists were sponsored to create a work of art using chairs as the vehicle, which were then showcased in retail shops in the Western Suburbs of Chicago. These works then went up to auction where 100% of the proceeds went to families and individuals in need. Bridge Communities strives to help those in need and aim to help people get their lives back on track. This was my second 'A Chair Affair', my first one taking place in Naperville in 2014.
Poets Who Refused to Fit in.
You know, every generation invents a new kind of exile. Sometimes it's someone walking the bike road tracks with a guitar. Sometimes it's somebody sitting in a café writing sonnets nobody wants to print. And sometimes it's Vladimir Mayakovsky, who didn't merely walk into the twentieth century, he kicked the door off its hinges and demanded the walls explain themselves.
People like to file writers into neat little cabinets. Romantic. Symbolist. Futurist. Revolutionary. Dissident. But literature has always been suspicious of filing cabinets. A real writer keeps spilling out of the drawer. Mayakovsky came dressed in clouds, wrote as though punctuation were too polite for history, and treated the page like a public square instead of a drawing room. His poems don't whisper from leather-bound editions. They stand on the table, point at everyone in the room, and ask who among them still believes words are decorative.
There's a curious habit in literary culture today. Every decade invents a new vocabulary to explain why books no longer need to be books. The text becomes "performance," then "intervention," then "experience," then "content." Somewhere along the way the sentence itself is treated as an inconvenience, as though the architecture of language were merely scaffolding for a fashionable theory. Mayakovsky would have laughed at that.
He wanted language to explode, yes—but it still had to be language. The shock was earned. Every broken line carried the weight of rhythm. Every impossible metaphor arrived after disciplined construction. His rebellion was technical before it was ideological. The page looked unconventional because he understood convention deeply enough to dismantle it. That's the difference between innovation and novelty. Novelty mistakes surprise for achievement. Innovation changes the possibilities of the form itself.
The tragedy is that many readers remember Mayakovsky for the posters, the slogans, the mythology of revolution, while forgetting that the real revolution was grammatical. He enlarged what poetry could sound like without asking poetry to stop being poetry.
Some critics prefer literature that behaves like a museum label: explanatory, approved, properly contextualized. Others want literature dissolved into autobiography until every sentence becomes evidence in a social trial. Neither approach leaves much room for style.
Style isn't decoration. Style is thought made audible.
When Mayakovsky stretches a line until it almost snaps, he isn't decorating the page. He's forcing language to breathe differently. That is criticism enacted through form, not explained afterward in academic vocabulary.
The strange thing about literary history is that every generation praises yesterday's radicals while distrusting today's difficult books. Once the scandal becomes canonical, everyone claims they saw the future first.
Mayakovsky reminds us that literature isn't obliged to comfort institutions—not governments, not universities, not publishing markets, not even readers. Its first loyalty is to discovering whether language still possesses undiscovered territory. That discovery is expensive. Sometimes politically. Sometimes emotionally. Sometimes personally. He paid all three prices.
People often say his life ended in despair. Perhaps. But despair doesn't erase achievement any more than applause guarantees it. Literature shouldn't be judged by the biography of its author any more than architecture should be judged by the mood of the mason. What survives is the sentence.
And Mayakovsky built sentences large enough to outlive slogans.
So wherever you happen to be today, whether you're reading a battered paperback in the kitchen or staring out a window wondering why every century promises a new beginning and delivers the same old arguments, remember this: the loudest thing Mayakovsky ever wrote wasn't his politics. It was his faith that language could still become something nobody had heard before. That's a harder revolution than changing governments.
ink, watercolor on paper
contact ibarraloana@gmail.com
Ann investigates visual memory and the traces of human activity embodied within objects. In creating this installation she has deconstructed the elements that dominated her previous wall paintings and re-imagined them in contrasting sculptural forms that have a solid, physical presence free of constraint. The whole is presented as a puzzle challenging our visual perception.
mail@amsutton-visualartist.com