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Here is a quote from the book Art and Fear:
“What separates artists from ex-artists is that those who challenge their fears, continue; those who don’t, quit. Each step in the artmaking process puts that issue to the test.”
This image is from my walk in the garden back in 2015 and edited this morning.
Prints: wade-brooks.pixels.com/
Cheers,
Wade
Scheibitz describes his artmaking as a process involving the "Ambivalent adjustment of Ideology, memory and invention." His paintings evoke shapes and motifs culled from innumerable "secondary" materials that he renders into forms all his own as he examines established painterly genres, including, in this case, landscape traditions. "I can only make a painting by placing it in an artificial world," he has stated.
I believe that none of the digital photographers nowadays will shoot the scene or subject with only one take. There is always bracketing. Bracketing on exposure. Bracketing on aperture and more important bracketing on composition.
I took a few shots of the same artist in Gastown with minor adjustment of composition. This one was taken with a little more distance from him (relative to the one posted yesterday). More surrounding is included in the frame. More depth of background is included (Same aperture gives you more depth when you move away from your subject).
We can see he is in a crowded tourist area but yet he is concentrated on his drawing.
And I also have this presented in colour. What do you think?
Gastown, downtown Vancouver. June 2017.
Fuji X-Pro2
Fuji XF 90mm F2 lens
PRO Negative High Film Simulation
Weak Grain Effect
Close-up black and white photographs of the artist’s body, relate self to the land. The compositions are rendered to resemble formline design, a traditional artmaking technique in Northern Tutchone culture, which Silverfox often uses in her paintings. In relating a woman’s ody to the land, these images and title also serve as reminders of the connection between women and culture, as well as colonial exploitation and violence against Indigenous women and territory.
"Making art provides uncomfortably accurate feedback about the gap that inevitably exists between what you intended to do, and what you did. In fact, if artmaking did not tell you (the maker) so enormously much about yourself, then making art that matters to you would be impossible. To all viewers but yourself, what matters is the product: the finished artwork. To you, and you alone, what matters is the process: the experience of shaping your artwork. The viewers' concerns are not your concerns (although it's dangerously easy to adopt their attitudes.) Their job is whatever it is: to be moved by art, to be entertained by it, to make a killing off it, whatever. Your job is to learn to work on your work."
An excerpt from a very insightful book I am reading called Art and Fear by David Bayles and Ted Orland. I highly recommend it.
Oh and Dan, this is simultaneously also my response to your e-mail you just sent me regarding your photo of the birds.
Like many of their contemporaries, including the avant-garde network of Fluxus artists, General Idea pushed the limits of art. In the performance documented by these photographs, Felix Patz cut a large canvas into strips, arranged the pieces in a woven pattern, picked them up and then dropped them in a pile. Affirming his turn away from painting toward performance, Canvas Weaving incorporates radically simple materials and gestures. It rejects artistic skill as a condition of artmaking.
The Flaneur With A Camera borrowed the title from Neil Young's "Too Far Gone." He made the photograph with the same Nikon F2 Photomic and 85mm Nikkor combo that he's had since high school and some Kodak Double X cinema film. This partially demolished building and couch are now gone. Even solitary artmaking is a collaboration.
Like many of their contemporaries, including the avant-garde network of Fluxus artists, General Idea pushed the limits of art. In the performance documented by these photographs, Felix Patz cut a large canvas into strips, arranged the pieces in a woven pattern, picked them up and then dropped them in a pile. Affirming his turn away from painting toward performance, Canvas Weaving incorporates radically simple materials and gestures. It rejects artistic skill as a condition of artmaking.
Close-up black and white photographs of the artist’s body, relate self to the land. The compositions are rendered to resemble formline design, a traditional artmaking technique in Northern Tutchone culture, which Silverfox often uses in her paintings. In relating a woman’s ody to the land, these images and title also serve as reminders of the connection between women and culture, as well as colonial exploitation and violence against Indigenous women and territory.
The Barbican presents a major new exhibition by artist Huma Bhabha, the first in a series of three ground breaking exhibitions in partnership with Fondation Giacometti.
Encounters: Giacometti x Huma Bhabha is the first time Huma Bhabha and Alberto Giacometti's works will be seen together. Inaugurating a new, intimate space within the Barbican, the sculptures in this show, drawing from Bhabha and Giacometti's oeuvres, will span nearly a century of artmaking, encompassing a range of media – plaster, bronze, terracotta – along with assemblage and found objects.
The exhibition is open 8 May - 10 August 2025.
©Kingsley Davis
Please do not use or reproduce this image on Websites/Blog or any other media without my explicit permission.
Taking art history’s most cherished traditions to task was certainly one of Sleigh’s greatest accomplishments. Born in Wales in 1916, Sleigh studied painting and then nursing before turning to artmaking full time in the late 1940s. In 1961, she emigrated to the United States with Alloway, who is known to have coined the term “Pop Art.” He joined the Guggenheim as a senior curator in 1961 and by the mid-1960s the pair were firmly entrenched in New York’s bohemian intelligentsia.
Along with Alloway, many of their friends would become Sleigh’s nude sitters, posed in the sunny interiors of their West Chelsea townhouse, which they filled with modernist furniture, exotic rugs, potted plants, and richly patterned wallpapers and textiles, as Sleigh’s portraits often reveal. (A red Arne Jacobsen egg chair appears frequently.)
If Sleigh’s figurative style felt somewhat outmoded in an era when performance, body art, photography, Conceptualism, and video were the avant-garde vehicles of cultural critique, her use of appropriation was more in step with the times. But rather than borrowing from mass media and advertising, as others were doing, Sleigh dug into the Old Masters to shed light on gender conventions.
The Turkish Bath (1973), one of Sleigh’s best-known works, is a pastiche of art historical sources. She swapped the languorous female bathers of Ingres’s 19th-century Orientalist bath scene for male friends, including Alloway, the artist Scott Burton, art critics John Perreault and Carter Ratcliff, and Rosano, who was a rock musician modeling in an art class at the School of Visual Arts when Sleigh first met him. But Alloway, posed like an odalisque in the foreground, and Rosano, who plays the guitar, also reference the subjects of Titian’s Venus and the Lute Player (c. 1565–70).
The Barbican presents a major new exhibition by artist Huma Bhabha, the first in a series of three ground breaking exhibitions in partnership with Fondation Giacometti.
Encounters: Giacometti x Huma Bhabha is the first time Huma Bhabha and Alberto Giacometti's works will be seen together. Inaugurating a new, intimate space within the Barbican, the sculptures in this show, drawing from Bhabha and Giacometti's oeuvres, will span nearly a century of artmaking, encompassing a range of media – plaster, bronze, terracotta – along with assemblage and found objects.
The exhibition is open 8 May - 10 August 2025.
©Kingsley Davis
Please do not use or reproduce this image on Websites/Blog or any other media without my explicit permission.
the art of the object, this instance a container with offset printing parts of lives that go undetected with artmaking, design and technology #art #arts #fineart #meli #attiki #hellas #greece #greek #modernart #contemporaryart #nikon
Date: 11 Febr 2011 ( 11 - II - 11 )
Computer Mirror Image: "THE BLUE BUTTERFLY IS 33YO NOW"
The picture "Nude Descending a Staircase, No. 2" made by Marcel Duchamp in 1912,
is widely regarded as a Modernist classic and has become one of the most famous of its time
Using the computer program Photoshop, we can see from the picture a face to appear.
How is it made ?
Use a Photoshop computer-program with 2 layers.
1e Layer : picture "Nude Descending a Staircase".
2e Layer : negative Mirror picture "Nude Descending a Staircase".
Use the function DIFFERENCE between the layers.
This new "Work of Art" called "THE BLUE BUTTERFLY IS 33YO NOW",
can only be made visible on a computer
~Duchamp~ Artmaking is making the invisible, visible.
~ Aristotle ~ The aim of art is to represent not the outward appearance of things, but their inward significance.
UNMOVED MOVER
Motion is therefore "the actuality of any potentiality insofar as it is still a potentiality"
Aristotle describes the "Unmoved Mover" as being perfectly beautiful, indivisible, and contemplating only the perfect contemplation: itself contemplating, the Active Intellect.
1. There exists movement in the world.
2. Things that move were set into motion by something else.
3. If everything that moves were caused to move by something else, there would be an infinite chain of causes. This can't happen.
4. Thus, there must have been something that caused the first movement.
5. From 3, this first cause cannot itself have been moved.
6. From 4, there must be an "Unmoved Mover".
en.wikipedia.org/wiki/Unmoved_mover
Lady ”I have no sence of art” GaGa:
"I’m not fucking Duchamp but I love pissing with you”
style.com/stylefile/2010/07/r-mutt-meet-l-gaga/
"I don't want to be a part of the machine, I want the machine to be a part of me"
~AHRIMAN has the greatest possible interest in instructing men in mathematics, but not in instructing them that mathematical-mechanistic concepts of the universe are merely illusions. . . . that they are only points of view, like photographs from one side.
~Lucifer & AHRIMAN must be regarded as two scales of a balance and its we who must hold the beam in equipoise.
~'cosmic triad' - Lucifer, Christ and AHRIMAN.
~Electricity is AHRIMANIC light.
~AHRIMANIC "elemental spirits" inhabit our artificial machines.
~In the absolute sense, nothing is good in itself, but is always good or bad according to the use to which it is put.
RIP Sri Sathya Sai Baba. Aum Shanti, shanti, shanti.
"Science must confine its inquiry only to things belonging to the human senses, while spiritualism transcends the senses. If you want to understand the nature of spiritual power you can do so only through the path of spirituality and not science. What science has been able to unravel is merely a fraction of the cosmic phenomena ..."
en.wikipedia.org/wiki/Sathya_Sai_Baba
Date: 30 jan 2011
O(+> DEDICATED TO "science2art"
Because LOVE is Universal....
www.youtube.com/watch?v=YLpHdJQdhL8
Date: 11 Jan 2011 ( 11 - 1 - 11 )
Emergency Protection Sought for Disappearing Miami Blue Butterfly
biologicaldiversity.org/news/press_releases/2011/miam...
Date: 7 Aug 2009 ( 7 - 8 - 9 )
Human Butterfly Crop Circle Mystery
youtube.com/watch?v=MhqM7hXvX6k
Damien Hirst Butterflies
www.othercriteria.com/browse/hirst/
flickr.com/photos/daydreampilot/2628127181/
Watch my internet channels:
metacafe.com/channels/Namirha/
Copyright free download:
400x200pix
i1265.photobucket.com/albums/jj508/Namirha/Butterfly400x2...
In 1912 Impressionist Marcel Duchamp exhibited a
painting entitled NUDE DESCENDING A STAIRCASE.
The painting created a sensation. Worth millions today
it is held by the Philadelphia Museum of Art.
==========================================
The explanation of exactly why this painting
is so famous has always been a mystery.
==========================================
A number of art experts have pointed out that the painting
is similar to Edward Muybridge.
He is known for his pioneering work on animal locomotion
in 1877 and 1878, which used multiple cameras to capture
motion in stop-action photographs
en.wikipedia.org/wiki/Edward_Muybridge
This fact was even publicly acknowledged by Duchamp
himself according to the Wikipedia article:
en.wikipedia.org/wiki/Nude_Descending_a_Staircase
Of course Duchamp's painting "impressionistically" adds
a sense of motion to the figure which is missing in
Muybridge's still-frame photos.
=========================================
HOWEVER..... the fact that Duchamp got his inspiration
from one of Muybridge's photographs IS NOT WHY
Duchamp's painting is WORLD FAMOUS.
THERE IS ANOTHER SCIENTIFIC REASON
FOR THE WORLD FAME OF
MARCEL DUCHAMP'S PAINTING---
FACT IS...... THE PAINTING IS A DIRECT
VISUAL CONFIRMATION OF THE
EXISTENCE OF GOD.................!!!!!
AND HERE I WILL EXPLAIN WHY:
=========================================
When you look at something new and unfamiliar,
your mind tries to "logically guess" what it is.... then
your mind imagines the object and tries to fit that image
to what it is seeing to see if they can be matched.
For instance, if you are out hunting and you see a
distant object which you think might be a deer, you
must check carefully before you shoot. Your mind
tries different possibilities... is it a man?.... so you try
to fit the object to the mental image of a man.... no...
it won't work.... is it a cow?.... so you try to fit the
object to a cow.... no, can't be.... is it a large dog....
so you imagine it as a large dog.... nope.... won't
work.....is it a scarecrow...so you try to imagine it as a
scarecrow..nope.... wrong again.... wait a minute.... it
could be a motorcycle parked on the side of a dirt road....
immediately you imagine a motorcycle... with a wind shield
and handle bars......... BINGO....... turns out that's
exactly what it is......... thank God you didn't pull that
trigger!
WELL.... it turns out almost all objects are "partially
invisible"..... as I have explained before, in fact about
20% of true reality is INVISIBLE to the average person
due to the Secular Trend Braingrowth Deficit... and
this is known as the "Invisible World" of Religion
(commonly called "Heaven").
What this means is that we are constantly using the
above described "GUESS AND COMPARE" method
of recognizing objects (and persons too by the way).
In fact it is this fundamental "guess and compare"
method which is what eventually leads the average person
to begin to suspect that there is an "unseen world"..
at least historically that is where Religion comes from.
Now... in fact.... the human visual system does this
automatically and very rapidly... trying in some
cases 3, 4 or half a dozen "guesses" before it
recognizes an unfamiliar object or person.
This (subconscious) process looks very much
like one of Muybridges "freeze motion" photos...
or like Duchamp's Nude Descending the Staircase
for that matter.
AND THAT IS EXACTLY WHY
the average person gets an overwhelming
sense of DEJA VUE the minute he first see's
Marcel Duchamp's famous painting.... he says to
himself... "hey..I've see that somewhere before.."
... and guess what.... he has.. in his subconscious mind,
and what it is is :
TWO PICTURES... ONE OF HEAVEN
(an extrapolated possibility) AND ONE OF
EARTH (a known reality).... BEING
QUICLY ALTERNATED FOR COMPARISON
BACK AND FORTH IN THE MIND !!!!
........... and that is
EXACTLY HOW
THE EXISTENCE OF GOD
WAS DISCOVERED
NOT ONLY HISTORICALLY,
BUT BY AVERAGE PEOPLE
EVERY SINGLE DAY !
Of course Duchamp is also a pop psychologist and
that is why the figure is "descending a staircase"
because the vision of God is all about ascending
and descending (perceptually) and "stairs" are
a well known historical symbology (ladders too).
also... a "nude" is used to involve the basic
"perceptual ascension" involved in sexual
desire and attraction.
However... the "movie film sequence"
of the jittery "glimpses of heaven" that
we undergoe daily when perceiving
unfamiliar objects or scenes is BRILLIANTLY
captured by Duchamp's famous painting.
and that is why Marcel Duchamp's
painting is world famous !
Now George Hammond has proved all of this using
the Fusion Frequency of movie films to
prove the existence of the invisible world,
and has confirmed the proof to two decimal point
accuracy using 100 years of published Psychometry
data and showing that it is IDENTICAL to
Linearized Gravity and thus that the "invisible world"
is a simple classical Einsteinian Time and Space
dilation which makes as much as 20% of reality
INVISIBLE to the average person, thus explaining
both "God" and the "Invisible World" (Heaven).
HOWEVER..... a GENIUS like Marcel Duchamp
doesn't need theoretical Physics to explain God...
he can "paint God with a paint brush" and the
opinion of world has now confirmed the enduring
validity of his "1912 portrait of God
www.archivum.info/sci.psychology.theory/2006-09/00000/GOD...
Thomas argued that God, while perfectly united, also is perfectly described by Three Interrelated Persons. These three persons (Father, Son, and Holy Spirit) are constituted by their relations within the essence of God. Thomas wrote that the term "Trinity" "does not mean the relations themselves of the Persons, but rather the number of persons related to each other; and hence it is that the word in itself does not express regard to another."[88] The Father generates the Son (or the Word) by the relation of self-awareness. This eternal generation then produces an eternal Spirit "who enjoys the divine nature as the Love of God, the Love of the Father for the Word."
This Trinity exists independently from the world. It transcends the created world, but the Trinity also decided to give grace to human beings. This takes place through the Incarnation of the Word in the person of Jesus Christ and through the indwelling of the Holy Spirit within those who have experienced salvation by God; according to Aidan Nichols.
(Nature of the Trinity)
en.wikipedia.org/wiki/Thomas_Aquinas#Nature_of_the_Trinity
Substantial form (the human soul) configures prime matter (the physical body) and is the form by which a material composite belongs to that species it does; in the case of human beings, that species is rational animal. So, a human being is a matter-form composite that is organized to be a rational animal. Matter cannot exist without being configured by form, but form can exist without matter—which allows for the separation of soul from body. Aquinas says that the soul shares in the material and spiritual worlds, and so has some features of matter and other, immaterial, features (such as access to universals). The human soul is different from other material and spiritual things; it is created by God, but also only comes into existence in the material body.
Aquinas’s account of the soul focuses on epistemology and metaphysics, and because of this he believes it gives a clear account of the immaterial nature of the soul.
(The afterlife and resurrection)
en.wikipedia.org/wiki/Thomas_Aquinas#The_afterlife_and_re...
In recent years, the cognitive neuroscientist Walter Freeman proposes that Thomism is the philosophical system explaining cognition that is most compatible with neurodynamics, in a 2008 article in the journal Mind and Matter entitled "Nonlinear Brain Dynamics and Intention According to Aquinas."
(Impact of Thomism)
here's the His + Hers show that is currently part of "binding constant" at rare device
embroidery on canvas, vintage embroidery hoops, approx. 10" x 6" each
this is the statement for the show:
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
His + Hers
a show about my grandparents
My grandfather passed away in July 2006. My grandmother in October of 2008. Apart from my parents no 2 people had a more profound influence on me growing up. Their personalities, quirks, likes, dislikes were woven into my life in such a seamless way. In many ways I owe my artwork to them. My grandmother as she taught me how to crochet and knit and was an avid embroiderer. My grandfather as he taught me to love tools and how to take things part. Both of them taught me to be curious and work hard [traits that serve artmaking well].
One of the functions of making art for me is acknowledging the past – connecting with and seeking to understand the nostalgic. I also often look to the “mundane” and the “domestic” - searching for small moments and objects that ultimately signify something greater than what they appear to be. I am also keenly interested in gender – what signifies and constitutes something as masculine or feminine? In rendering objects that may be seen as “male” or “female” can I alter or emphasize the perception, or can I create some sort of hybrid take on them as objects?
In my work I often leave long threads dangling – to me these threads emphasize the physicality and “drawing” nature of the work [they also pull the work away from “straight” embroidery]. The threads elude to time passing. In some instances they begin to hint at decay, things fraying and pulling at the seams. In my mind our memories start to have dangling threads as time passes – things are not as clear – they become fuzzy... The threads become longer. In other instances the thread highlights connections – moments where similarities are shared. And for me ultimately thread is a drawing device – like a pencil or pen – the thread simply has a different historical reference point than charcoal or ink. [The connotations of “women’s work” and “craft” are also things that intrigue me].
These pieces are about what I remember as a child with my grandparents. What they wore, what they drove, what they played, where cancer invaded their lungs. Although they are in essence highly personal there is, I hope, intrinsically a universality to them as well. I’m sure there are people who have their own memories or associations with whisks, pliers, track suits, and American Matzo. These are just pieces of his and her story.
Le livre des collaborations avec 140 artistes de Zach Collins est enfin sorti !
4 de nos collages y sont inclus sur les 500 collaborations de Zach !
Press Release :
We Said Hello and Shook Hands
by Zach Collins with 140 collaborators
“We Said Hello and Shook Hands” is not only about the art of collage but about the art of collage collaboration. Using the Internet as his primary vehicle of communication, Collins “said hello” to hundreds of artists around the world between 2011 and 2014 by sending them starter collages (and, later, finishing collages that others had started). The result, documented in this book, is a fresh and vital body of work that consists of over 500 artworks by Collins with 140 collaborating artists. While the pieces reflect the individual dynamic of the personalities involved, that’s just the beginning—in the merging of styles and imperatives that happens during artistic collaboration among diverse individuals, exploration and experiment run unfettered and the whole that emerges is often greater than the sum of the parts. To push the boundaries of the collaborations, Collins made sure to include both cut-and-paste collagists and digital artists, sometimes sending out the same start to both types of artists, which resulted in surprising and intriguing interpretations. Artmaking on this scale does not happen without tremendous passion and excitement, and Collins captures the feel of the interpersonal communications by documenting internet conversations that would otherwise have become ephemeral, preserving for posterity the human spirit that fueled this important and innovative project.”
Available through:
Amazon: www.amazon.com/We-Said-Hello-Shook-Han…/…/ref=sr_1_1…
Barnes&Noble: www.barnesandnoble.com/w/we-said-hello-a…/1121226607…
Price: $42.00
Contact: wesaidhelloandshookhands @ gmail.com
happiness*
dear friends!! this blurry photo is of my student e's hand, which he had just filled with glitter during my first day of teaching art in the recreation department of the city of cleveland (almost two months ago). it had been more than a year since i had last taught in an art studio. my other work was lovely, but when the opportunity came to teach again, i took it. and then, very soon, i found myself realizing that i was actually happy. and then i realized that i had not realized that i had been so unhappy for so long. how is that possible? perhaps it is the magic of the art room? the magic of artmaking in community? in any case, it is happiness.
may all travelers find joy!!
jeanne
closer view of the coins sweater. made mostly with lion brand "glitterspun" yarn (gold, natch), and some bits of other metallic yarn, also mostly "glitterspun".
Went birding for 3 and a half days with Bill Walker and his wife Mary, who generously shared their time with me on my birthday. Found on a country road near Yuba City, California, this hawk and I played telephone-wire tag using my truck as a blind.
I've been reading a wonderful book called Art and Fear (Observations on the Perils and Rewards of ARTMAKING). I've hit a plateau, and I know I have to pop out of it. The book is wonderful - it describes the learning process as largely a huge number of trys and a few hits. My hits to trys ratio is decreasing as my expectations increase. It's a very amusing problem.
One of the things the book talks about as essential to not giving up being an artist, is to share your work with others and to view their work. The interaction is essential to your own and others development. The book foresaw flickr.
In collaboration with the Sobey Art Foundation, the National Gallery of Canada is proud to present works by six artists from across the country who have been shortlisted for the 2025 Sobey Art Award.
Through paintings, drawings, textiles, videos, sculptures, multidisciplinary installations and more, the finalists capture the vitality of artmaking in this country while engaging with subjects pertinent to contemporary identity and experience. Their artworks reflect both global and local perspectives, considering themes such as memory, history, community and belonging.
Haifa Museum
Boy's Craft show
www.hma.org.il/Museum/Templates/Showpage.asp?DBID=1&L...
I guess this was last year but I just saw this info so it's new to Me!
November 3, 2007 - March 23, 2008
Curator: Tami Katz-Freiman
"BoysCraft" focuses on the manual and labor-intensive aspects of artmaking, and on the use of handicraft traditions in contemporary art. This exhibition centers upon the sensory experience of excess, materiality and multiple details, and brings together works by local and international male artists who share an interest in traditional handicrafts formerly identified with the domain of "women's work," with "folk" art or with applied art.
This exhibition, which includes works by 41 Israeli and international artists, aims to shed light on the engagement with manual crafts as a cultural and sociopolitical practice. The artists participating in this exhibition present works composed of fabric, paper, beads, thread, wallpaper and other decorative materials in a range of techniques - including embroidery, weaving, beading, knitting and paper cutting. The imagery in most of these works is based on "male" or "macho" stereotypes, yet their creation involves techniques that are culturally associated with "female" or "childlike" forms of expression. The decorative, ornamental and sometimes obsessive qualities of these artworks allow for an examination of changing perceptions of masculinity, of beauty and of the relations between art and craft.
This wide range of works creates a rich tapestry of different cultures, styles and skills. The works of each of the participating artists are characterized by a demanding and time-consuming work process, which involves monotonous and repetitive actions based on age-old craft traditions. These practices, which were marginalized in previous decades outside of the modernist cannon, have penetrated into the heart of contemporary artmaking. The prominent artists now choosing to undermine accepted distinctions between these domains thus reflect a new cultural spirit imbued with nostalgia for the predigital age; for personal and "authentic" forms of expression; for art created in community-related contexts; and for values such as human fraternity and social healing.
"BoysCraft" reflects the complex processes that have taken place in the aftermath of the feminist revolution, and presents a new generation of artists who have internalized feminist, gender-related and postcolonial theories. By combining traditional techniques with an unconventional use of materials, these artists voice various forms of social criticism, shed light on the problematics and disruptions that characterize contemporary cultures and identities, undermine artistic conventions and raise questions concerning gender - from a male point of view. This exhibition thus points to the ways in which the gains of the gender revolution have been internalized by the "new man" in both local and international contexts with the gradual decline of machoism.
Completely original design...mine, mine, mine....of course!
Made from aluminum cans and pull tabs...recycled. I love him. Not sure yet if it will be a sculpture or a pin.
Self-help book spines, cotton batting, thread
34 x 31 x 2.5"
2011
In the Panacea Plus series, there is meaning in the process itself. Covers of self-help books are meticulously removed from their boards, cut into small intricate pieces and sewn together. Some cascade down like leaves. Others swirl in a lacy spiral of colorful flowers. Others become a patchwork quilt made from our endless efforts to find solutions to everything that ails us. Ironically, it is not the books themselves, (Kokin has often remarked that the used ones she finds appear for the most part to be unread) that offers solace and transformation. It is the process of artmaking that spins dread and dissatisfaction into something whole and visually satisfying.
Grow is Lisa's newest exploration into the form.
View of “Sento una música dintre del cap (Transformació d'un pensament borrós)” (I Hear Music Inside My Head (Transformation of a Blurry Thought)), 2021 by Marria Pratts in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” (“Panorama 21: Notes for an Eye Fire”), MACBA Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022. Curated by Hiuwai Chu and Latitudes. Photo: Roberto Ruiz.
Marria Pratts is a multidisciplinary artist whose practice exudes an uninhibited and spontaneous spirit, taking inspiration from her immediate urban surroundings in L’Hospitalet (Barcelona).
Her work can be read as a defiance of our social structures, the contradictions that permeate the city, and the challenges of living in places under the constant threat of gentrification. Pratts’ instinctive approach to artmaking conveys an upbeat sense of resilience.
The new multi-canvas installation presented here floats away from the wall and off the floor, adding to the buoyant dynamism of the artist’s unabashed brushstrokes, spray lines, scribbles, and burn holes. A continuous streak of pink links the canvases and leads to one of the characteristic ghost motifs that often inhabit Pratts’ works like souls of the city’s past, while blue and red hand-crafted neons weave in and out of the panels, interrupting the scene like intestines.
www.macba.cat/en/exhibitions-activities/exhibitions/notes...
Well, taking photos of my desk top can be a boring subject...but I love playing with photoshop. Poorly lit images become works of art in themselves.
I cut things out of aluminum cans...the hearts, hands, and circles are all about to be transformed into jewelry.
A splendid vintage postcard back for your artmaking needs.
Feel free to use this in your work, just don't redistribute the original image as your own work.
Direct scan from my personal collection.
1. Formation, 2. FreeWheelin, 3. Artoll2015 (23)_www, 4. detail from collaged birds, 5. Tangles, 6. pink self-portrait, 7. Untitled, 8. starania / efforts, 9. Tree of Drunks Quilt, 10. bounce back, 11. #winterbirds #snowflakes, 12. Collage Digital, 13. There were 5 out there tonight. #deer #wildlife, 14. slime mold, 15. Untitled, 16. Sewing ideas that don't eventuate, 17. branding application on fleek, 18. les zarbres, 19. about dissipation, 20. upload, 21. #mail #mailart #received #hermankamphuis #original#2016, 22. © Susanne Breuss: Misslungene Entpuppung, Collage (29,6 x 21 cm), 10/2015, 23. Untitled, 24. you send me a photo and I will send you a photo!, 25. In Memoriam, 26. currently untitled, mixed media sculpture. work in progress for #dreamscapes group art show this saturday. #artmaking #creativepeople, 27. mug5, 28. Whale 2016, 29. Diospyros Kaki, 30. Una Chicca
Created with fd's Flickr Toys