View allAll Photos Tagged obfuscation
When t.co just went down for me here. All links from twitter.com were failing at this redirect page url.
This is why this is a problem. The total and near complete t.co-ification and unnecessary (further) obfuscation of url links through Twitter is getting ridiculous. And potentially dangerous.
At first, we needed shorter links mainly for people using Twitter via SMS, with its limitations. (This is also why we're limited to 140 characters) Now, I'd say the main Twitter platform doesn't rely on these limitations. If people want to use SMS, then, at the point of sending/receiving, why not do the shortening then?
Yes..yes. I know the full url data is there in the API data..
It's ok now btw. but still...
When they finally kill off #oldtwitter, I'm tempted to build a (bastard)clone of it, adding the de-t.co-ification and de-bit.lyfying of all urls by default.
I know I'd use it ;)
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Meticulous post-processing shows deliberate obfuscation of artificiality i.e. a huge anomaly by NASA's imaging department. Such secrecy by erasing parts of images points to a cover up of unprecedented scale spanning several decades. The original picture I used to derive this out take was taken in 2008 by the HiRISE camera on the Mars Reconnaissance Orbiter MRO.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Experience has been translated into every language.
We hope. Some experiences are perhaps localized,
untranslatable except in the high mountains or when
dangling by a rope from a small dirigible. Small parts
of the larger experience are found only when trying
as hard as you can not to have any experience at all.
But that is very hard. Which accounts in some measure
for the rise of pharmaceutical stocks and street trade.
But let’s not get on that bus. We don’t even know
if the tribe still exists who think George W. Bush is
not a chimpanzee dressed up for a ballroom dance
competition. Language is a tool of communication,
obfuscation, charity, hype and the seven ways of
distinguishing evil from its counterpart, the not-too-good.
Most experience involves food. Even reproduction
is a type of reverse cannibalism. Sleep comes in third.
The brain is a carton of worms, ideas hungry little birds.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
ENGLEWOOD, Colo. -- Demonstrators with the online group "Anonymous" protest the Church of Scientology in Englewood March 15. Protesters obfuscated their identities during the demonstration, alleging that the church uses intimidation and blackmail against people it identifies as critics. (photo by Donald Branum)
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
At Midwest Mountaineering, Cedar-Riverside, obfuscating papers hang in front of socks displaying explicit content, such as advice to "just make shit up."
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Built in 1906 and renovated circa 1930, this Renaissance Revival-style theater was designed by Claude and Starck, and features an Art Deco-style marquee and first floor front facade, and originally served as a vaudeville theater before becoming a movie theater. The building is clad in Art Moderne-style enameled metal panels on the first floor with a marquee featuring neon lights above the entrance, an Art Moderne-style ticket booth with curved corners and curved glass, and four entrance doors flanked by poster display cases. The upper portion of the building displays the original style of the facade, with painted brick cladding, limestone trim, a large five-part arched window on the second floor of the front facade above the marquee, flanked by pilasters, a cornice at the top of the second floor, blind bays on the fourth floor framed by stone trim with a large decorative cornice above, and a cornice with dentils and modillions at the top of the parapet, which obfuscates the building’s low-slope roof. The building has a footprint that bends from King Street to the stage, which sits adjacent to Doty Street, with this being very evident inside the building. The building today serves as a live performance venue, with the original wall paneling, vaulted ceiling, proscenium arch, box seats, and plaster trim on the second floor of the space being intact. The theater primarily hosts live musical acts, occasionally being used to screen televised events or movies, or being used as an event venue.
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Built in 1906 and renovated circa 1930, this Renaissance Revival-style theater was designed by Claude and Starck, and features an Art Deco-style marquee and first floor front facade, and originally served as a vaudeville theater before becoming a movie theater. The building is clad in Art Moderne-style enameled metal panels on the first floor with a marquee featuring neon lights above the entrance, an Art Moderne-style ticket booth with curved corners and curved glass, and four entrance doors flanked by poster display cases. The upper portion of the building displays the original style of the facade, with painted brick cladding, limestone trim, a large five-part arched window on the second floor of the front facade above the marquee, flanked by pilasters, a cornice at the top of the second floor, blind bays on the fourth floor framed by stone trim with a large decorative cornice above, and a cornice with dentils and modillions at the top of the parapet, which obfuscates the building’s low-slope roof. The building has a footprint that bends from King Street to the stage, which sits adjacent to Doty Street, with this being very evident inside the building. The building today serves as a live performance venue, with the original wall paneling, vaulted ceiling, proscenium arch, box seats, and plaster trim on the second floor of the space being intact. The theater primarily hosts live musical acts, occasionally being used to screen televised events or movies, or being used as an event venue.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.