art blog

Further experimentation was carried out with the first of my quick sculptural experiments (which was made from a clear plastic cup, bubble wrap, clear thumb tacks, and strip film), using the medium of photography to invite new perspectives, interpretations and representations of the object.

Barbara Regina Dietzsch (1706-1783)

From Speedball's elementary alphabets by Ross F. George

Melissa Cody (b. 1983) is a fourth-generation Navajo weaver whose bright and playful show at MoMA PS1 in April 2024 connected traditional weaving to video games, the X- and Y-axes of her gridded patterns conjuring games like Mario Kart and Pac-Man. In her work, Cody also mimics the glitches that recur in older electronic games, explaining, “Glitches and separation of time and space happen; I like being able to kind of make them intentional.” The through line of her flamboyant style can be traced back to the matrilineal guild of weavers who mentored Cody in her youth, teaching her to consider her weaving a time capsule incorporating contemporary norms and the evolving self-definition of the Diné. https://www.artnews.com/list/art-news/artists/native-american-women-artists-to-know-1234737094/melissa-cody/

All of this inner turmoil at one’s own existence conveyed without a SINGLE word of dialogue spoken. Now that's the power of cinema if I've ever seen it!

Chapter 8, White Fragility- Robin diAngelo

草間 彌生🎨 Yayoi Kusama Eternity of Eternal Eternity (永遠の永遠の永遠…松本美術館 2012)

Photo Imaxtree

Winner of both the public and juried vote of Artprize 2014, Pakistani artist Anila Quayyum Agha exercises the architecture of the Grand Rapids Art Museum in Michigan by infilling it with a dynamic interplay of shadow and light. Intersections comprises a 6.5 foot laser-cut wooden cube pierced with carefully crafted patterns and illuminated from the inside, which casts expansive, lace-like geometries onto the surrounding walls, ceiling and floor.

In a 20-minute block, we were set the task of producing between 1 and 5 intuitive/primitive/experimental sculptures using banal found materials. In my case, many of the materials were sourced from reverse garbage, which made the exercise more interesting because I hadn’t looked extensively at what I was working with (as I might have if the materials were from my home), so the results were very reactionary. This combined with time constraints resulted in outcomes that I don’t think I would’ve produced in other situations/circumstances. With each of the 3 works I produced, transparency was a common theme, and this was intentional. Methods of attachment vary between all 3 of the works, with the first using clear thumb tacks, the second using staples, and the third simply knotting and interweaving. The chronology of making these works influenced their respective development, because as I was working with similar materials (film and strips of plastic), I developed/learned ways of manipulating them, making them move, and connecting them.

A List of Sargent Subjects I Had Not Known [greg.org, via nga]

The Vibrant Art that Emerged from Socialist Yugoslavia

Have you seen this shit my liege? smh unreal

Photo by Ed Krupp.