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In 1924, Russian scientist Alexander Bogdanov started blood transfusion experiments, hoping to achieve eternal youth. After 11 blood transfusions, he claimed to have improved his eyesight and stopped balding. He died after a transfusion with a student suffering from malaria and TB. – WTF Fun Facts

Linda Weintraub and Postmasters Gallery

Art has never stood still. It is always evolving, changing each day and with each generation of artists. While some techniques have been passed down from master to pupil, contemporary artists are finding new media and new methods for their responses to contemporary problems. This can range from environmental problems to addressing gender identity, and some artists strive to be on the cutting edge of the art world. 

More artists today than ever before are addressing environmental concerns. Linda Weintraub, curator and author, has shifted interest into making art and workshops. We had the unique opportunity to participate in an exercise exploring the fragility of the natural world through fire and ice. This interactive experience was unique to each group and explored how each of our actions can impact the world we live in. Though a bit out the box at times, Weintraub's program was truly thought provoking and unique in its handling of the materials. She, like many contemporary artists, attempts to be part of a new narrative. A narrative of enginuity and experimentation that both attempts to reinvent art while remaining a part of it.

by Camille Baldoz

Two Coats of Paint

Contemporary art blogs follow in the footsteps of 19th century art critics. They choose which artists and exhibitions to feature, often focusing on trends in the contemporary art world. Today, the majority of contemporary art critics have found their audience online, and are as diverse as the artists they represent. Two Coats of Paint is one such blog, focusing on painting as a medium. Each article varies in its content, though the majority of which tend to be either reviews of exhibitions or interviews with artists, while keeping the medium in focus. Much like art critics of the past, I believe that contemporary blogs like Two Coats of Paint will be valued for their contributions to art history, particularly in their historical context and by providing information regarding the artist as an individual for future study.

Many of the articles featured on Two Coats of Paint feature new painting exhibitions, often including artist talks and responses to the show. “Examining queer @ Yale University,” by Sharon Butler and contributor Rachel Farber, is one such article examining an exhibition on representations and interpretations of queer perspective. The article is a combination of social history, images of some featured works, and quotes by the artists. The art historical value of this article comes in the form of understanding. The works and conversations featured here will serve as a reminder of how our society currently understands ideas of queer as an overarching theme. The article talks about how this term, once derogatory, has been reclaimed by a group seeking a fitting identity. While ideology and understanding of the term may change overtime, as often as themes do in art history, it will be preserved in relation to its time period. This will prove valuable in interpreting these artists’ works again in the future, as there will be evidence to how themes of queer were addressed in relation to the history surrounding the subject.

Two Coats of Paint is unique in its frequency of artist interviews. There seems to be a new feature weekly—at a bare minimum—compared to some other competitors. The frequency of these interviews combined with the data gathered provides vital information for contemporary art historians, who will often look to articles like this in order to understand more about current artists. One interview with artist Scott Daniel Ellison, aptly titled: “Scott Daniel Ellison: ‘Every artist is in some way self-taught’,” provides detailed information regarding his life, inspirations, and processes. Sharon Butler, of Two Coats of Paint, successfully builds off of the artist’s biography to provide a stronger context to his body of work. Speaking to its art historical value, the article delves deep into Ellison’s life and early experiences to uncover new facts that provide excellent context to the paintings reproduced in the article. The conversation starts by exploring his training as a photographer and his experiences in finding his own artistic style. Butler begins here as a way to establish a history for Ellison. This introductory section shows his growth and development as an artist, completely separate from any widely-published biographies. This soon transitions into his childhood influences, like horror and heavy metal, which seamlessly translates into many of his paintings featured within the article. Butler continues to build on this developing history, seeking insight into Ellison’s color palettes (muted), relationship to other painters (inspired by), and influences on his work (varied). This information is incredibly detailed, citing favorite artists from Amalia Angulo to Rousseau, and even his favorite films. Butler’s interview, like critics’ reviews of the 19th century, provides unique information concerning the artist. While Butler is less concerned about whether Ellis is a member of an Academy or not, she is interested in creating a record of the artist’s life in relation to his paintings. Much of this information, particularly regarding his most recent works, was not readily available up until this point. Butler has provided new information directly related Ellison’s body of work, which will live on as highly coveted primary source evidence in the future.

The articles also feature images of certain paintings belonging to each exhibition. “Examining Queer” uses this as a way to emulate gallery space and provide as close to an authentic interaction with the exhibition as possible. The interview with Ellison features recent paintings by artist, again emulating an individualized gallery space. The images pair well with the questions, allowing the reader to appreciate the works and simultaneously learn more about their conception. This concept builds on 19th century practices, as critical sources would often incorporate prints or reproductions of certain works in their review. Two Coats of Paint, however, has the luxury of being an online source able to incorporate as many full color images as they wish. These images paired alongside their primary source information will continue to serve as visual aids for future study. In terms of art historical value, Two Coats of Paint is providing generations of art historians with relevant artist interviews, depictions of gallery space, and context to the history of works.

Examining Queer http://www.twocoatsofpaint.com/2016/10/queer-yale.html