via Chris Bennet
Verily considering orthographic art,
Proper pronunciation of paintings
And articulated articles of artists
Bequeathed to blank boards.
//
Other tumblrs:
Meals of Opportunity - The Ghetto-Fabulous Chef
The ¿ of Qualia
Look at this Fucking Dog
Art Criticizer
//
E-Mail Me: PokeYouInDaEye@gmail.com
Proper pronunciation of paintings
And articulated articles of artists
Bequeathed to blank boards.
//
Other tumblrs:
Meals of Opportunity - The Ghetto-Fabulous Chef
The ¿ of Qualia
Look at this Fucking Dog
Art Criticizer
//
E-Mail Me: PokeYouInDaEye@gmail.com
May 5, 2012
January 13, 2012
Nele Azevedo, Minimum Monuments: Melting Men
“…Since 2005 Azevedo has been placing Melting Men sculptures in various countries all over the world… He prefers to display his work in places that hold some historic value to a particular city.These melting sculptures highlight the slow yet very disastrous affect of global warming.”
September 30, 2011
July 28, 2011
June 2, 2011
“‘This makes me embarrassed to be an American,’ the megacurator of an extremely well-known U.S. art museum groaned to me. We were standing in front of what was truly a spectacle of American proportions. Directly in front of the American Pavilion in the beautiful Giardini, main site of the Venice Biennale — which opens on Saturday — the artists Jennifer Allora and Guillermo Calzadilla have placed a 60-ton Army tank. It’s a real one, shipped from England at who knows what expense, turned upside-fucking-down, turret and gun barrel on the ground, steel treads to the sky. Atop this warlord wedding cake, they’ve installed a treadmill where a world-class runner works out for fifteen minutes of every hour. It’s the health club from Hell, Afghanistan in Venice, and it makes a humongous racket that can be heard all around the Giardini. I looked back at the curator and said, “I think being embarrassed to be an American is partly what this is about.”
I wouldn’t describe myself as the Saltz’s greatest fan, but the phrase “warlord wedding cake” is pretty fantastic.
(via hyperallergic)
May 31, 2011
Still Life Photography By Gisel Florez
May 12, 2011
![hyperallergic:
sexartandpolitics:
Kent Monkman - Artist and Model, 2003 20” x 24” acrylic on canvas collection of the artist (click through for super hi-res)
Monkman writes that by inserting himself in the series, he “relate[s] the importance of this historical event to [his] own identity as a Native person”. In his decision to create Share in his own image, the artist blatantly references his own sexuality as a site of power. Share and her overt sexuality are always the focus of each work, with a blunt refusal to play second fiddle or to be upstaged by even her own lover’s death. Minh-ha writes that “the return to a denied heritage allows one to start again with different re-departures, different pauses, different arrivals.” By making himself the subject of his intervention on 19th-century colonial art, Monkman is effectively creating a place for himself, a place that previously did not exist, in the history books.
e-misférica | The Noble Savage Was a Drag Queen: Hybridity and Transformation in Kent Monkman’s Performance and Visual Art Interventions by Kerry Swanson
Monkman is of Cree and Irish heritage, based in Toronto. His multi-media practice often involved recreating and challenging 19th century colonial representations of aboriginal peoples in North America.](http://kentmonkman.com/images/painting/artistandmodel_l.jpg)
Monkman is of Cree and Irish heritage, based in Toronto. His multi-media practice often involved recreating and challenging 19th century colonial representations of aboriginal peoples in North America.Kent Monkman - Artist and Model, 2003
20” x 24”
acrylic on canvas
collection of the artist
(click through for super hi-res)Monkman writes that by inserting himself in the series, he “relate[s] the importance of this historical event to [his] own identity as a Native person”. In his decision to create Share in his own image, the artist blatantly references his own sexuality as a site of power. Share and her overt sexuality are always the focus of each work, with a blunt refusal to play second fiddle or to be upstaged by even her own lover’s death. Minh-ha writes that “the return to a denied heritage allows one to start again with different re-departures, different pauses, different arrivals.” By making himself the subject of his intervention on 19th-century colonial art, Monkman is effectively creating a place for himself, a place that previously did not exist, in the history books.
February 27, 2011
February 10, 2011
I’ve heard that this man was amidst the protests in Egypt recently, and wanted to communicate his frustration with the cost of food rising due to the unrest.
(Source: blakethesnake)
January 2, 2011
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Elsa Hosk by Guy Aroch
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Some Celtic Huts at St Fagans in Cardiff, Wales
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Albert Edelfelt - Kesäiltana (Summer evening), 1883
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Vanessa Axente by Marton Perlaki for The Room, spring 2012
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Dreama Tolle Perry
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Gormezano et Minot
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Next time you’re late for work,...