Ceramic Ladies Beautifully Covered with Tattoos by Jessica Harrison
Scotland-based artist Jessica Harrison creates unique porcelain sculptures with interesting juxtapositions.
In this new series, she applies full body tattoos to delicate women figurines.
Freelensing was first introduced to me over two years ago on a photography forum I belong to. Someone shared her experience of experimenting with detaching her lens to take pictures, and I marveled at what she came up with. The works were dreamy, flawed, blurry, photographic prose. I immediately grabbed my Nikon to try it out.
But…it didn’t work. I couldn’t see through the viewfinder, and only saw a black screen when I pressed the shutter button. What was going on?
Coming together on the forum, we soon discovered the problem: the aperture on my Nikkor lens was scrunching closed whenever I removed it from the camera. The only solution was to tape it open, or rig it with a piece of folded paper.
Annoyed, I gave it up for a while.
A few months (?) later, everything changed. I discovered the work of Irene Suchocki, and my interest…
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I’ve been feeling very unmotivated recently when it comes to painting.
To be completely honest, I just feel like I can’t be bothered. I feel lethargic and ‘heavy’ when I think about it, like it’s too much effort for so little in return (meaning either an unfinished painting or worse — a painting I dislike).
Lying in bed last night I remembered several conversations I’ve had over the past couple of years about the nature of motivation and inspiration, and how our feelings aren’t actually the most reliable gauge in terms of whether or not we should do something.
Feeling lethargic and unmotivated doesn’t have to stop me from being creative. In fact, no feeling has the power to prevent me from doing anything without my complicity.
I can complain of feeling horribly uninspired and still put paint on a canvas. I can feel moody and bored and still doodle on a…
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Photo Credit: Frank Fanatic
Jackson Pollock’s style of painting, as exemplified by Convergence, is an important, innovative development in the history of painting. At the time of the painting, the United States took very seriously the threat of Communism and the cold war with Russia. Convergence was the embodiment of free speech and freedom of expression. Pollock threw mud in the face of convention and rebelled against the constraints of societies oppressions. It was everything that America stood for all rapped up in a messy, but deep package. On that same note, some of Pollock’s works were even sponsored by the Congress for Cultural Freedom (an anti-communist advocacy group founded in 1950), which was backed by the Central Intelligence Agency (CIA) (Karmel, 1999). The CIA appreciated Pollock’s style, because it steered clear of social realism and overt political gestures. Pollock’s abstract work was hard to decipher, but his rebellious nature and expressions of freedom were clearly evident.
What do you see?
ART – NOT DELIBERATE, NOT RANDOM, SOMETHING IN BETWEEN
Joshua Smith is a miniaturist and former stencil artist based in Norwood, South Australia. With a career spanning 17 years he has showcased his work in London, Paris, Berlin, New York, Japan and all over Australia in over 100 exhibitions. Formerly a self taught stencil artist Josh refocused his career to establishing Espionage Gallery, an Art Gallery based in Adelaide, South Australia showcasing both emerging and well established local, interstate and international artists. For 4 years he showcased over 600 artists from over 20 countries.
In 2015 after the closure of Espionage Gallery Josh refocused back onto his own career this time as a self taught miniaturist. His miniature works primarily focus on the often overlooked aspects of the urban environment such as grime, rust, decay to discarded cigarettes and graffiti perfectly recreated in 1:20 scale miniatures.
According to CNN, “Fearless Girl” was installed Tuesday by State Street Global Advisors as part of the asset-manager’s campaign to increase the number of women on their clients’ corporate boards.
A group of women who work together also came to the financial district to see the statue on International Women’s Day. “We really like the little girl standing up to the bull,” one said.
A man who works nearby said, “I have two daughters and I thought it was pretty impressive that they have this up here.”
“Fearless Girl” wasn’t the only one overwhelmed by attention. The woman who created her, artist Kristen Visbal, says she’s been inundated with calls and emails from fans.
Visbal said that team behind the campaign,which includes the advertising agency McCann NY, approached her to design a statue of a young girl. “We were focusing on making a statement about the future of Wall Street,” she said. “We wanted this wonderful contrast,” she said, between the delicate child and the aggressive bull.
“I think the fact that she’s a child makes the figure much more endearing.”
Visbal was particularly moved by an image of young girl wearing a cape and posing beside the statue.
“The whole project is about girl power,” she said. “I love that phrase, because it makes us a lot stronger if we are in unison.”
Anne McNally, SSGA’s head of public relations for North America, told CNNMoney that the group has a permit that allows the statue to remain in place for one week, but that they are seeking an extension that would keep “Fearless Girl” in place for a month.
“After that, it’s up to the city,” she said. “We would be very supportive of a permanent installation as a piece of art.”
What are your thoughts on the statue?
Freedom from Want, also known as The Thanksgiving Picture or I’ll Be Home for Christmas, is the third of the Four Freedoms series of four oil paintings by American artist Norman Rockwell. The works were inspired by United States President Franklin D. Roosevelt‘s 1941 State of the Union Address, known as Four Freedoms.
The painting was created in November 1942 and published in the March 6, 1943 issue of The Saturday Evening Post. All of the people in the picture were friends and family of Rockwell in Arlington, Vermont, who were photographed individually and painted into the scene. The work depicts a group of people gathered around a dinner table for a holiday meal. Having been partially created on Thanksgiving Day to depict the celebration, it has become an iconic representation of the Thanksgiving holiday and family holiday gatherings in general.
Three generations circle the food—a nuclear family more rarely seen today, but still existing in some hearts and minds as an ideal. (If Rockwell were painting now in 2013, what might that modern American family look like racially or even in terms of sexual orientation?) From the lower right corner, in the finest Renaissance tradition of painting, a young man looks out at you directly—the classic challenge to the viewer posed by the painter and his painting. His smile asks you to join in with the wonder at the bounty set before them, but is that all it asks? After more than a decade of overseas wars draining of us blood and treasure and an economic downturn further depleting our reserves of good will and thankfulness, that young man’s smile reminds us that the Thanksgiving thanks are not necessarily for abundant protein and four kinds of vegetables. Instead, the thankfulness is for having each other and the enduring capacity of people to free one another from all kinds of want—physical, emotional, and even spiritual.
Christina’s World is a 1948 painting by American painter Andrew Wyeth, and one of the best-known American paintings of the middle 20th century. It depicts a woman lying on the ground in a treeless, mostly tawny field, looking up at a gray house on the horizon; a barn and various other small outbuildings are adjacent to the house.
Many people think it is a story of pain and struggle. I chose to believe she is looking for hope trying to get up and carry on.
What are your thoughts on the piece?
1. THERE WAS A REAL CHRISTINA.
The 31-year-old Wyeth modeled the painting’s frail-looking brunette after his neighbor in South Cushing, Maine. Anna Christina Olson suffered from a degenerative muscular disorder that prevented her from walking. Rather than using a wheelchair, Olson crawled around her home and the surrounding grounds, as seen in Christina’s World.
2. OLSON’S SPIRIT INSPIRED WYETH’S MOST POPULAR PIECE.
The neighbors first met in 1939 when Wyeth was just 22 and courting 17-year-old Betsy James, who would later become his wife and muse. It was James who introduced to Wyeth to the 45-year-old Olson, kicking off a friendship that would last the rest of their lives. The sight of Olson picking blueberries while crawling through her fields “like a crab on a New England shore” inspired Wyeth to paint Christina’s World.
“The challenge to me was to do justice to her extraordinary conquest of a life which most people would consider hopeless,” he wrote. “If in some small way I have been able in paint to make the viewer sense that her world may be limited physically but by no means spiritually, then I have achieved what I set out to do.”
Credit: Mental Floss
Beetlejuice – Day-o (Banana Boat Song)
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Winona Ryder . Jump In The Line