Joseph and Hayzeus. © Ron Reyes.
Ron Reyes is Featured at The Advocate, go have a look! Then have a wander over to Ron’s website, and look look look some more!
Affinity
Art, Fun, & Nonsense.
Joseph and Hayzeus. © Ron Reyes.
Ron Reyes is Featured at The Advocate, go have a look! Then have a wander over to Ron’s website, and look look look some more!
CBC has a brief, interesting collection of magazine covers. Having the fortune of having friends all over the world, I have a clear idea of how people in other countries view the U.S., especially now, with the Tiny Dictator installed. Might come as a bit of a shock to more insular peoples. We are not the good guys, and we never have been. We’re the obnoxious, swaggering bully; the interfering, corrupt cop. That’s how it’s been in the past. It’s worse now. America is worse, and even some Americans are figuring that one out now…
From a group of 11 tissue-stereo views of Satan (1860s–70s) (all images courtesy Swann tiontion Galleries).
Hyperallergic has a great story on some 19th century stereoviews, some of which will soon be up at auction. Hell doesn’t look so bad, rather playful!
As one group of 19th-century French artists envisioned it, hell was no desolate destination for the damned. Rather, it hosted boating races, witnessed parties with a “live” band, and even boasted a lavish boudoir for one “Madame Satan.” Such are the scenes they depicted in their series of humorous stereoviews produced in the 1860s that capture a vibrant underworld of devils, skeletons, and satyrs, each carefully hand-colored so the frozen figures came alive with glowing red eyes.
Titled Diableries, the series was published primarily by Frenchmen François Benjamin Lamiche and Adolphe Block, as told in a publication, also called Diableries, that chronicles the works’ history. Unlike most stereoviews, these images married sculpture and photography: sculptors (unidentified on the images) would craft small dioramas from clay that would then be photographed and printed on albumen paper. The artists then applied watercolors to the fragile prints, added a layer of backing tissue, and inserted the prints into cut-out windows of two cardboard frames. The tissue stereocards, therefore, offer two views: when seen with light hitting only their front sides, their images seem black-and-white; but when illuminated from the back, colors appear to render hell in vivid visions. The artists would also pin prick sections of the images and apply color to these markings so light passing through the holes would highlight details on costumes or settings, even making them sparkle slightly.
A full set had dozens of individually captioned scenes, guaranteed to provide viewers with a unique form of entertainment in 3D when placed on a stereoviewer. Stereoviews were highly popular in the 19th century, but the Diableries would have certainly stuck out from many other sets: collections of travel photos, artworks, and religious pageantry have quite a different tone from these scenes of skeletons riding bicycles, playing instruments in a bony band, and dancing in flouncy dresses.
[…]
Swann Auction Galleries is selling 11 cards (est. $600–900) as part of its forthcoming sale “Icons & images: Photographs & Photobooks.” A couple of these scenes show hell as you may expect it: in one, winged demons poke weapons at skeletons crowded in a massive cauldron while wide-eyed monsters gawk from dark corners; another shows the entrance to hell, governed by a three-headed beast and monsters holding pitchforks. Humor, however, is the clear, reigning mood in these Diableries: a sign above the beast in that latter image reads, “Speak to the concierge”; there’s also a skeleton lifting his top hat to a guard while a woman in the corner offers water for passersby to refresh themselves.
Much more to see and read at Hyperallergic.
Doris Salcedo, “A Flor de Piel” (detail) (2013), rose petals and thread (Harvard Art Museums/Fogg Museum, Gift of Mr. G. David Thompson, in memory of his son, G. David Thompson, Jr., Class of 1958, by exchange; purchase through the generosity of Elaine Levin in honor of Mary Schneider Enriquez; and purchase through the generosity of Deborah and Martin Hale, 2014.133. © Doris Salcedo, photo by Joerg Lohse, image courtesy the artist and Alexander and Bonin, New York, and White Cube, London).
Doris Salcedo’s The Materiality of Mourning is at the Harvard Art Museums (32 Quincy St, Cambridge, Mass.) through April 9.
Installation view of Disremembered IV (detail) in Doris Salcedo: The Materiality of Mourning, on display November 4, 2016–April 9, 2017 at the Harvard Art Museums.
© Doris Salcedo. Photo: Harvard Art Museums; © President and Fellows of Harvard College.
Hyperallergic has the full story on the exhibition. The Materiality of Mourning at Harvard Art Museums.
Also, go have a visit at the Center for Artistic Activism.
A close look at the marker drawings of Ben Biayenda reveals a wide range of direct references from African tribal art to French Post-Impressionism and current pop culture. The Paris-based art student’s work celebrates black beauty in all of its diversity. His sensitive portraits depict black women in moments of intimacy, connection and self-care. His scenes are of beauty parlors and plant-filled bohemian apartments. In girl’s dinner, three black women sit down together to share some sushi rolls. An African mask, a Matisse cut out, and a poster of Angela Davis hang on the wall behind them. One of the guests has vitiligo, perhaps an homage to Winnie Harlow, a Canadian model with the skin condition.
Biayenda started drawing black women two years ago, inspired, he says, by “black femininity, sisterhood, and little moments of beauty.” He is also inspired by black feminist conceptual artists like Adrian Piper and Michèle Magema to interrogate race, gender roles, Western beauty standards, and art itself through his work. Born in Namibia to French and Congolese parents, the artist grew up in France and was exposed to fine art at a young age. He grew to especially love French painters, from Jean-Auguste-Dominique Ingres to Henri Rousseau. “I was really fascinated by painting and I was going to museums in Paris. I really loved it, but there was some frustration to not see much black representation in famous paintings,” he recalls to The Creators Project over a Skype call. His response was to create his own version of art history through work that reflected his own standards of beauty, while drawing on the poses and atmosphere of the classic works he admired.
You can read and see much more at The Creators Project, his website and Instagram.
The Creators Project has a great look at Awol Erizku, and his aesthetic for photographing Beyoncé’s pregnancy:
Click on over to read the full story and see much more.
From Giliell, the lovely case she made for chalk. Click for full size!
© Giliell, all rights reserved.
They arrived, just in time to accompany the pants™ and myself into town tomorrow. The Tyrranophobia is dark, a swirl of tobacco and opium, with a slash of jarring black cherry, or something like. I forget what’s actually in it. The Cryophobia I’m in love with, it’s like wearing clarity wrapped in Juniper. Of the samples, Debauchery won my little black heart. Spice, a hint of orange and clove, all rather debilitated and languishing. *Happy*
Click for full size. They’re ready for wearing tomorrow. There’s a ‘Fuck Trump’ on the side of the center seam between the pockets. Didn’t quite show.
© C. Ford.
© C. Ford.
Marcus wanted to know what was on the flip side, and this is it for now. The pants must be finished today, to be worn into town tomorrow. That ought to be fun – I’ll be at the pain clinic, which is, naturally, mostly populated by older people who listen to Fox news in the waiting room at a deafening level. Must remember headphones…
by Ellis Rosen.
If you missed it the first time I posted, visit this time: Resist!
And very productive! Giliell has transformed her English, Spanish, and not so jazzy planer into wondrous works. Click for full size.
© Giliell, all rights reserved.
Malia Obama (Pinterest)
Malia Obama has chosen to stand with Standing Rock.
A group of 100 people gathered in Park City to protest the revival of the project by new U.S. President Donald Trump. Despite freezing temperatures and heavy snowfall, Malia Obama joined the protester who were holding up signs that read: “Exist. Resist. Rise.” and “Impeach corporate control,” according to the Daily Mail.
Along with protesting the construction of the pipeline, which will disturb sacred grounds and introduce contaminants into the local water supply, the group was protesting the festival sponsorship by Chase Bank, which is invested in the pipeline. The rally was held in front of the Chase Sapphire on Main lounge.
Courtesy MSNBC via YouTube.
Chairman Archambault on MSNBC: ‘President Is Circumventing Federal Law’.
Standing Rock Sioux Chairman David Archambault II was more surprised at the rapidity with which Donald Trump signed presidential memoranda purporting to speed up the Dakota Access Pipeline (DAPL) and reinstate the Keystone XL pipeline than he was by the act itself.
“We were prepared for President Trump take a run at everything we have accomplished in the last two years,” Archambault told Tamron Hall on MSNBC on Wednesday January 25, the day after Trump signed a Presidential Memorandum attempting to move DAPL along. “This nation better start bracing itself for what’s to come if in the first four days we’re witnessing him using an executive order to circumvent federal laws. It’s not right, and it’s something we better get ready for. I was disappointed that it came this soon, because we had worked so hard for the last two years.”
The tribe wants closer study of the pipeline’s potential effects on water supply, sacred sites and treaty rights, he said, and Trump is trying to do an end run around such statutes as the National Environmental Policy Act (NEPA).
“The troubling thing is that this president is circumventing federal law,” Archambault said. “We have Treaty rights, we have water rights with our Winter’s Doctrine, we have NEPA.”
The Keystone XL Pipeline Will Create Just 35 Permanent Jobs. Don’t Believe the Lies.
For those who still insist fossil fuels are the future, the Trump administration represents a new day for some old ideas. In an early sign of things to come, the president showed his faith in big oil when he signed documents Tuesday pressuring federal agencies to support construction of the Dakota Access and Keystone XL oil pipelines. Each of these projects faced enormous protests and was put on hold by the Obama administration because of legitimate environmental and due process concerns.
Congressional Republicans frequently howled at far less heavy-handed exercises of executive power under the previous administration. Today, they applaud Trump’s move on the mistaken premise that these pipelines are good investments. Not only will these projects not create long-lasting jobs – as CNBC, not exactly an anti-corporate mouthpiece, has noted: “Pipelines do not require much labor to operate in the long term” – they will further delay the inevitable transition to clean, renewable energy our economy needs and the American people demand.
Standing Rock Chairman Archambault Sends Strong Letter to Trump.
Editor’s note: Reaction was swift and strong when President Donald Trump signed a series of Presidential Memoranda and Executive Orders designed to move the Dakota Access Pipeline (DAPL) forward and revive the Keystone XL pipeline. The Standing Rock Sioux Tribe responded immediately, and on January 25 Standing Rock Chairman Archambault wrote a letter to Trump explaining the legal constraints, the support that the Environmental Impact Statement and the tribe have, and the need for a leader-to-leader meeting. The full text is below.
DAPL Profiteers Steal Marty Two Bulls Designs.
You’ve probably seen and shared at least one of the many brilliant political cartoons by Marty Two Bulls at some point in time. Marty Two Bulls—an artist from the Oglala Lakota Nation—has been drawing political cartoons with great success for many years. His work has long been a staple on the pages of ICTMN. He’s known for bringing clever humor and hilarious imagery to hot, controversial issues: most recently the anti-DAPL movement in Standing Rock.
But now, you might see his work in places it shouldn’t be: dozens of t-shirt sellers who are hoping to make a buck from the #NoDAPL campaigns have ripped off Marty Two Bulls designs and been using them to sell t-shirts of their own with no credit, profit, or acknowledgement offered to the artist. Now, Two Bulls has taken the matter into his own hands. In addition to filing dozens of reports to stop production of the rip-offs, he has decided to sell t-shirts of his own.
The design thieves are mostly from overseas with no connection to Native country.
“So far I caught over 20,” Two Bulls said, “I go online, I search terms like #NoDAPL and Water is Life on Facebook, and there they are.”
Marty is an amazingly talented artist, and one of the best political cartoonists in the world, he’s brilliant. Please, if you want to show support for Standing Rock, take the time to make sure your item is coming from the actual artist. Most artists aren’t rolling in money, and this theft hurts, one more than one level. Marty is trying to do something for his people, and if you want to help, and like his artwork, please buy from Marty Two Bulls.
© C. Ford.
There’s a special hell in having to wash embroidery, especially embroidery you’ve put over a thousand hours into, fortunately, it made it through. I had to see if I could get the rest of the colour bleed out so I could just focus on finishing the damn tree. Paranoia saw me putting in way too many colour catchers, but the tree quilt came through, brilliantly, and the last of the colour bleed is gone. I think. Now, I must iron. Then one of these days, I might actually get back to work, which would be nice.
