The painting is done. I’ll have to do heat setting after the last three horses are dry, then in a couple days, the big test, washing it. After that, it’s all yours, Giliell, assuming it makes it out of the wash okay. Sorry about the gate lines, it’s really windy out, so I had to clip it down on the gate.
© C. Ford.
© C. Ford.
Six, and the last tonight. I’ll have to get the last three done tomorrow.
© C. Ford.
© C. Ford.
© C. Ford
Three horses done. Time for more tea, then on to the rest. The rats had a fine time in the leftover paint from last night. :D
© C. Ford.
[My] Tomorrow (Saturday, 8th Oct.) will most likely see Affinity closed for the day, I absolutely have to work. I have a beautiful, 200 count, white muslin, 90″ x 108″, arriving soon, which I’ll be painting, then freehand quilting, so it can be quickly done and donated to Standing Rock for winter. I spent time on horse sketching, then pulled out my test fabric, which is most definitely not 200 count, it’s cheap muslin. Even so, I haven’t played with all the various fabric paints I’ve come by, and now’s the time, so that I don’t fuck up that lovely fabric on the way. I didn’t even get the first bloody horse finished today, and I managed to completely forget what hours bent over a table do to my spine. (Insert scream here.) The first horse is roughly 26″ x 14″. I have to finish the first horse, then get eight more done. (I also need to do this, not just for testing various media, I need to work out colours, patterns, all that jazz.) I really hate to disappoint people, and if I can get a few things posted, I will, but don’t worry if I don’t show at all. I’ll definitely be back on Sunday.
© C. Ford.
I keep forgetting, I got a beautiful elk hide at wačipi. It’s back to being safely tucked away for when I have time to work on it. Roughly 70something inches x 50something inches. No, I don’t know yet. Well, I know what I’m going to do with part of it, not all, and it’s something for us, so it won’t be for sale.
© C. Ford.
The artist Edwina Sandys with her sculpture “Christa,” the centerpiece of an exhibition of more than 50 contemporary works that interpret the symbolism associated with the image of Jesus. Credit Hiroko Masuike/The New York Times.
Edwina Sandys had seen this before: the 250-pound bronze statue of a bare-breasted woman on a translucent acrylic cross being installed in the Cathedral Church of St. John the Divine.
This time around, however, she does not expect to see something else she had seen before: the statue being packed up after a call from a ranking church official telling her it had to go.
That happened the first time “Christa,” Ms. Sandys’s sculpture of a crucified woman, was shown at the cathedral in Manhattan during Holy Week in 1984.
A controversy erupted, complete with hate mail attacking it as blasphemous. Overruling the dean of the cathedral at the time, the suffragan bishop of the Episcopal Diocese of New York called the statue “theologically and historically indefensible” and ordered Ms. Sandys to take it away.
This time, it is being installed on the altar in the Chapel of St. Saviour as the centerpiece of “The Christa Project: Manifesting Divine Bodies,” an exhibition of more than 50 contemporary works that interpret — or reinterpret — the symbolism associated with the image of Jesus.
[…]
She came to know the Very Rev. James Park Morton, the dean of the cathedral for 25 years until 1996. “I said, ‘How brave are you?’” in 1984, she recalled. “He may not have said ‘try me,’ but words to that effect. I said, ‘How would you like to exhibit “Christa,” the female Christ?’ He said, ‘I’d be delighted.’ I took a deep breath, and that was that.”
Except with that, as Ms. Sandys put it, “all hell broke loose.” Angry letters arrived (the cathedral preserved them in its archives) and, according to Ms. Sandys, the suffragan bishop, Walter Dennis, “said he didn’t want it, and I had to come and get ‘Christa.’”
The full story of Christa is here.
Images courtesy the artist.
Tamara Santibañez – Landscape II (Massif) – 40″ x 60″ Oil on canvas, 2016. Image courtesy of Slow Culture Gallery.
Tamara Santibañez studio, image courtesy of CJ Parel.
[I really, really want to own that.]
Bomb Ayran, Slavs and Tatars, 2016.
Make Mongolia Great Again, Slavs and Tatars, 2016.
All via The Creators Project.
Thomas Chung in his workplace. Photo by Kyle Clayton.
There’s a terrific article about North Anchorage, Alaska artist Thomas Chung, who will be exhibiting tomorrow at Becky Gallery October 7, reception 5 – 8 p.m.
With a background in cultural anthropology, Chung combines symbols from various myths and stories along with contemporary brands like Coke and Jägermeister
“There’s something kind of funny about Jägermeister,” Chung said as he held a rubber circle mat with the deer and cross logo. “He’s that saint who was a hunter and ran into a deer and this glowing, crazy cross appeared and that’s how he found God. Now it’s a coaster.”
The full article is here. You can see more of Professor Chung’s work here.
Ron Amato has a kickstarter for his project, a book called The Box.
Focused on themes of isolation, desire, conflict and empowerment, Ron Amato’s photographic series and upcoming book, The Box, speaks to human experiences of self-discovery and community building. Using a series of boxes to create visual metaphors, Ron echoes his development from adolescence to adulthood through over 100 color, and black and white photographs. Evoking first his youth in Brooklyn, New York during the 1960s and 1970s, moving through his coming out as a gay man and to his present position as a respected professional photographer and teacher, Ron creates a vivid portrait of struggle and triumph.
Individually the photographs evoke powerful responses. However, they achieve the scope of their power only in relation to each other.
Reflecting the square of the boxes in the photographs, this 96-page book is designed in a 10-inch square format. It has a hard cover and dust jacket. It is available with an embossed, cloth covered slipcase at specific pledge levels. The printing will be of the highest quality from a renowned Italian printing house.
You can read and see more here. Ron Amato’s website: http://www.ronamato.com/