[0jxse0]

Introducing ‘black sheep’

A collective created by me and DHM with the objective to create, display and distribute art and fashion in a counter-culture manner.

Follow our journey via Instagram or the website listed below.

Thank you

Black Sheep

Think about what it means to be a black sheep.

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( I will be using my blog as a moodboard, sharing my perspective on black sheep)

[moriintus]

[be4everybody-deactivated2024072]

[davidenth]

[garadinervi]

Cy Twombly, Captiva Island, (collage: (lined paper, graph paper, transparent adhesive tape), wax crayon, pencil), 1974 [© Cy Twombly Foundation, New York, NY]

/ l'Altissimo /

[hannahgoodall]

Arpad Slancik

[madatmost]

[dailyrothko]

"Rothko created a modulated ensemble of majestic paintings. The dark purplish tones have a soothing effect, yet they retain enough brilliance to stimulate the mind. The black surfaces invite the gaze to go beyond. The chapel is a place conducive to spiritual activity. We are cut off from the world and its suffocating multiplicity, able to wander in the infinite. Lacking the immensity of the desert, it is in the confines of a restricted place that we can embrace "the whole'. Here we are nowhere and everywhere; here we can find a blessed wholeness, a sense of unity." 

- Dominique de Menil 

𝗠𝗔𝗥𝗞 𝗥𝗢𝗧𝗛𝗞𝗢, in his studio with center triptych from chapel paintings, 1965

📸 Alexander Liberman 

Art- © 1998 Kate Rothko Prizel & Christopher Rothko Artists Rights Society (ARS)

While I have presented the black-and-white version of this picture before, I had not seen this color print until recently. As there are very few photos of Rothko with chapel pictures in a finished state, I'm glad to add this alternate scan. In this one you're able to see quite clearly, the studio supports keeping the pictures in place . . 

It's said that Liberman, a friend of Rothko's, omitted photos of chapel works that had not been settled on, favoring pictures of this center triptych. 

A little bit of a mystery to me here is the fact that this picture is dated 1967, but Rothko appears to be in the same photo session as the other photo of him with the chapel pictures dated 1965. In addition, the black-and-white version of this picture is dated 1965 in one book, leading me to believe that date is accurate. However, Lieberman did take pictures of the studio pulley system and skylight that are dated 1967.    I would think the two pictures with Rothko appearing were from the same shoot, but it wouldn't be unthinkable, given Rothko's sartorial style, for him to be wearing the same suit in two pictures two years apart. This is something I'm still researching.

[onminimalism]

[madatmost]

[booksinantwerp]

Stunning look by Ann Demeulemeester, presented both at the ‘Visionary Belgium’ exhibition, BOZAR - Palais des Beaux-Arts, Brussels (2005) & ont he runway (AW2004) follow on Instagram for more

[2001hz]

Cristobal Balenciaga autumn/winter (1961)

[dailyrothko]

[dailyrothko]

Mark Rothko, Untitled (Black on Black on Wine), 1968

 Acrylic on paper mounted on panel

Copyright- Kate Rothko Prizel and Christopher Rothko, Artist rights society/ ARS New York

[myfloatingrock]

Wunderkind Berlin

[yunhyongkeun]

Retrospective exhibition of Kazuo Shiraga’s paintings from the 1960s to the end of the 1990s at Axel Vervoordt´s Kanaal, Belgium.

[dailyrothko]

[dailyrothko]

Mark Rothko, Untitled / No. 28, 1962

© 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society

[nobrashfestivity]

Ana Mendieta, Body Tracks, 1974,

still from super-8mm film transferred to high-definition digital media, colour, silent, Courtesy Galerie Lelong, New York

 © The Estate of Ana Mendieta Collection