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YOU ARE THE REASON
Jules of Nature
Peter Solarz

ellievsbear
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One Nice Bug Per Day
Monterey Bay Aquarium
DEAR READER
trying on a metaphor
ojovivo

Kaledo Art
taylor price

JBB: An Artblog!
Game of Thrones Daily
Claire Keane

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"I'm Dorothy Gale from Kansas"
Sade Olutola
AnasAbdin
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@annycrane
I rise from my worst disasters, I turn, I change.
Virginia Woolf, The Waves (via wordsnquotes)
support the arts. go see a friend’s theatre production, buy a piece of artwork you love if you can afford it, tip a street musician who made you stop walking to admire their skills. the arts are so beautiful and under appreciated. please commemorate people for the hard work they show through artwork. as an artist, it’s so easy to become discouraged, so if you have an opportunity to support an artist, do your best to take it.
weird stuff happening.
handmade paper, wire, and string.
view of one of the pieces in action.
handmade paper, wire, string.
new installation in progress.
handmade paper, wire, machine knitting, and thread.
they will be showing next friday, july 29th! 7p-10p at waldo road studio in gainesville fl. they will be part of a group show, UNFURL ADJUST ASTIR curated by jessi hamilton (@jessihamiltonart).
#LeWittCollection is on view through this Sunday, June 12. Wed-Sun 12-6pm | Thur 12-8pm
Image: Kazuko Miyamoto (at The Drawing Center)
homes, houses, places to live
in progress hand embroidery, hand illustration, indigo in handmade paper.
Marisol Escobar among her works.
Marisol Escobar passed away this weekend at the age of 85. A member of the 1960s NYC art scene she traveled in the same circles as Andy Warhol and Willem de Kooning, drifting from pop art party kids to abstract expressionists (who hated each other, of course.) Characterized by wooden, sculptural figures, Marisol’s work had a folk art aesthetic but played with a pop art sensibility, using bright colors and American cultural commentary. She seemed to take what Rauschenberg was doing with his assemblages or Warhol’s celebrity obsessions and made them even more imposing. There’s a one-upping quality to her craft; a piece like her version of The Last Supper is a good example of this. A Marisol sculpture swallows a whole white-walled gallery room whole, every other piece in the room looks too dull, too flat in comparison.
Her work just couldn’t be so neatly defined. But whether she really was a pop artist or not, Marisol didn’t care what people labeled her work as long as she was making it. She was acutely aware of how fleeting fame could be and how her beauty played a part in it. It’s hard to find writing from the ‘60s and ‘70s about Marisol’s art that actually is about her work, mostly its about her looks. Whether she was as quiet and mysterious as the media made her out to be is up for debate, I kind of suspect she just didn’t like talking to reporters, particularly men. What’s clear is that Marisol hated it.
I think you get to a point in all areas of history or journalism when you realize the people of the past were doing it wrong, and have always been doing it wrong, for women. When you write about women’s art badly, you are erasing them. It’s devastating to think about the centuries of women artists whose lives were erased or misconstrued in history books, let alone an artist popular during the 1960s. If the texts of the past are sexist, misogynist, can we really know the women they describe? Hyperallergic’s post on Marisol’s death seemed to say it all “Marisol, Innovative Pop Art Sculptor Written Out of History, Dies at 85.” Marisol has lived in New York City pretty much since the early 1950s, but she only had a solo show at a museum here last year. Even then, it was a traveling exhibition. A few years ago people were reporting a resurgence in her work. It’s really not too late to write her back in.
in front of my mother and my sisters, i pretend love is cheap and vulgar. i act like it’s a sin– i pretend that love is for women on a dark path. but at night i dream of a love so heavy it makes my spine throb– i dream up a lover who makes love like he is separating salt from water.
Salma Deera, “salt” (via arabellesicardi)
‘material dialogues | Lost in Fiber collaboration’ between artists Anny Crane and Abigail Doan | interview and project photos here.
Been working on some lovely commissions the past few weeks. Drawing inspired by the Arizonian Desert.
Help
I need to admit something i don’t like to talk about. I am not infallible. I know this. I need help.
I have chronic illnesses, i get sick on and off, unpredictably. Mostly why i don’t release as much work anymore. I’m either battling mind, body or both.
I’m thinking of holding a bi-annual sale or something. Since i haven’t had a sale all year. To keep me from having to move back in with one of my emotionally abusive parents back on the east coast.
Please help. I’ll even put up a sale code now, for my art & accessories shop. Enter: ILOVEU during checkout for 15% off your order.
If you can’t help by ordering, please spread the word. Thank you! ♡ I’ll let the sale run about a week.
last year I started baking bread from scratch as a way to work through my anxiety and depression, something that wasn't art related but simply a task to complete. things have been brighter, easier, and less clouded lately... so yesterday afternoon I baked some rosemary and olive oil bread (plus m loves home-baked bread). it feels really wonderful revisiting this ritual of reflection and pure process of "doing" in this current healthy, happy time.
this week in the studio.
my folks are long gone.
whenever I'm in my hometown, I make it a point to drive to a few of my past homes and just sit there. I reflect on the first time I fell in love, the first time I snuck out, the first moment of emotional abuse, my last phonecall with my grandmother, temporary homes filled with friends and love...the list goes on. this past trip I made a chronological list of places I've lived since my first memory of a home, 28 (33 including 1-4week stays). something is forthcoming, something to process it all.