sanatfili

kitap, sanat, hayat notları

[brooklynmuseum]

Having the Georgia O’Keeffe exhibition here is a great opportunity for us to look back at previous times we have exhibited her work at the Brooklyn Museum. She was a trailblazer in many ways and so has been the Museum in its long history. A great example is the International Exhibition of Modern Art held at the Brooklyn Museum in 1926 which included her work along with several other artists working around the world at that time. The exhibition was organized by Katherine Dreier working with Marcel Duchamp, Wassily Kandinsky and several other artists who wanted to present modern art from around the world. The exhibition showcased over 300 works of art by 106 artists. The work of the following eleven women artists was included: Georgia O’Keeffe, Marcelle Cahn, Francisca Clausen, Katherine S. Dreier, Suzanne Duchamp, Alicia Halicka, Munter-Kandinsky, Ranghild Keyser, Suzanne Phocas, Kaethe Steinitz and Marguerite Zorach. The accompanying catalog, designed by Constantin Alajolov, remains today an outstanding example of an innovative exhibition catalog offering an image of the artist, a work of art and a statement by the artist. This rare catalog is on view today in the Georgia O’Keeffe: Living Modern at the Brooklyn Museum with the page open to O’Keeffe and her work.

Aside from showcasing O’Keeffe’s work, the exhibition itself is remembered today as one of the one most important thematic shows devoted to international modern art and the most significant since the famed Armory Show of 1913 up until MoMA’s exhibition on Cubism and Modern Art held in 1936. This popular exhibition, attended by over 52,000 people, was followed by a one person exhibition on Georgia O’Keeffe in 1927. The only other woman artist in the 1926 exhibition to have a one person exhibition at Brooklyn was Marguerite Zorach. So in this Year of Yes let us look back at the work of women artists and how their work has been presented by museums around the world including the Brooklyn Museum.

For more Georgia O’Keeffe related ephemera stopy by the Brooklyn Museum Libraries and Archives. Some of our favorite O’Keeffe related ephemera, pictured here, is included in our rich collection of Artist Files.

Posted by Deirdre Lawrence

[brooklynmuseum]

If you ask someone to name five artists, they will likely name prominent male artists, but how many people can list five women artists? Throughout March’s Women’s History Month, we will be joining institutions around the world once again to answer this very question posed by the National Museum of Women in the Arts (NWMA). We will be featuring artists from our upcoming exhibition We Wanted a Revolution: Black Radical Women, 1965-85 which examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism. The show will be on view April 21-September 17, 2017.   Together we hope to draw attention to the gender and race imbalance in the art world, inspire conversation and awareness, and hopefully add a few more women of color to everyone’s lists.

In 1971, Dindga McCannon co-founded the “Where We At” Black Women Artists collective with Kay Brown, Faith Ringgold, and other artists. Excluded from the largely white downtown art world, as well as from the black art world, the women met to support one another’s work and organized exhibitions, educational programs, and childcare for one another. McCannon painted this portrait of fellow “Where We At” artist Akweke Singho.

Dindga McCannon (American, born 1947). Empress Akweke, 1975. Acrylic on canvas. Gift of R.M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Carll H. de Silver Fund. © artist or artist’s estate

[beratornek-blog]

“Una guerra-festa, un'orgia di segni e suoni che non vogliono significare altro che se stessi. Forse la guerra che Marinetti esalta non è quella che si fa con i cannoni. Forse ha qualcosa a che fare con l'amore, la vitalità, la volontà di superare un limite. Una guerra che non si vede, guerra-trasformazione che tocca a ogni uomo, se un uomo vuole conoscersi prima di andarsene dalla vita.”

Rough translation:

A war-feast, an orgy of signs and sounds that do not aim to signify anything other than themselves. Maybe the war that Marinetti stirs is not the kind of war fought with weapons. Maybe it has something to do with love, vitality and the will to surpass a limit. A war that is unseen, a warlike transformation that touches every human being, if willing to know himself before he leaves life.

[beratornek-blog]

Against

In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.

[beratornek-blog]

1- Bülent Somay'ın önsözü bile incecik bir kitap olarak basılmaya değer. 2- Jung seven okurları bu tarafa alayım. 3- Kadın okur olarak Le Guin'in hem yazar hem de kadın olma, kadinligin ve yazarligin aşamalarini kendi kisisel seruveni uzerinden anlatmasini okumak mukemmeldi. 4- En sevdiğim bölüm beş sayfalik “Çuval Kuramı ve Kurgu” bolumuydu -- bilinen ilk kulturel gerecin, insanligi ileriye tasiyan, medeniyetin sembolu olarak gosterilen avcilik aletleri, kesici bicaklar, oklar degil aslinda toplayicilik icin kullanilan kucuk bir cuval oldugu ve tum insanlik tarihinin, tahil sebze meyve koymak icin kullandigimiz cuval uzerinden anlatılmasının ne kadar farkli hikayeler doguracagi uzerine bir yaziydi. Kesici alet üzerinden kahramanlar ve kanli zaferleri kutlayan bir hikaye degil, insanların olduğu, öldürme degil saklama, koruma ve yasatma uzerine bir hikayenin anlatılmaya ac oldugunu söyleyen bu bolum en sevdigim ve tekrar okudugum bir bolumdu. Yazmak istedigi romani da cuval olarak simgeleyen Le Guin, kahramanlık, şiddet ve eril dil ile yazilan bir romanin daha kolay yazilacagini, asil bu kurguya kanmadan cuvalin alabilecegi binbir farkli hikayeyi anlatmanın zor oldugunu söylüyor. 5- Somay önsözünde Le Guin bizimle farklı bir dilde konuşuyor diyordu, gercekten de kitabi okurken belki kadın bir okur olmamdan ötürü, sanki yazar ile sadece biz kadınların anlayacağı bir dilden konuşuyoruz gibi hissettim. Sanki Tolkien gibi Le Guin de bir dil yaratmış; erkeklerin sonradan çalışarak ogrenebilecegi ama benim ve biz kadınların doğuştan bildiği ve sevdiği bir dil gibi.

görsel: idefix.com

[beratornek-blog]

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