I LIKE THIS ART

Paintings and other artworks that I am fond of, in one place.

[lesbianartandartists]

Patricia Cronin, Memorial to a Marriage: A Funerary Sculpture, 2002

[exasperated-viewer-on-air]

Sissel Blystad - 21, 2015

hand-dyed Norwegian wool

25 ¾ x 26 in. / 65.4 x 66 cm

[mentaltimetraveller]

Robert Mangold, Circle In and Out of a Polygon 2, 1973

[theories-of]

Sonia Delaunay-rhythm 1945

[julianminima]

Sheila Hicks

[thunderstruck9]

Victor Brauner (Romanian, 1903-1966), Provocation, 1957. Oil on canvas, 64.3 x 53.1 cm.

[poetryfoundation]

Jason Branscum took some great shots of the current Poetry Foundation Gallery exhibition, Bhaba by Neha Vedpathak.

Check it out 11 AM–4 PM on weekdays and come to the Bhaba Gallery Talk: Neha Vedpathak in conversation with Srikanth Reddy.

A virtual dialogue between the artist and the poets Rabindranath Tagore and Kay Ryan, Bhaba is a multi-disciplinary exhibition that includes a large-scale paper work, an installation of handmade “stones,” and a mixed-media garland. Vedpathak’s “plucking” technique, in which she separates the fibers of handmade Japanese paper using a tiny pin, results in an immense, floating wall of paper that resembles a lace fabric. Her “stone” sculptures, created from Arizona sand and plant sap, blur the lines between the natural and the manmade. 

[theories-of]

MORGAN BETZ-i am an island

[igormag]

Jais Nielsen (Danish, 1885-1961)

[magictransistor]

Max Ernst. Pyramid Lake. 1946.

[lesbianartandartists]

Tammy Rae Carland, this is a why her, why not me story

[hijaktaffairs-deactivated201812]

Jenna Pirello.

[wileyguillot]

Joanne Greenbaum

[womanhouse]

Gunta Stölzl

[lesbianartandartists]

Harriet Hosmer, Clasped Hands of Elizabeth and Robert Browning, 1853

[magictransistor]

Ilya Repin. Sadko in the Underwater Kingdom. 1876.

[lesbianartandartists]

Lenore Chinn, Break From Pulp, 1994 50″ x 60″

“There are frequently multiple readings of my pieces to a large extent depending on the viewer’s relationship to the subject. A lesbian or gay cultural frame of reference may contribute enormously to the fullest appreciation and understanding of my work. I believe a gay or lesbian audience is more likely, in my work, to see or to identify something relevant to their life experience, more so, than one who is not so familiar. My work, at times, because it is so subtle in its approach (style), has at times been “misread” – the gay context is lost or overlooked. The element of context is often overlooked in the readings of other artists, particularly well known artists, whether their works are literary, visual or performance based. Context is critical to the fullest understanding of a work and for those who choose not to regard by implication or knowledge an artist’s body of work, the influence of culture, gender, race or sexual orientation where it may very well apply, it would simply be to deny the ramifications of the narrative told.”

–Lenore Chinn