[nicoledyerblog-blog]

[thefinalimage]

Backwards Birth of a Nation, 2000 (dir. Les LeVeque)

In Backwards Birth of a Nation, LeVeque runs a VHS copy of The Birth of a Nation on fast rewind from the end to the beginning, shortening it to about 13 minutes.  Then he goes back and inverts the grayscale on every second image, turning positive into negative and black into white.  The resultant single-frame flicker literalizes the abhorrent black-and-white racial binaries of the original film in a gesture that intentionally makes it unwatchable.

[cavetocanvas]

Yue Minjun:

The Massacre at Chios, 1994   

oil on canvas (diptych), 98.5” x 143” (250 x 364 cm)

read more about the work and it’s historical background from Sotheby’s

[showslow-deactivated20180412]

Carlos Cruz-Diez, Chromosaturations

Venezuelan born, Paris working installation artist and painter Carlos Cruz-Diez’s Chromosaturation (1969) series presents an idea that simple cues can lead to an entire system of thoughts, beliefs and sensitivities. 22 cabins made of red, blue, and green Plexiglass are positioned in three separate monochromatic chambers, which combine together to trigger the retina to experience a full spectrum of color and light.  Engaging the viewer on a visceral and visual level, this type of installation in 1969 was undoubtedly quite refreshing against a climate of context oriented art.

[sovra-deactivated20130328]

[oppressing]

u ok

[ryandonato-deactivated20130922]

1.26 isthe name of this light installation by Janet Echelman, and exactly the number of seconds Earth’s day was shortened by the 2010 Chilean earthquake which is evidently the sole inspiration of this piece. Echleman used a fisherman’s net to capture ecological forces such as wind, water and sunlight which molds the urban air around itself. She also collaborates with other professionals including aeronautical engineers and uses Philips dynamic LEDs to illuminate her sculpture.

[theincompletenesstheorem-deacti]

[theincompletenesstheorem-deacti]

[workman]

theincompletenesstheorem:

Willie Cole, Domestic ID III, 1991 Iron scorches on paper in two painted window frames

[artistandstudio]

Inka Essenhigh has exhibited at the Museum of Modern Art, the Royal Academy of Art in London, SFMOMA, the Whitney and Tate Gallery.  via

[sequencestudies]

Mitch Epstein, Biloxi, Mississippi, 2005

[deadpaint]

[flommus]

deadpaint: Egon Schiele, Mime van Osen, 1910.

[artnotartnot]

Jennifer Steinkamp, Daisy Bell, 2008

[darkplumgirls-deactivated201212]

issey miyake • summer 1998 • cocoon i

[worldssmallesttrampoline]

Ana Mendieta Silueta Works in Mexico, 1973–77, details c-prints 19 3/8 x 26 9/16 in. each

Ana Mendieta was born into a politically prominent family in Cuba closely affiliated with the Communist movement led by Fidel Castro. When the alliance between Castro’s factions and Mendieta’s father turned sour in 1961, she was sent to live in the United States. Her exile informed the development of her ensuing work; she did not identify with a particular homeland and adopted various sites for her performances and their documentation. The untitled works that comprise the Silueta series, which she preformed as she traveled between Iowa and Mexico, reveal her interest in the earth as a site to address issues of displacement by recording the presence of her body—or the imprint it left behind—within different natural environments. Mendieta often filled in the silhouette of her body on the earth with various materials such as rocks, twigs, and flowers, as well as blood and gunpowder.

[likeafieldmouse-deactivated2015]

[dcdocent]

Eye-Candy Monday: Pipilotti Rist - Gravity, Be My Friend, 2007 - audio/video installation

[perversions-of-pain]

[cavetocanvas]

Frida Kahlo, What The Water Gave Me, 1938

Make sure to check out the Florence + The Machine song that this painting helped inspire.