Canvas Art Prints – Its Mardan http://itsmardan.com/ Wed, 21 Jul 2021 21:37:20 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 http://itsmardan.com/wp-content/uploads/2021/05/its-mardan-icon-150x150.png Canvas Art Prints – Its Mardan http://itsmardan.com/ 32 32 Artist Tristan Eaton’s 25-year career has been a quest for self-discovery http://itsmardan.com/artist-tristan-eatons-25-year-career-has-been-a-quest-for-self-discovery/ http://itsmardan.com/artist-tristan-eatons-25-year-career-has-been-a-quest-for-self-discovery/#respond Wed, 21 Jul 2021 20:31:29 +0000 http://itsmardan.com/artist-tristan-eatons-25-year-career-has-been-a-quest-for-self-discovery/

In 2012, Tristan Eaton found himself at the center of a controversy. He was about to paint a mural in New York’s Little Italy – a child’s figure interspersed with animals: monkeys, a peacock, a tiger – when she was labeled “pagan” by a priest from the church adjacent to the wall in question.

After the New York Post published an article on the shutter, Eaton had to change gears. The head of the Little Italy Merchants Association, whom he initially approached with the idea for the mural, instead gave him a smaller wall.

“I have this other wall, this little wall,” Eaton recalls. “Paint the short wall. If we can get everyone excited about this, then maybe the great wall is on the table again. “

The plan worked. People loved the room and Eaton painted the larger wall. In a way, he’s only painted bigger and bigger walls since then.

This month, an exhibition celebrating 25 years of Eaton’s work debuted at the Long Beach Museum of Art. Originally planned for 2020, All at once: 25 years of art and design fills two entire floors, a large canvas, so to speak, for an artist and native Angeleno who is used to it.

Tristan Eaton designed the cover of Los Angeles magazine’s 2021 Best of LA issue

Tristan eaton

Born in 1978 in a birthing center above old Hamburger Hamlet on Sunset, Eaton grew up surrounded by artists and actors he lovingly describes as wild, crazy, and eclectic. When he was eight, his family moved to London, where his older brother, Matthew, got into graffiti. On the train to school, rushing to the spray-painted walls, Eaton remembers seeing pieces of his brothers’ crew splashed onto the city walls. Too young to join them, Eaton got busy drawing what he called superheroes and “hip-hop style” characters.

Eight years later, when his family moved to Detroit, he grabbed his spray cans to join in the fun. He and his friends were climbing through abandoned Michigan Central Station, a hub for graffiti artists and urban explorers, and he ended up meeting artists like Glenn Barr, Niagara, Mark Dancey and others with ties to the punk scene. from the city. When he was still a teenager he got a job at Highway Press, a screen printing store that printed rock posters, and bonded with Jerry Vile at Orbite review, where he started to work.

“I was a teenager around these art giants,” he recalls. “And it’s worth noting – their tolerance for the annoying young Tris made me a generous artist.” He didn’t realize it at the time, but it was the start of a long career in art.

At 20, Eaton moved from Detroit to New York, where he knew no one, had no money, and was struggling both financially and emotionally. It was hard, but eventually, in his words, the love story began. In New York City, Eaton painted motorcycles, made artistic toys, and started a design business. He made a living from his craft, trying to broaden his skills and learn as much as possible about himself as an artist.

When not in his legitimate day job, Eaton developed a “secret identity as an illegal artist.” Going through TrustoCorp, he started hijacking road signs, food labels and billboards, and injecting them with political messages he deemed important amid a rise in racist rhetoric after the election of Barack Obama in 2008. “I stole public space for messages,” he says. “That was my goal, to usurp the landscape to get messages that could be absurd, critical and cynical, but at least get them out there to speak to other people who feel that way.”

Perhaps unpredictably, a corporate gig working for Disney is what brought him back to LA. But before he left, he left his mark on New York City in the form of the Little Italy murals, which marked a return to spray paint that was a revelation for the artist.

“After all the things I’ve tried and failed, to my surprise, spray paint was waiting for me all the time,” he recalls. “It opened up this portal for me to do the most honest and best job I have ever done in my life.”

His return to the medium coincides with what he describes as a “giant explosion of public art”. In cities around the world, children who once slapped wheat pasta and labels had grown up. It was no longer necessary to steal space because we offered walls to artists.

Eaton was no exception. The TV show he moved to LA to work on didn’t last, but he saw it as a new beginning. He began to travel the world – Australia, Mexico, Paris, Germany, Guam – painting murals. Being granted space comes with more responsibility than usurping it. On the one hand, the created works are supposed to be permanent. When Eaton leaves a community, his murals remain in place, often becoming beloved landmarks. This is a responsibility that Eaton is fully aware of, and that is why it takes it into account. Could a splash of color in an otherwise gray cityscape change people’s behavior? He describes the “staring eyes effect”, a phenomenon where the presence of images of eyes causes individuals to modify their behavior.

“If so, what is a 15 story fresco fully illustrated with tons of iconography and figurative metaphor, how is that going to affect a community?” he’s asking himself. “It’s going to have an effect!”

He evokes a fresco he painted in a Brazilian favela. The locals who commissioned it believed that watching Eaton paint could have a positive influence on the neighborhood children, inspiring them to rise above their circumstances.

“Art can touch a part of people’s souls that is still pure,” he says, subconsciously touching his heart.

Because it has been postponed for a year, the retrospective of Eaton’s career at LBMA aligns almost precisely with a big anniversary. “It falls on this marker for exactly 25 years since I started making money with my art in Detroit as an artist,” says Eaton. “Twenty-five years since I started all this way. And wait until this year made this lovely bookmark.

At first he was intimidated at the idea of ​​filling two entire floors with artwork, but once he started showcasing the exhibit in Photoshop, he had a revelation: he could have used more ‘space. Ultimately, the exhibition of the highlights of his career became a roadmap of his life.

“I’m able to take the highlights of everything I’ve ever done, and this great quest as an artist to understand who I am, what I can do and what makes me happy, and how I can get closer to great art, ”he says. “This whole process is presented to everyone, the good, the bad and the ugly. “


RELATED: The Best of LA 2021


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]]> http://itsmardan.com/artist-tristan-eatons-25-year-career-has-been-a-quest-for-self-discovery/feed/ 0 Artist Jacob A. Meders creates an immersive installation at SMoCA http://itsmardan.com/artist-jacob-a-meders-creates-an-immersive-installation-at-smoca/ http://itsmardan.com/artist-jacob-a-meders-creates-an-immersive-installation-at-smoca/#respond Tue, 20 Jul 2021 17:32:00 +0000 http://itsmardan.com/artist-jacob-a-meders-creates-an-immersive-installation-at-smoca/

The Scottsdale Museum of Contemporary Art has transformed the SMoCA Lounge into a gallery with the exhibition “And It’s Built on the Sacred”, on display until October 17th.

An indoor installation by local artist Jacob A. Meders (Mechoopda / Maidu), according to a press release, Meders used found objects and painted traditional marks of indigenous peoples on them to reconsider “how meaning can be layered and recovered in these products. “

By superimposing images and meaning on found objects, it raises questions about what is considered holy or sacred and how easily the sacred can be sacrificed, which dates back to the history of Western European civilizations taking the sacred sites of indigenous peoples and building their own religious structures on them.

Temples, missions and churches were built on sacred sites during the expansion of Western colonialism, which forced indigenous peoples to leave the land of their ancestors, the statement said.

In 1978, however, the press release noted that the American Indian Religious Freedom Act had been passed to remove the prohibition on indigenous peoples of the United States from practicing their religion or traditional cultural practices. This suppression and the trauma it caused had a lasting effect on Indigenous peoples, many of whom used the Christian religion to mask or hide their traditional ways of believing.

“Building, replacing and destroying what is sacred has been the gentrification of indigenous lands,” Meders said in a prepared statement. “To know what is sacred and to understand what is sacred would be to respect and honor what is sacred. Clearing the land with appropriation and commodification are the handcrafted tools of cultural rejection and destruction. “

“And It’s Built on the Sacred,” a multimedia installation, is a reflection on what is described as sacred and holy and prompts a dialogue about the novelties and the manipulation of unwanted Euro-American religious objects, according to the statement.

“SMoCA recognizes that the land we stand on is the unceded sacred land of Indigenous peoples and we honor those connected to this land,” said Julie Ganas, Curator of Digital Engagement and Initiatives and Curator of the exhibition, in a prepared statement. .

“Working with Jacob on this exhibition breathed new energy into the Museum and transformed the gallery into a space for reflection. It was a great pleasure for us to work closely with Jacob to bring this meaningful and profound exhibition to life to share with the community.

At the center of the installation is a circular floor created from earth that Meders carved by hand. Hidden underground is a triangular pattern created using willow – the primary material used for basket weaving by residents of Mechoopda in Chico, Calif., Where Meders is from, the statement noted.

The earthen floor brings the sacred earth into the gallery and represents a space for healing, gathering and reflection. Hanging around the dirt floor are Mexican blankets that Meders uses as a canvas to paint traditional indigenous motifs important to the Mechoopda people.

In all the components posed throughout the exhibition, Meders wants visitors to reflect on important questions around the sacred and the saint; recognize the problematic story behind the objects; combine all the components of the installation to “re-indigenize” or reclaim the gallery as a sacred space – layering old and new stories together, the release detailed.

A master engraver, Meders has also created an edition of signed and numbered prints that the public can take home to continue ruminating on the exhibition and the questions asked.

“While we continue to adapt to the changing environment, we remain committed to working with the community of extremely talented artists based in Arizona,” said Jennifer McCabe, director and chief curator of SMoCA, in a prepared statement.

“We turned our temporarily under-utilized multipurpose space into a gallery and in doing so, we cultivate connections in new and deep ways. Currently, SMoCA is showcasing the work of four Arizona-based artists, alongside two nationally and internationally renowned artists.

“And It’s Built on the Sacred” is curated by the Scottsdale Museum of Contemporary Art and curated by Julie Ganas, Curator of Digital Engagement and Initiatives. Through its partnership with the City of Scottsdale, the non-profit organization Scottsdale Arts (formerly known as the Scottsdale Cultural Council) creates diverse and inspired artistic experiences and educational opportunities for community engagement with the arts, adds the press release.

See: SMoCA.org; SMoCA@ScottsdaleArts.org.

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Delhi: the next exhibition of the Vadehra Art Gallery reveals the different dimensions of love http://itsmardan.com/delhi-the-next-exhibition-of-the-vadehra-art-gallery-reveals-the-different-dimensions-of-love/ http://itsmardan.com/delhi-the-next-exhibition-of-the-vadehra-art-gallery-reveals-the-different-dimensions-of-love/#respond Tue, 20 Jul 2021 03:00:00 +0000 http://itsmardan.com/delhi-the-next-exhibition-of-the-vadehra-art-gallery-reveals-the-different-dimensions-of-love/

While the resulting works are different in tone and content, they thematically spark a conversation about love, togetherness and identity in the age of Covid. Bhambri, however, is quick to point out that “the show or what the artists represent is not a response to the film, but to the title and message of how love completes us.” Over the past two years, the pandemic has refocused our attention on family, friends and the essential bonds that unite us, not to mention a little self-esteem, as demonstrated by “Call Me By Your Name”.

The time of self-love

“What would we do without the feeling of love during the pandemic?” Bhambri asks, before elaborating, “if it is [through] self-indulgence like baking banana bread at home or reviving a latent hobby, feeling at one with nature or being close to a spouse – hopefully in most cases , for the better – the pandemic made us realize the power of love. Like most things we tend to take for granted, the pandemic has taught us to be grateful for the love that complements us too. Although the exhibit will welcome clients in Vadehra’s Defense Colony gallery space under strict Covid protocol, director Roshini Vadehra said AD India, “The idea first started with a virtual exhibition (given the confinement in recent months) with existing works from the gallery and artists’ studios. However, when we approached the artists, we had lucky to receive a tremendous response from them, with a lot of people excited to produce new works for us. It was also amazing how each artist approached the theme in their unique style with their own commentary staff and his perspective on the topic. ”For example, the response from Mumbai-based Sudhir Patwardhan took the form of Forest, one of his last works from 2021. At the center of this painting is a couple locked in a stormy embrace, probably inspired by the Chola and Khajuraho sculptures, while the radiant palette and simplified forms attest to a Henri Matisse influence.


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stav raguan creates objects with scraps of canvas, a 3d printer + an iron http://itsmardan.com/stav-raguan-creates-objects-with-scraps-of-canvas-a-3d-printer-an-iron/ http://itsmardan.com/stav-raguan-creates-objects-with-scraps-of-canvas-a-3d-printer-an-iron/#respond Mon, 19 Jul 2021 10:21:40 +0000 http://itsmardan.com/stav-raguan-creates-objects-with-scraps-of-canvas-a-3d-printer-an-iron/

stav raguan presents “outline stroke”, a series of objects made from scraps of canvas, a small 3D printer and an iron. at covid-19 lockdown, stav sought to be creative using materials she had at home, while the need to improvise led her to develop a new method of digital crafting. the collection she created includes pieces from Clothing and accessories like shoes and bags, and interior decor items such as vases and lampshades, offering a glimpse of the rich variety of possibilities and functions that this method can offer.
all images by nadav goren, unless otherwise noted

stav raguan – a young graduate of the industrial design department of betzalel art and design academy – created a new digital craft method that allows her to design and produce at home. stav designed the objects in 3d software and printed them directly on the canvas using the 3d printer. the rules changed and the roles were reversed: sewing was replaced by ironing, instead of buttons, printed connectors were used, and patterns were added by printing complex textures.The 'stroke stroke' is a new digital craft method to produce objects using 3D printing on canvas
image of maya abiriThe 'stroke stroke' is a new digital craft method to produce objects using 3D printing on canvas

The 'stroke stroke' is a new digital craft method to produce objects using 3D printing on canvas
image of maya abiri

The 'stroke stroke' is a new digital craft method to produce objects using 3D printing on canvas

The 'stroke stroke' is a new digital craft method to produce objects using 3D printing on canvas

The 'stroke stroke' is a new digital craft method to produce objects using 3D printing on canvas

The 'stroke stroke' is a new digital craft method to produce objects using 3D printing on canvas

The 'stroke stroke' is a new digital craft method to produce objects using 3D printing on canvas

The 'stroke stroke' is a new digital craft method to produce objects using 3D printing on canvas

project info:

Last name: contour

designate: stav raguan

advise: dov ganchrowbezalel academy of arts and design jerusalem, industrial design department

photography: nadav goren, abiri maya

designboom received this project from our ‘DIY submissionsfeature, where we invite our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina petridou | design boom


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Review: In Hung Liu exhibition, Golden Gate serves as metaphor for immigrant experience http://itsmardan.com/review-in-hung-liu-exhibition-golden-gate-serves-as-metaphor-for-immigrant-experience/ http://itsmardan.com/review-in-hung-liu-exhibition-golden-gate-serves-as-metaphor-for-immigrant-experience/#respond Sat, 17 Jul 2021 11:03:06 +0000 http://itsmardan.com/review-in-hung-liu-exhibition-golden-gate-serves-as-metaphor-for-immigrant-experience/

The opening of the exhibition “Hung Liu: Golden Gate” at the De Young Museum in San Francisco. Photo: Courtesy San Francisco Art Museums / Drew Altizer

The Golden Gate Bridge is synonymous with San Francisco. He is so local that we wear his image on tote bags and hang prints of it in our homes. But the bridge is also an international symbol of immigration connecting San Francisco to the world.

With the familiar cue like his subtitle, “Hung Liu: Golden Gate” opens Saturday, July 17 at the de Young Museum, with eight works by contemporary American artist of Chinese descent Hung Liu. The show invites us to reflect on migration, history, honor and memory. What does crossing a bridge mean? Whose story do we remember? For Liu, the answer is in his art: “The surface will be a memorial site.

In eight works hung in the assembly space of Wilsey Court, Liu grounds these larger questions in his own journey. Born in 1948 in Maoist China, Liu immigrated to California in 1984 to study at UC San Diego. Having taught at Mills College for several decades, she still resides in Oakland while exhibiting widely.

Hung Liu at the opening of “Hung Liu: Golden Gate” at the De Young Museum in San Francisco. Photo: Courtesy San Francisco Art Museums / Drew Altizer

Because the show is hooked a public space, access to the exhibition is free. Curator Janna Keegan and Liu came up with the migration theme shortly after deciding to use the space. Located at the crossroads of galleries, museum shop and café, Wilsey Court invites contemplation of migration.

“It’s like people passing by, going to other spaces, galleries,” Liu said. “There’s a staircase, all kinds of stuff, so what am I going to do?” I am focusing on migration. Keegan said, “The fact that it was an open public space was something that Hung was very excited about. … You can just walk in and see the extraordinary art of an extraordinary artist from the Bay Area.

Although small, the show appears large due to the large scale of the works. shown and their placement sounding the law courts second floor walls. Visible from the box office, a huge take on Liu’s classic 1988 the “Resident Alien” painting draws you into space (the original hangs in the San Jose Museum of Art). Printed on 77 panels of UV acrylic and measuring 28 feet tall, “Resident Alien II,” Liu’s version of his original Green Card, dominates the court. Additional artwork, cutouts of migrant workers, migrating animals, and a Chinese shrimp junk, the kind Chinese immigrants used in San Francisco Bay, float above you. Like a semi-memory story, migrating animals and humans haunt our space.

the term Golden Gate in the title of the show refers to the promises and contradictions of immigration. Liu describes the Chinese character for gate as “like two panels of an open, open or closed door.”

“Even in a country you have a door, sometimes physical, sometimes symbolic,” she said. “You have a door to connect with the outside world. For immigrants, you enter through a door, you enter a different country, a different territory.

“Resident Alien” by Hung Liu (1988). Oil on canvas, 60 by 90 inches. Photo: courtesy San Francisco Art Museums / Douglas Sandberg

The “Resident Alien II” the green card refers to this ambivalence. Under large capital letters indicating “RESIDENT ALIEN”, a sexist pejorative, “Cookie, Fortune” appears in place of the artist’s real name. In the painting, Liu changed her year of birth from 1948 to 1984, the year she immigrated. “A lot of new immigrants talk about starting a new life,” she said. “I have the impression that this year I start[ed] a completely different life here. A new life begins at this point. I am critical of the term “alien”, but also grateful for it. So it’s complicated.

Liu considers his own story to be linked to the story of migration in general. For the past several years, Liu has worked with the Dorothea Lange Photographic Archive at the Oakland Museum of California. “Plowboy”, “Corn Carrier” and “Girl With Sack” derive from Lange’s iconic portraits of migrant workers.

“American farmers, they remind me of Chinese peasants,” Liu said. “They were poor. When I was in the country, the children, as their faces were dirty, as they did not have enough clothes or food. I felt they are not too different. Race, skin color, continent different, but somehow humanity felt so connected. ”

Doing these people bright and colorful, and hanging them above our heads, Liu makes us see they like people. “These are not statistics” she said adding, “People should not forget them, do them, raise them to honor them, remember them.”

The unresolved question is, of course, the future: how will we welcome New immigrants? “The question is the American door,” she said. “Are we still open to the rest of the world?

“Hung Liu: the golden door”: 9.30am-5.15pm from Tuesday to Sunday. Until March 13, 2022. Free. Admission to the museum is $ 15; $ 12 for people 65 and over; $ 6 for students; free for those 17 and under. Advance tickets required. Free entry for Bay Area residents on Saturdays. De Young Museum, 50 Hagiwara Tea Garden Drive, SF 415-750-3600. deyoung.famsf.org




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Strengths of the Loquat Pop-Up Shop at MECA http://itsmardan.com/strengths-of-the-loquat-pop-up-shop-at-meca/ http://itsmardan.com/strengths-of-the-loquat-pop-up-shop-at-meca/#respond Sat, 17 Jul 2021 08:00:06 +0000 http://itsmardan.com/strengths-of-the-loquat-pop-up-shop-at-meca/

Until the end of August, part of the Congress Street storefront of Maine College of Art is currently housing a store.

Loquat is a Portland-based clothing and accessories brand founded by MECA graduates Jordan Carey and Madison Poitrast-Upton. Together with their partner and fellow artist Jackiellen Bonney, they created a physical manifestation of the brand’s mission: “Empower marginalized people and causes through fashion and design”. The fabulous space blends culture, creativity and real production – designers work on their sewing machines when there is a rare lull among customers.

Clothing and accessories by Loquat

Hang on one of Loquat’s iconic brightly colored duffel bags or shoulder straps in oilcloth or pineapple leather. A summer clothing line features three patterns on naturally dyed fabric: blue sea glass, medlar yellow dots and gombey, Bermudan masqueraders, in red / taupe. Much of Loquat’s new lineup is priced on a sliding scale to increase affordability. loquatshop.com

BOZK hand tools

“If you are not average [BLANK]’BOZK is for you,’ blacksmith Matanah Betko said on their Instagram. Betko renovates old tools, carving new handles for old ax heads and powdering scissor handles and hammer heads in pastel shades. This is the first time that the products are on sale. Instagram: @queershopqueen

Paintings, prints and drawings by Freedom Through Art Collective

FTA Collective is a group of 26 incarcerated artists who make drawings, paintings and sculptures in prison. Their shows and sales are facilitated by art students at UMass Boston, creating spaces to discuss “individuality, art, and the criminal punishment system.” ftacollective.com

Punchneedle rug by E. Julien Coyne

These pretty little decorative rugs are sure to brighten up your living space, as wall hangings or as accents for small corners. Choose from cake slices, boba tea, fruit, rainbows, unicorns and more. Instagram: @ejuliencoyne

The Loquat Pop-Up Shop is open daily until the end of August from 10:00 a.m. to 6:00 p.m. at 522 Congress St.

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A3 gallery reopens with double exposure after long layoff http://itsmardan.com/a3-gallery-reopens-with-double-exposure-after-long-layoff/ http://itsmardan.com/a3-gallery-reopens-with-double-exposure-after-long-layoff/#respond Fri, 16 Jul 2021 20:22:39 +0000 http://itsmardan.com/a3-gallery-reopens-with-double-exposure-after-long-layoff/

For Laura Holland, it was almost like being a trailblazer.

“It was like that,” said Holland, artist and member of the Collective A3 as it recently stood in the Amherst Gallery, which just reopened this month after being closed since March 2020 due to the pandemic.

“At first it seemed a little strange to be back inside, hanging up the art, bringing people into the building,” she said. “I felt a bit out of step. “

Now Holland and Janet W. Winston, another A3 member, is paving the way for the downtown gallery’s return to in-person art, with a double exhibition, “Inward & Outward”, which runs through July 31st. Their joint exhibition, which was due to open last spring under a different title, combines paintings, prints and collages by Winston and the accordion book art of Holland, who is also a photographer.

Although other art galleries in the area opened last fall, albeit still with various security protocols in place such as limits on the number of visitors, A3 members struggled a bit longer with the reopening due to the small size of the room. The gallery has held regular art showcases starting last summer, but it took a while for all members to reopen on board, say Holland and Winston.

And their show, which was originally called “Vision,” has undergone a few changes over the past year. The new title itself seems like a smart move in the wake of the worst of the pandemic, reflecting the interest many now have in looking to the wider world – albeit with isolation and separation from friends. and the family that so many have lived speak to the still predominant inner gaze and thought.

Half of Winston’s show represents the outside gaze, as it features a range of pieces, created before the pandemic, that capture the textures and colors of two places she has visited: New Mexico and the Yucatan Peninsula in Mexico.

“I felt like I needed to see different landscapes, something different to paint,” she said. “I wanted to challenge myself. “

She found much inspiration at Kasha-Katuwe Tent Rocks National Monument in New Mexico, an area of ​​narrow canyons and “tent rocks” – narrow, conical rocky spiers – about 40 miles southwest of Santa Fe. One of Winston’s largest oil paintings offers a fine view of a canyon, in which segmented walls of white rock seem to rest a little precariously against the canyon floor of uneven stones and sparse vegetation; a huge wedge of black volcanic rock is to the left.

Another oil on canvas captures one of New Mexico’s colorful sunsets, where towering clouds and a slowly darkening sky dominate the setting; in the background, a hilly landscape of brown and red leads to distant mountains. Winston also used his time at Kasha-Katuwe Tent Rocks to create smaller, somewhat more abstract paintings on wooden blocks.

Her visit to Yucatan prompted her to create collages that feature various views of Mayan ruins, as well as two colorful oil paintings and two smaller engravings of cenotes, or water holes carved into beds of limestone. Cenotes, said Winston, “are really very extraordinary… limestone is very porous and the water creates pools of various colors.”

His oil painting “Cenote II”, for example, offers a stark contrast to the dry landscapes of New Mexico. What at first glance appears to be an abstract swirl of blues, purples, yellows, and more reveals views of small fish, fallen leaves, and rippling underwater plants.

Holland’s experience during the pandemic led her to redesign her work for the new exhibit. Her “Inward” half of the show centers around her biggest accordion book, a 16-panel affair that she calls “Stay-at-Home Still Lives.”

“Once I was stuck at home I started to notice all these things that I never really paid much attention to, little things that I wanted to photograph,” she said. . Her husband likes to eat hard-boiled eggs for breakfast, she said, so normally there would be eggshells and shell fragments that would usually be thrown away. But she “took a closer look at them now, and I thought, ‘They’re beautiful,'” she said.

In “Stay-at-Home Still Lives”, then, Holland collected pictures of eggshells and other kitchen scraps – tea bags, orange and lemon peels and slices, a few pieces of carrots – and a few more abstract images such as swirls of soapy water in the sink and paired them with text from his accordion book, which traces a zigzag path about 10 feet long on a shelf along a gallery wall A3.

Holland, a freelance writer who also taught writing at the University of Massachusetts Amherst, says accordion books essentially combine her interest in writing and visual art and are another way of telling a story. .

For “Inward and Outward” she also built a few smaller accordion books, two of which were based on photographs she took: one of the inside of a typewriter and another of a. string instrument (the latter was invented by the late Vermont musicologist Gunnar Schonbeck and displayed a few years ago at the Mass MoCA).

Holland then altered the photographs to make them look more painterly, printed them on paper and, as the exhibit notes explain, cut out and folded the photos, bringing them together on the pages of the accordion books to push the art “further towards abstraction”.

You can see “Inward & Outward” until July 31 at Gallery A3. The new visiting hours are 3 p.m. to 7 p.m. Thursday through Sunday. For now, capacity will be limited – four visitors at a time – and visitors are also encouraged to wear face masks. A new ventilation system has been added to increase safety.

Visit gallerya3.com for more information, including a link to an online discussion with Holland and Winston on “Inward & Outward”.

Steve Pfarrer can be reached at spfarrer@gazettenet.com.


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Is cryptocurrency “inherently right-wing?” | David Z. Morris http://itsmardan.com/is-cryptocurrency-inherently-right-wing-david-z-morris/ http://itsmardan.com/is-cryptocurrency-inherently-right-wing-david-z-morris/#respond Thu, 15 Jul 2021 19:32:28 +0000 http://itsmardan.com/is-cryptocurrency-inherently-right-wing-david-z-morris/

Yesterday, in a Twitter thread that turned heads, the co-creator of Dogecoin Jackson palmer reiterated he had no interest in participating in crypto, arguing that the technology is “inherently right-wing.” But in a juxtaposition for the ages, yesterday legendary filmmaker and pro-black lawyer Spike Lee praised crypto as “the digital rebellion” against a financial system that has historically oppressed people of color and women. He did so in an advertisement for crypto company ATM Coin Cloud.

It’s a debate that no one is going to resolve for good anytime soon. But behind it, there is a bigger and more interesting question: can technology even have a political bias?

It’s hard to understand, but at its heart is the distinction between form and content. the form of a painting, for example, is a painted square that hangs on the wall, while its content can be just about anything. Rewind the debate five hundred years ago and you would have heard Palmer and Lee wonder if the technology of hanging a painted canvas on the wall was inherently authoritarian – which might sound a little silly, but is still a subject of debate among historians and art critics.

There is a whole intellectual tradition centered on analyzing the bias inherent in various technologies, especially communication tools (and crypto is indeed a communication technology). Scholars trace the debate as far back as 370 BCE, when Plato claimed in “The Phaedrus” that relying too much on writing would have negative social impacts, including weakening people’s memories. The debate really took off in the mid-20th century, when the audiovisual and electronic media revolution drove academics Marshall mcluhan declare that “the medium is the message” – that the form of a communication technology has shaped its social impact far more than its content.

McLuhan made his most subtle remarks in his analysis of the printing press. We are generally taught to view this invention as the gateway to a new era of mass literacy, the Protestant Reformation, and even the rise of democracy. But McLuhan argued that the form of print promoted a particular linear and logical way of thinking that paved the way for managerial capitalism as much if not more than it promoted democracy.

This highlights a category error by Palmer and some other critics, notably a scholar David Golumbia. In his thread, Palmer argues that the crypto as a whole is “controlled by a powerful cartel of wealthy personalities” with “shady business ties.” I also hate the seemingly incessant manipulation of crypto systems by bad actors, but that’s a claim on the content of these systems while Palmer’s conclusion that “cryptocurrency is an inherently right-wing hyper-capitalist technology” concerns their form.

As McLuhan argued, there is no straight line connecting the two. A system or technology can be manipulated for the benefit of the powerful without necessarily being “inherently hypercapitalist”. There is a good argument that crypto empowers those who already have power due to its resistance to regulation and taxation, but similar arguments could be made for most innovations that extend human power. Existing elites tend to find ways to transform innovation for their own ends, arguably a bias built in human civilization rather than a single technological innovation.

“I think [Palmer] the forest is missing for the trees, ”says The Blockchain Socialist, a crypto advocate who hosts a podcast dedicated to far left applications of blockchain technology. “There are a lot of right-wing elements in the current makeup of the space, but if he still describes himself as ‘mainstream socialist’ then surely he should be interested in the potential for radical political change. [such as] via DAO [decentralized autonomous organizations] to facilitate the democratic management of digital commons.

Alex Gladstein of Human Rights Watch focused on the potential of a deep element of the technological form of cryptography: uncensorship. Many authoritarian governments around the world exercise control over their populations through financial restrictions. The same technology that enables the scams and manipulation that Palmer hates also offers a way around these restrictions, whether it’s for grassroots survival or decentralized funding of resistance movements.

Spike Lee’s pro-crypto message, while condensed (or watered down) into an emotional tone, also ultimately focuses on the form of fintech rather than its content. Within two minutes Cloud room point, Lee states that “old money … is completely broke,” pointing out the literal white faces on US currency and denouncing the larger system “systematically oppressing” people of color and women.

Similar points have been explored in depth by Isaiah Jackson, author of “Bitcoin and Black America”. Jackson’s argument centers on how the centralized technology stack of the legacy banking system has led to systemic injustice, thanks to its inherent quality of concentrating power in the hands of bankers. These bankers, who are predominantly white American ruling class, used their concentrated power to enable practices such as redlining, which perpetuated de facto housing segregation well in the 90s and in the process deprived the black community of a huge source of generational wealth.

Jackson, in essence, argues that given this history, technology that is not inherently controlled by the powerful is an attractive alternative for marginalized people. Basically, this argument holds even if Palmer’s claims about the influence and manipulation of powerful people are also true. Much like with printing, the transformative power of blockchain networks is too deep to be perfectly positioned on any contemporary political spectrum, especially early in its evolution.

Crypto contains multitudes, for better and for worse. This is a new thing in the world, and its consequences will be profound and often even directly conflicting. Dismissing this complexity is perhaps less a bold political stance than a retreat from the constant work of guiding policy through an era of relentless innovation.




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Pittsburgh Fashion Designer Stew Flick Announces New Four Lawn Moon Clothing Line | Fashion | Pittsburgh http://itsmardan.com/pittsburgh-fashion-designer-stew-flick-announces-new-four-lawn-moon-clothing-line-fashion-pittsburgh/ http://itsmardan.com/pittsburgh-fashion-designer-stew-flick-announces-new-four-lawn-moon-clothing-line-fashion-pittsburgh/#respond Wed, 14 Jul 2021 20:08:37 +0000 http://itsmardan.com/pittsburgh-fashion-designer-stew-flick-announces-new-four-lawn-moon-clothing-line-fashion-pittsburgh/

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Bradley Hill models Stew Flick’s Four Lawn Moon.

Clothes often tell stories about who is dressed, who they are, where they came from and what they believe in. Desperate moon, By the new clothing line Pittsburgh Artist and Designer Stew Film, The story is more literal.

The collection of hand-painted jackets, jeans, sneakers and other items tells the story of a particularly sad moon in its outing, “I feel lonely, I don’t know where I am in the sky, but I don’t. have no motive or desire to change The status quo “Even visits from friends in the form of other planets do nothing to boost the moon’s morale.”

“For a short time, the story tells of the difficulty both in feeling sadness and being strangely comfortable with those feelings,” he reads. “I don’t know if the moon wants to be happy.”

The story-driven line continues Flick’s commitment to creating unique garments that he has pursued since 2016, claiming they “love him from the bottom of their hearts.” Gourmet personalizationAnother brand focused on functional and wearable artwork.

Flick sees fashion as a canvas to create “a multifaceted work of art that spans multiple creative disciplines, combining traditional filigree patterns, short stories and landscape paintings”. It is said.

“Forlorn Moon is the culmination of years of product design, material testing, and most importantly, creating mini-stories that can be condensed into clothing while continuing to punch,” says Frick.

They further state that Forlorn Moon “aims to fancifully view loneliness and unwillingness to change the situation, even if the” obvious solution “is knocking on the door.

“It’s not a particularly healthy trend, but it’s not uncommon, and lone figure Forlorn Moon captures the essence of that emotion and trend very well,” says Frick.

With the exception of the screen-printed logo T-shirt, each Forlorn Moon piece (priced between $ 75 and $ 200) is touted as an “essentially unique work of art” and has a title to match each design. .. “Stay Away” features the fuzzy cartoon planet Saturn, and “Lonely Streetscape” shows the moon towering over a quiet city.

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Photo: VONDR E CLARK

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Pairs of hand-painted leather earrings for $ 15, buckets with the Forlorn Moon logo, and baseball hats and shirts are also available for $ 30 to $ 45.

If you are looking for a specific size or color, you can order your work from the form on the Forlorn Moon site. According to Flick, hat patches take about 25 minutes to paint, but large designs can take hours or more.

Flick ensures that your hand painted pieces are waterproof and “durable” so that your daily wear and tear doesn’t ruin your design. However, it warns that paint can deteriorate at high temperatures and should be treated with caution, such as machine washing cold or air drying.

“I strive to create works that are not just wearable art, but wearable art as well.
“It’s going to continue,” Flick said. “While the use of such an unusual production is skeptical, through years of working in this niche, painted clothing can look good in the long run, and sometimes more beautiful than in large quantities. Fashion made. ”

In addition to the Forlorn Moon website, the collection is available for purchase at Red Fish Bowl Studios in Lawrenceville. It will also be on display during Pittsburgh Fashion Week in September.

Flick thinks Pittsburgh is “a great fashion city to watch” and hopes to “shine a light on the city by showing what’s possible here.”

Wherever the brand takes her, Flick wants to stay true to Forlorn Moon as an intimate and artistic quest.

“These pieces are all my babies. I always like to make them by hand, ”says Flick.


Buy Forlorn Moon on forlornmoon.com..

Pittsburgh Fashion Designer Stew Flick Announces New Four Lawn Moon Clothing Line | Fashion | Pittsburgh

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Breath of the Wild Fan Art depicts Link as a buff “fallen hero” http://itsmardan.com/breath-of-the-wild-fan-art-depicts-link-as-a-buff-fallen-hero/ http://itsmardan.com/breath-of-the-wild-fan-art-depicts-link-as-a-buff-fallen-hero/#respond Tue, 13 Jul 2021 13:40:28 +0000 http://itsmardan.com/breath-of-the-wild-fan-art-depicts-link-as-a-buff-fallen-hero/

Comic Artist Reimages Breath of the wild‘s Link in the famous masterpiece of L’Ange Dechu.

the Breath of the wild The community has always been inundated with some of the most creative and talented people in the gaming industry. While some plunge head-on into the cosplay area showcasing their incredible Zelda outfits, others love nothing more than drawing some of their favorite characters from the 35-year-old franchise.

Nintendo Switch My Way – The Legend of Zelda: Skyward Sword HD

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Nintendo Switch My Way – The Legend of Zelda: Skyward Sword HD

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Over the long history of THE Legend of ZeldaWe’ve seen countless fanart efforts that portray some stunning works from the series, but there are a few that always stand out above the rest. This time we see our own Connect always as chic as they represent the iconic painting “Fallen Angel” by Alexandre Cabanel.

The “fallen hero” of Breath of the Wild

If you recognize this particular work of art from elsewhere, the Norwegian artist Malin Falch was inspired by L’Ange Dechu, or the Fallen Angel painting by Alexandre Cabanel, a French artist from 1847. Cabanel was inspired by John Milton’s Paradise Lost and brought his own touch to it by presenting Lucifer falling from the sky.

As you can see in the comparison images, Falch played down Cabanel’s academic oil painting on canvas by placing Link with angel wings, a muscular body, and a scornful look on his face. It is certainly an eye-catching and imposing piece that would look fantastic on any BOTW fan wall.

Fortunately, Falch has a INPRNT page where you can buy this image in canvas or acrylic print with a price range to suit most budgets. You can also check out Falch’s other artwork at Instagram which consists of a wide variety of THE Legend of Zelda works of art.

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