Cultural appropriation, go fish.

But oddly enough cultural appropriation is a hot topic in art right now too. In March at the Whitney Biennial Dana Schutz’s piece Open Casket (a painting of Emmitt Till based off of photographs taken at his funeral service) caused protests, letter writing, tweets, news articles, opinion pieces, and the buttonholing of several black artists for their thoughts and feelings about the work. Continue reading Cultural appropriation, go fish.

Dividing Green

The background is photograph taken with my phone of pieces of painted paper bisected by a strip of masking tape running across each one. The paper rectangles were arranged, more or less haphazardly, on top of the over painted surface of a work table. I used Photoshop to soften and blur the background and picked up a green shade from the paint on the table to use for the 3 lines of color that run behind the human figures. Continue reading Dividing Green

Symbolism in Art

I recently read an article on Atlas Obscura about the Merry Cemetery in Romania. What makes this cemetery unique, and merry, are the elaborate and colorful gravestones created by Stan Ioan Patras. Patras, a wood carver and epitaph poet, used colors to represent everything from fertility to freedom, black birds to symbolize suspicious or tragic deaths, and white doves to depict an individual’s soul. He carved approximately 600 markers in his 50+ year career. Continue reading Symbolism in Art

Mad House

An update for Robert Capa’s Mussolini photograph from the early 1940’s, Mad House features Capa’s solitary figure and sidewalk. I’ve added the silhouettes of 4 little boys running in the opposite direction and blurred them to reinforce the concept of movement but which also gives the children’s figures another point of dissimilarity to the grown man. Continue reading Mad House

Enemies or collateral damage

In the introduction to Robert Capa/Photographs Richard Whelan writes, “Soldiers are able to use their terrible weapons of mass destruction only because they have been trained to conceptualize their victims not as individuals but as a category – the enemy.” Whelan makes the claim that Capa, who wielded a camera instead of an assault rifle, had no enemy and saw all of his subjects as individuals. Continue reading Enemies or collateral damage