Art is one of the oldest disciplines in human history. Styles may have changed since cave paintings but the love of creation has never diminished. These articles cover everything from Chinese art to Western neo-expressionism.
Jeremiah Hulsebos-Spofford is a visual artist and Assistant Professor of Sculpture at Indiana University Northwest. His series of glitched classical sculptures reimagine works of art as a representation of modernism vs. classicism.
Throughout the underpinning of modernist design, aspirations of efficiency and comfort have galvanized visions of what might be possible in the future. Jeremiah Hulsebos-Spofford revisits these foundations, seeking fractures, little failures on the surface that reveal the invisible workflow and the breakdown of functionalism. Inspired by the history of the 1927 architectural competition in Geneva, which asked architects to submit plans for the creation of the Palace of Nations, Hulsebos-Spofford points to the unsettled quandaries and contradictions between classical design, and modernist functionalism.
Archiving is so important in an information era that favours the new and quickly discards the old when it’s deemed surplus to requirements (read: it’s not making profit). This is especially true for Black cultures and Black Archives works to change that.
[…] Through an evolving visual exploration, Black Archives provides a dynamic accessibility to a Black past, present, and future.
Going beyond the norm, its lens examines the nuance of Black life: alive and ever-vibrant to both the everyday and iconic — providing insight and inspiration to those seeking to understand the legacies that preceded their own.
The database for the Louvre’s collections consists of entries for more than 480,000 works of art that are part of the national collections and registered in the inventories of the museum’s eight curatorial departments (Near Eastern Antiquities; Egyptian Antiquities; Greek, Etruscan and Roman Antiquities; Islamic Art; Paintings; Medieval, Renaissance and Modern Sculpture; Prints and Drawings; Medieval, Renaissance and Modern Decorative Arts), those of the History of the Louvre department, or the inventories of the Musée National Eugène-Delacroix, administratively attached to the Louvre since 2004.
The Collections database also includes so-called ‘MNR’ works (Musées Nationaux Récupération, or National Museums Recovery), recovered after WWII, retrieved by the Office des Biens et Intérêts Privés and pending return to the legitimate owners. A list of all MNR works conserved at the Musée du Louvre is available in a dedicated album and may also be consulted in the French Ministry of Culture’s Rose Valland database.
Within the LGBTQIA+ community, visibility is often a double-edged sword: It can be a tool of self-empowerment, as well as a threat to one’s safety. The radical act of expressing one’s identity, despite rejection, political pushback, and the risk of violence, is a triumph of self-actualization in the face of public scrutiny.
Speaking at the opening of the exhibition earlier this month, Itoje, who was educated at the private boarding school Harrow, says one of the constants in his schooling was “the lack of Black and African history that I was taught”. Moreover, when African history was on the syllabus, it was “a single story or narrative that was told”. He adds: “That story was often depressing, and quite often a saviour/survivor narrative. I want to try and show a fuller picture.”
Keith Haring remains one of the most important and celebrated artists of his generation and beyond. Through his signature bold graphic line drawings of figures and forms dancing and grooving, Haring’s paintings, large-scale public murals, chalk drawings, and singular graffiti style defined an era and brought awareness to social issues ranging from gay rights and AIDS to drug abuse prevention and a woman’s right to choose. Haring-isms is a collection of essential quotations from this creative thinker and legendary artist.
Black Art: In the Absence of Light (2021) | Official Trailer | HBO
Inspired by the late David Driskell’s landmark 1976 exhibition, “Two Centuries of Black American Art,” the documentary Black Art: In the Absence of Light offers an illuminating introduction to the work of some of the foremost Black visual artists working today.
Green is the colour of Kermit the Frog, Mike Wazowski, and two-thirds of Nigeria’s national flag. It’s associated with nature, fertility, tranquillity, money, good luck, health, movement, and ecology. It can also signify illness and envy. Grass is green, the Chicago River is green once a year for St. Patrick’s Day, many political parties are green. Great gardeners have green fingers, inexperienced ones might be greenhorns, and jealous ones might be green-eyed monsters.
Green is my second favourite colour behind red (sorry, blue, you’re in 3rd place now!) thanks to Sporting CP. Green is also a traditional colour in Islam, associated with paradise in the Quran.
A passage from the Quran describes paradise as a place where people “will wear green garments of fine silk.” One hadith, or teaching, says, “When Allah’s Apostle died, he was covered with a Hibra Burd,” which is a green square garment. As a result, you’ll see green used to color the binding of Qurans, the domes of mosques, and, yes, campaign materials.
J. Milton Hayes’s “Yellow God” had a green eye (likely an emerald), Andrew Marvell’s “The Garden” said “No white nor red was ever seen / So am’rous as this lovely green.”, and D. H. Lawrence said the dawn was “apple-green”. Aliens are often green, little, and men for some reason.
Green and gold go together perfectly in a room and green Victorian tiles adorn many London Underground corridors (but not Green Park’s for some reason).
Judy Horacek and Mem Fox asked “Where Is The Green Sheep?“, Dr. Seuss wrote about Green Eggs and Ham, and Hemingway talked about the Green Hills of Africa (specifically East Africa). Kermit sang it ain’t easy being green, Tom Jones sang about the green green grass of home and Beyoncé gave us the green light (as did John Legend).
The successful outcome of the auction testifies to an irrefutable fact: The void is nothing but a space full of energy, and even if we empty it and nothing remains, according to Heisenberg’s uncertainty principle that nothingness has a weight. It, therefore, has an energy that condenses and transforms itself into particles, in short, in us! When I decide to “exhibit” an immaterial sculpture in a given space, that space will concentrate a certain quantity and density of thoughts in a precise point, creating a sculpture that from my title alone will take the most varied forms. After all, don’t we give shape to a God we have never seen?
In case you missed it, Simon Doonan wrote a biography on Keith Haring which came out in February. It’s part of a series of pocket-sized biographies about great artists called Lives of the Artists and examines Haring’s inspiring life and work during the 1980s:
Revolutionary and renegade, Keith Haring was an artist for the people, creating an instantly recognisable repertoire of symbols – barking dogs, space-ships, crawling babies, clambering faceless people – which became synonymous with the volatile culture of 1980s. Like a careening, preening pinball, Keith Haring playfully slammed into all aspects of this decade – hip-hop, new-wave, graffiti, funk, art, style, gay culture – and brought them together.
Originally launched in 2013 as a digital hub for cultural conversations, Saint Heron’s mission has been to preserve, collect, and uplift stories, works, and archives that amplify Black and brown voices. Now, in its next phase, it will release a dossier of literary and visual retrospectives of Black family and artist lineages through a series of temporary digital exhibitions, viewable on the Saint Heron website. Available for seven to 10 days, they will offer an in-depth look at emerging talent across art, sculpture, photography, design, and artisanship.
While many people imagine that De Stijl was cold and humourless, as if its art was made with a ruler on a drawing board, the exhibits in the special wing show that the opposite is true. Using vivid primary colours (red, yellow and blue), members of the movement produced vibrant works of art that are unconstrained and joyful, reflecting a vision of the future that was optimistic in the extreme.
You might have heard about the tool who cemented his head into a microwave. The emergency services in Wolverhampton wasted an hour getting the man’s head out. As pranks go, it was an idiotic one and we won’t say anything more than that. But it got me to thinking – could you actually make cement in a microwave? After a YouTube search, I found a how-to guide for making concrete in a microwave but not the classic grey stuff.
The video below demonstrates how to make concrete in a microwave using sand cornstarch and water. Enjoy (and don’t be a fool when you do it)!
Growing up in Los Angeles in the 1960’s, there were two types of people — those who read the Los Angeles Times, and those who read the Los Angeles Herald-Examiner — and our family was of that latter persuasion — Dad not knowing that the “Herald” wasn’t the best of papers, Mom not really caring, and me delighted just to be able to see Hubenthal’s cartoons each day.
Hubenthal. I’d heard it said as “hoo-ben-thal” once or twice, yet Dad had always pronounced it (rightly) “hugh-ben-thal”, and while at the time I wasn’t sure which was correct, one thing was certain: this Hubenthal could draw.