A quick and dirty post this morning from June, since Kristin was unable to do one. I would like to have some continuation of a question that Terry’s last post and subsequent comments suggested. The question is — what are the differences between painting media and stitched textile media? Olga pointed out that making curves in textiles is less physical than doing so in paint, and I think that it’s much harder to make curves with textiles than with paint, and that the effect of the finished work differs subtly in the different media. Continue reading ‘Painted and Quilted: Up for Discussion, by June Underwood’
Archive for the 'Women in art' Category
Painted and Quilted: Up for Discussion, by June Underwood
Published February 25, 2008 Art Ideas , Art Technique , Artist , contemporary art , quilt art , textile art , Uncategorized , Women in art 6 CommentsRuth Asawa: A Life in Art, by pam rubert
Published January 30, 2008 Artist , contemporary art , Women in art 7 CommentsTags: contemporary craft, crocheted wire, life in art, Ruth Asawa, sculpture
I find it deepens my appreciation for the art, if I have an opportunity to study the life of an artist who also serves as an inspiring role model. Recently I found such an artist through the blog of Sculpturess.
Photo by Laurence Cuneo from www.ruthasawa.com
Ruth Asawa, a Japanese American artist, was born in 1926 in a farming community in southern California. Early she showed talent and motivation in art — but it was at age 16 when she was confined in the Japanese internments camps during World War II that she had the unusual opportunity to study drawing and design for five hours a day with three Walt Disney studio artists who were also internment prisoners and taught the camp children.
Following internment, Asawa was awarded a scholarship to attend the Black Mountain College in North Carolina to study with avant-garde artist Josef Albers from the Bauhaus in Germany and Buckminster Fuller, best known for inventing the geodesic dome.
Awelye 1989 90 x 60 cm
“. . .whole lot, that’s whole lot, . . . .That’s what I paint: whole lot. . . .” (Alhalkere Paintings from Utopia)
As some of you guessed last month , our mystery abstract painter is the indigenous artist from Central Australia, Emily Kame Kngwaarreye whose career as a painter spanned less than 8 years ( she was a batik artist for 12 years) but whose legacy includes almost 3,000 works. Continue reading ‘Emily Kame Kngwarreye’
Meret Oppenheim – by jane davila
Published November 14, 2007 contemporary art , Women in art 5 CommentsSubtitled – “things are not what they seem…”
The Nurse, Meret Oppenheim
I came across this artist’s work today and love the purposeful creation of the double take in her work. According to the book I was reading about this particular piece, The 20th Century Art Book:
Fetishistic and bizarre, this work suggests bondage and sexual domination. Using real found objects, the artist has removed the dimension of craft and apparent artistry from this sculpture, thereby rendering it disturbingly realistic and subversive. The unusual juxtaposition of objects is typical of Surrealism. One of the female Surrealists, Oppenheim often alludes in her paintings and sculptures to the experience of being a woman, investigating, as in this work, the fine line between female sexuality and being the object of male desire. Oppenheim specializes in unnerving imagery. Continue reading ‘Meret Oppenheim – by jane davila’
RePost: A Question of Originality (by Clairan Ferrono)
Published September 10, 2007 art history , Art Ideas , art intepretation , Artist , contemporary art , Uncategorized , Women in art 11 CommentsA Question of Originality (by Clairan Ferrono)
Originally Published August 26th, 2007
June asked me to repost this because somehow the comments got locked out the first time, and Jeanne Beck, scheduled to post today, has been called away by a family emergency. So comment away!
Lavender Mist 1953
I have been enjoying Ann Eden Gibson’s book Abstract Expressionism Other Politics. Early on she makes the point that originality was a key element for these artists: “‘Derivative,’ mused Louis Bourgeois. “That is the worst word, just about the worst.” (p 24). However, as Gibson points out, “The criterion of originality was so arbitrary, so contradictory and so subjectively applied that it could boomerang . . .” (p. 22). This set me on a path of thinking about my own perspective on originality, and how complicated and difficult it seems to me to assign originality to an artist. Continue reading ‘RePost: A Question of Originality (by Clairan Ferrono)’
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