Depicting Hysteria.

NSFW.

1

Alexandra Levasseur.

The second annual 4%ers exhibition is at the Athen B. Gallery in Oakland. The group show of female artists explores the origins of hysteria and the artistic expressions that have come to represent it. First conceived in San Francisco at the FFDG gallery, the show has since then changed locations to host a new set of artists with what it calls a “slightly wilder premise,” according to the gallery.

[…]

The gallery explains that the term, “hysteria,” was coined by an ancient Greek physician named Hippocrates, who used the word to explain ailments and afflictions thought exclusive to the female body. Hippocrates believed the uterus was the constitutional source of female woes, “often expressed as a restless, wandering womb, creating disorder within the body and distress in the woman experiencing it,” writes the gallery. Hysteria was understood as a nervous disorder and diagnosed on physical indicators: “gestures, motions, gaits, and non verbal utterances.” Without any legitimate grounds in medicine, the expression and mitigation of its symptoms often came in the form of artistic practices, such as painting. Although the diagnosis is no longer considered valid in formal medicine, the artists in the 4%ers show believe the concept of hysteria has impacted “the way women are supposed to act, look, and express themselves, physically, sexually, and artistically.” Now, they seek to reclaim the word through their own artistic expression.

[Read more…]

YASH.

 “Where trees don’t grow” Wall for Artscape 2016 in Gothenburg, Sweden.

“Where trees don’t grow” Wall for Artscape 2016 in Gothenburg, Sweden.

 

From Spring Remake 2016 in Snösätra, Stockholm.

From Spring Remake 2016 in Snösätra, Stockholm.

 

Stockholm 2015.

Stockholm 2015.

 

Wall from “Spring remake 2015” in Rågsved, outside Stockholm, Sweden.

Wall from “Spring remake 2015” in Rågsved, outside Stockholm, Sweden.

Linus Lundin – who works under the pseudonym Yash – has done most of his work in the Swedish capital, where he has lived for the last five years after moving from the small town of Gnesta.

His colourful murals are marked by their emotive faces and depictions of animals interacting with humans. Each one takes around five days to complete – not including the extensive planning and sketching that is required beforehand.

“It’s important to get the expressions right in my paintings,” he explained.

“I get my inspiration from my own feelings and the feelings of those around me. I ponder about and depict security, the search for something, and anxiety quite a lot. I also think a lot about the relationship between humans and animals.”

Incredibly, Lundin has no formal education in art beyond high school level. Instead, he developed his style by putting in hours and hours of hard practice.

“I just went out and painted, but there’s a lot of time and work behind everything,” he noted.

“I’ve painted murals for over ten years now, but they didn’t always look like they do now. Finding my aesthetic has been a long process. I was lucky enough to have a wall in the small town I grew up in where I could develop my work legally.”

Full story here. You can see Yash’s artwork here.

So Very Ordinary 2.

I have a thing for the mundane, things so mundane they are invisible. All the things that no one sees. I drive Rick a tad spare when we go walkabout, because I’ll be hanging way back there, staring at a chain link fence. I enjoy all the invisible things just the way they are, and I enjoy playing with them too. This little bit of ordinary is chain link fence (part one). Click for full size.

Fence1

Fence1a

© C. Ford. All rights reserved.

So Very Ordinary.

I have a thing for the mundane, things so mundane they are invisible. All the things that no one sees. I drive Rick a tad spare when we go walkabout, because I’ll be hanging way back there, staring at a chain link fence. I enjoy all the invisible things just the way they are, and I enjoy playing with them too. This little bit of ordinary is a taillight on a school bus converted into a camper. Click for full size.

Redlight

RedlightK

RedlightK1

RedlightK2

RedlightK3

RedlightK1a

© C. Ford. All rights reserved.

Psycho meets the Met Museum

The Metropolitan Museum of Art’s roof garden is perennially one of the most popular spots in New York City during the summer, in part because it’s a lovely venue, but also because of its fantastic, often-immersive outdoor exhibits. This year should be no exception: For the 2016 season, the roof garden commission is British artist Cornelia Parker’s “Transitional Object (PsychoBarn),” which is indeed a replica of the creepy home featured in Alfred Hitchcock’s 1960 horror classic Psycho.

Becky Schear, Instagram.

Becky Schear, Instagram.

Parker says she was inspired not just by Hitchcock’s iconic film, but also by the work of artist Edward Hopper, who was known for painting rural landscapes punctuated by the odd barn or rambling old house. In fact, the Bates home in Psycho was allegedly inspired by Hopper’s painting House By the Railroad, and Parker’s piece shares similar characteristics. It’s covered in reclaimed wood, which comes from an actual barn; she’s stated that she wanted to contrast the “wholesomeness” of that image with the creepiness of the Hitchcock film.

 Cornelia Parker's "Transitional Object (PsychoBarn)" on the roof of the Met Fifth Avenue Photographed by Alex Fradkin, Photo courtesy Cornelia Parker

Cornelia Parker’s “Transitional Object (PsychoBarn)” on the roof of the Met Fifth Avenue. Photographed by Alex Fradkin, Photo courtesy Cornelia Parker

The exhibit opens today and runs through October 31st.  Curbed and Out have the story.

A common complaint

A common cause for complaint among artists is the high cost of supplies. It’s not unusual to spend thousands of dollars a year on supplies. It’s this cost that leads a lot of artists to abandon art as a career. It’s this cost which also makes a lot of people complain about the cost of art works. While most artists can recoup the cost of materials in selling a piece, they often have to cut the price of their labour down to the bone. A good example of supply cost is turpentine – both of these cost $10.00:

Complaint

The small bottle is Winsor & Newton distilled turpentine, 2.5 ounces / 75 ml. Ten bucks. Is it better? Yes. At least it used to be, it has become increasingly suspect (mostly detected by smell. It no longer smells pine-y fresh). What it has is a name, one established enough that they can stick any price on their products, and people will buy it. (Obviously, I’m included there – I bought it.) I don’t use turpentine a great deal, so it’s easier for me to go with the cheap stuff. The temptation to cheap out is always there, but that is problematic too, because you do get what you pay for. An example:

Complaint1

Prismacolor coloured pencils, and Derwent blender and burnisher. Prismacolor is my preferred colour pencil, and they cost $2.00 a piece. That might get a shrug from most people, and if all you needed was one pencil, that might be an appropriate response. When you need 5, 10, 20, or more pencils, well…it adds up quickly. What about a set? I should mention that I don’t shop at Amazon or Walmart, but even at Walmart, a set of 150 Prismacolor Premier pencils costs $163.50. (The list price is $312.00). Online art supply – Dick Blick, the set is $151.00 + shipping. Same with Jerry’s Artarama. Prismacolor is far from the most expensive in coloured pencils, too. I won’t even look at Caran D’Ache ($292.00 for a set of 76 luminance). The pricing is the same when it comes to drawing pencils. I have an assortment of pencils, Staedtler, Koh-i-noor, Faber Castell, Derwent, and Sanford to name a few. And yes, all those pencils have specific attributes and effects, so going cheap on pencils isn’t an answer either. The price of good quality markers is very high, for a limited amount of colours, usually in the neighbourhood of $40.00 to $50.00 for 24 markers. I don’t want to even discuss the cost of brushes – that alone can utterly break you, along with the cost of canvas and, oh, paper. I love paper, and a lot of it I just dream about. The cost is prohibitive, especially for things like large size, single sheet Arches 300 lb cold press.

Quality matters, so the next time you’re contemplating buying an art work, please keep in mind that artists aren’t just mindlessly putting an ‘outrageous’ price on their work. We should be able to earn a living wage and be able to continue buying supplies.

“No Soy Tu Chiste ( I Am Not Your Joke).”

arzola-2

© Daniel Arzola.

Out: What prompted you to create the “No Soy Tu Chiste” campaign?

Daniel Arzola: Since I was a teenager I had been creating art with a purpose, with a social voice, a cry in a universal language. I started with poems, then photography, and finally illustration. For me art has always been a social expression. I called it “Artivism.” But, my story is not very different than the stories of so many gay and trans Venezuelan people. I had a difficult adolescence where I was constantly chased and bothered. When I was about 15 years old, neighbors tied me to an electrical post, took off my shoes and tried to burn me alive. They destroyed all my drawings.

I escaped. But, so many people don’t have the chance to escape from something like that. There was one guy who couldn’t run away—he was gay—his name was Angelo Prado. I saw it on the news. What struck me was that, even in this century, when you turn on the TV in Venezuela, if they talk about LGBT people, there is mockery. They are laughing about the pain of others. Making us a joke.

Full Article Here.