¡Vendido! El día de hoy se va la serie de “non-existent parks” de @navarrrrrrrro que teníamos en la tienda. El proceso artístico consistió en imaginarse espacios y con geometría básica llenarlos, estos fueron pensamientos de parques 💫 tenemos mucho más arte para ti en el segundo piso de Tuza. #art#contemporaryart#tuza#diegonavarro
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V MGLC si prizadevamo, da bi prisluhnili potrebam vseh naših obiskovalcev, tudi slepih in slabovidnih. Letos bomo tako izdali tipni vodnik po Švicariji! 🖤 #mglcljubljana#švicarija
Elizabeth Mountain sculpting at the Elam School of Fine Arts, Auckland 1963. One of the first Maori wahine to go through the school in an era of mainstream discrimination that marginalised Maori art, both customary and contemporary. Maori Modernism was criticised by our own people for its diversion from traditional art since the 1940s. It was also marginalised by the dominant Pakeha society that denied its existence as apart of the national identity. It wasn't until the international exhibition 'Te Maori' in 1984, that the art world literally forced New Zealand to reevaluate its backward idea of national art, opening doors previously locked to us. On its return home, 'te Maori' saw one third of NZs population visit it at Te Papa! Before this sudden realisation, Maori sustained their art through communal shows outside of dominant institutions and were continuously excluded from the fine art sphere dictated by white male artists/art historians. On top of this, wahine Maori continued to play second fiddle to tane artists throughout the 20th century, reflecting the state of Pakeha gender relations and our internalisation of 'women's craft.' Everytime you see Maori art that is not 'traditional,' thank the first three generations of modernists who continued to innovate an artistic legacy, that allowed us to develop into the people we are today. Within the last fifty years, we were told our art was only artefact. The power of indigenous modernism isn't just in the artworld, but at the forefront of our identity, communities and decolonisation. The next step for us whanau, is to uplift our indigenous Wahine and LGBT artists who continue to face challenges of visibility in comparison to that of our cis men. THIS is why I started the page @womenofoceania 🙌🏼 and why I share so many WOC artists. If you have any friends that need visibility in their art, please share with me! Let's remember our sisters, like Liz Mountain, who paved the way for you and me. .
Inktober Day 16. Wild 🌿🌿
"The Man of Iron" Part 2
This story begins with a great forest, so deep and dark and wild that anyone who enters is never seen again. Until a day comes when a huntsman arrives with a hound who runs deep into the forest chasing after a wild animal. The huntsman runs after it and arrives just in time to see the dog fall into a deep pool, out of which a naked arm stretched itself, and catching the dog, drew it down beneath the water. The huntsman ran to the King, and returned with knights who bailed out the water until they reached the bottom. And there in the depths of the pond, sat a wild creature whose body was covered in a layer of rusty iron and whose hair fell down it's knees. -- 🌞If anyone is interested in reading the full story, my favourite online resource is the University of Pittsburgh's Folklore texts by D. L. Ashliman (https://www.pitt.edu/~dash/grimm136.html) but I base all my work on a 1980s Chancellor Press version. I really would love to keep up with writing out the stories but they're getting too long! I'm also switching to posting in the morning here because it's so much easier to tske a good photo of my work in the daylight!
After spending many hours creating a piece, sometimes I get a little attached! This is one on of those moments, just saying goodbye to my work “Radiance” before it goes to its new owner. #tammykanat #radiance #contemporaryart #textile #color
‘Evening, Brockham’, 1890 by Edward Wilkins Waite.
Waite is known as a landscape painter and in this particular work, he describes a relatively modest house in the woods, or more precisely a cabin with an old man standing outside doing some gardening work. The bare tree announces a late autumn evening and the smoke from the recently put out fire hints that the man has finished his work and he is resting a bit before going inside.
This oil on canvas painting is part of a private collection.
Today’s design goes out to @kinokunst . Bryce is an incredibly talented filmmaker and photographer. Please go check out his work! Thank you for being a patron and making this project possible Bryce ❤️🙏!