Category: art
1123162013a or glimpse of arcadia?
wallpaint – seafoam green
Claudia Rankine
Claudia Rankine and the Racial Imaginary Institute, … “a presenting space and a think tank all at once” where artists and writers can really wrestle with race. She wants it to be a “space which allows us to show art, to curate dialogues, have readings, and talk about the ways in which the structure of white supremacy in American society influences our culture.”
via The Guardian
Twyla in Miami
Toni Morrison
No Place for Self-Pity, No Room for Fear by Toni Morrison
March 23, 2015, The Nation.
Christmas, the day after, in 2004, following the presidential re-election of George W. Bush.
I am staring out of the window in an extremely dark mood, feeling helpless. Then a friend, a fellow artist, calls to wish me happy holidays. He asks, “How are you?” And instead of “Oh, fine—and you?”, I blurt out the truth: “Not well. Not only am I depressed, I can’t seem to work, to write; it’s as though I am paralyzed, unable to write anything more in the novel I’ve begun. I’ve never felt this way before, but the election….” I am about to explain with further detail when he interrupts, shouting: “No! No, no, no! This is precisely the time when artists go to work—not when everything is fine, but in times of dread. That’s our job!”
A similar sentiment. (Paris Review)
Florida Dreaming
Florida Dreaming curated by Erica Ando.
Eddie Arroyo, Alliance of the Southern Triangle (Diann Bauer, Felice Grodin, Patricia Margarita Hernandez, Elite Kedan), Leah Brown, Margarita Cano, Phillip Estlund, Naomi Fisher, Adler Guerrier, Kathleen Hudspeth, Silvia Lizama, Rick Newton, Zack Balber, Onajide Shabaka, Barron Sherer
Schmidt Center Gallery: November 5, 2016 – January 21, 2017
Hermann Herzog
Hermann Ottamar Herzog
Bull Frog Creek
1890s(?)
Via A.E. Backus and Florida’s Highwaymen: History, Commerce and Art at FAU’s Ritter Art Gallery: September 16 – November 19, 2016
Shrubs
Ansel Adams (1902-1984)
‘GRASS AND RAIN, ALASKA’
mounted, signed in pencil on the mount, the photographer’s ‘131 – 24th Avenue San Francisco’ studio stamp (BMFA 4), titled and numbered in red ink (crossed out), Carmel studio stamps (BMFA 7 and 8), titled and numbered ’65’ in black ink, and with a ‘Virginia Adams Collection’ stamp on the reverse, overmatted, hinged to a modern mount, 1948, probably printed between 1950 and 1962 (This is The American Earth, p. 51) 5 by 6 1/4 in. (12.7 by 15.9 cm.)
Frederick H. Evans (1853-1943)
‘TEN PHOTOGRAPHS’ – 10. ‘Redlands Woods, 1893’
(New York: Witkin Gallery, 1971, a total edition of 60, 10 printed in platinum and 50 in gelatin silver), a portfolio of 10 platinum prints, each mounted, the portfolio label, with sequential numbers and ‘A. P. 1’ in ink, 1888-1911, printed in 1971 by George Tice; together with letterpress title/colophon, editioned ‘Artist’s Proof #1’ in ink, letterpress plate list, an introduction signed in ink by Evan Evans, the photographer’s son, and a preface signed in ink by George Tice. Folio, gilt-lettered green linen portfolio with flaps and slipcase.
via sothebys