Can you see the difference between these two images of Van Gogh’s “Undergrowth with Two Figures”? Listen to how science can help solve some of the art’s mysteries and even identify fraud and forgery.
Michaël Borremans (born in 1963 in Geraardsbergen, East Flanders) is a Belgian painter and filmmaker who lives and works in Ghent. His painting technique draws on 18th-century art as well as the works of Édouard Manet and Degas. The artist also cites the Spanish court painter Diego Velázquez as an important influence. His earlier drawings, many of which belong to the collection of fellow painter Jan Van Imschoot, are often used as a basis for his later paintings. In recent years, he has been using photographs he has made himself or made to order sculptures as the basis for his paintings.
Harold Feinstein, Blanket Toss Beach Play, Coney Island, 1955
This about sums it up.
This just goes to show that misogyny is real. So real.
perhaps this answers my question…. I was searching last night to try and figure out what the controversy was. I couldn’t find it… I guess because there isn’t one.
I haven’t cut my hair in 22 months.
I haven’t kept track but I think I’m at about 10 months. I think I may have enough hair by 22! If they’d accept dreads I guess it would have to be more like 30
Hater’s Anthem - Jean Grae
Edward Weston (American, 1886-1958)
New York Interior, 1941
"I put the images in storage for two weeks, which turned into two months. The entire storage unit flooded and the owner didn’t tell anyone, so by the time I arrived, the images were just mostly gone or in a state of high deterioration."
Glen Luchford - Damaged Negatives
thinking i need to flood some old negs
Just been thinking that in me not cutting my hair, I might as well have a goal in mind. Rather than keep cutting my hair and donating it to the birds, I might as well keep growing it until I have 10 inches to donate to kids with cancer. Sorry birds.
Jason Rhoades at David Zwirner, 20th street
A bittersweet story in The New York Times recently. Textile historian Terry Satsuki Milhaupt was almost finished with her book on kimonos when she committed suicide in 2012. Her work was recently completed by her widower, Curtis Milhaupt. The book is titled Kimonos: A Modern History and an accompanying exhibit by the same name is happening at the Metropolitan Museum of Art. The New York Times has the story:
Ms. Milhaupt studied how kimonos over the last three centuries have revealed the wearers’ political leanings and cravings for westernization. The Met is filling galleries with clothing for firefighters, courtesans, actors and children in patterns including lobsters, demons, clouds and dewdrops. Paintings, photos and prints depict people manufacturing the textiles and sometimes opting instead for Western-style flounced gowns, tailored suits and bowler hats.
By the 1920s, Japanese men and women had started wrapping themselves in images of nightclub singers, cameras, train tickets and athletes. During World War II, warplanes, tanks, soldiers, machine guns, bombs and swastikas were added to the pattern options, even on toddlers’ outfits.
“The kimono has long served as a tableau on which to inscribe, describe and absorb the effects of modernization,” Ms. Milhaupt wrote.
The Japanese government battled against the more extravagant outfits, “prohibiting gold and silver leaf appliqué on the clothing of prostitutes,” she wrote. A women’s association proselytized for simple pantsuits. Dogmatic association members, Ms. Milhaupt wrote, “cut the flowing kimono sleeves of noncomplying women.”
For those who can’t get to The Met, there are several other kimono events happening around the country (and one in Japan). Again, from the NYT:
Three current kimono exhibitions run through Oct. 19: “Kimono for a Modern Age,” at the Los Angeles County Museum of Art, contains robes patterned with Sputniks, ice floes and penguins. The Art Gallery of Greater Victoria, in British Columbia, is offering a survey of kimono history, as well as a show featuring some of the possessions of the geisha singer Ichimaru. She changed fabric patterns seasonally, depending upon which flowers were in bloom, and her clothes also depicted her Tokyo neighborhood, known for its geisha trade. Next year, Mr. Weber will lend kimonos to the Asian Art Museum in San Francisco, the Museum of International Folk Art in Santa Fe and the Miho Museum near Kyoto, Japan.
Certainly sounds worth checking out.
Mona Kuhn (German, b. Brazil, 1969)
©Mona Kuhn/Courtesy of Edwynn Houk Gallery
Marble Anthropoid Sarcophagus
Late 5th Century BC
The lid of the sarcophagus shows an unarticulated, downward tapering body and the head of a woman framed by flowing hair; traces of red paint are still preserved in the hair. At the foot end of the box and on the lid appears the Phoenician letter “shin.” According to recent investigations, the anthropoid sarcophagi of marble were quarried on the Greek island of Paros. They were prepared up to a certain point and finished at their destinations. The inscribed letters here strongly suggest that the sculptor was Phoenician, which would be entirely plausible at Amathus and Kition, two centers of Phoenician occupation on Cyprus. Such fine, expensive coffins inspired local copies in limestone and terracotta.
(Source: The Metropolitan Museum)