Friedrich caspar david biography samantha bee
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Introduction: Riff: African American Artists and the European Canon
I love playing the beautiful woman, knowing that I am steeped in painting history: Ingres’ The ‘grande odalisque’, Manet’s Olympia, and the Egyptian goddess Cleopatra before that. It is an extremely thought-provoking position to be in. I ask the question. Why am I here posing like this, and what would HE think if I took out my glasses and started to read a first edition of Tolstoy’s War and Peace or Richard Wright’s Black Boy?
—Faith Ringgold, Matisse’s Model,
The Dance
In language written in the margins of Faith Ringgold’s (b. ) Matisse’s Model (fig. 1), Willa Marie Simone, a fictional expatriate African American woman and the artist’s alter ego, ponders her place in the history of Western arts and letters and ruminates on her beauty and power as a black woman, all the while modeling nude for the modernist luminary Henri Matisse. Through word and image, Simone relishes her place in a lineage of f
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Wall texts
Exhibition dates: 4th November &#; 26th February
Anonymous photographer
Still from Nosferatu, a Symphony of Horror
Director: Friedrich Wilhelm Murnau (German, )
Gelatin silver print
© Deutsche Kinemathek
I seem to have a bit of a thing for spelfilm and photography at the moment!
More delicious film fascination, this time for the still camera. German Expressionism, film noir, science-fiction, horror, murder and mayhem &#; photographers using all manner of artistic techniques to get their message across. Now often found in fine art auction houses.
I love the heading &#;Intermediality and Self-Reflexivity&#; &#; &#;intermediate images&#; that unite aspects of both media (film and photography) and self-reflexive images that take on a life of their own, developing &#;a filmic work further in an independent manner, thereby allowing it to be regarded from new perspectives. Such stills often contain self-reflexive commentary on the w
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Eisenman said of her father, “It was just this one thing, which was a big thing. It really fucked our shit up.” She added, “My mom saw it, and she didn’t intervene.” (When Eisenman and I were in Scarsdale, later that week, her mother said, “When Nicky came out as gay, I totally blamed myself. And I felt absolutely crushed. It really was very hard.”)
“But, you know, all of that fed my work in the early nineties,” Eisenman said. “It was really about visibility, and a big ‘Fuck you’ to the patriarchy—namely, him.” She checked herself. “It was not just him. It was all of culture, it was my education. I was going to risd and reading Janson”—H. W. Janson’s “History of Art”—“and it was this thick, and there wasn’t one woman in the entire book. I didn’t read anything about feminism at risd. I had to catch up on that stuff, you know, over the years, on my own.”
Eisenman moved to New York immediately after graduation, in “It was grunge culture, and it was druggy, and it was lesbian,