Existing somewhere between constructed reality, fantasy, memory and imagination, these pencil-and-ink drawings on paper embellished with glitter and fluorescent pen invent a space where ethnic and cultural borders seemed to be abolished.
K, prior to moving to the U. Bethany Collins is a multidisciplinary artist who takes the material of the classroom——paper, Pink Pearl erasers, graphite, old dictionaries and, more broadly, language itself——to create spare, poetically charged works on paper, objects and wall-based installations. Her work is fueled by a critical exploration of how race and language interact. Collins transfers and obscures dictionary definitions, government reports and historical publications to create restrained statements that ring with emotive power.
She is exhibited at the Birmingham Museum of Art this year. David Shrigley is best known for his distinctive drawing style and works that make satirical comments on everyday situations and human interactions.
His quick-witted drawings and hand-rendered texts are typically deadpan in their humour and reveal chance utterings like snippets of over-heard conversations. Reoccurring themes and thoughts pervade his story telling capturing child-like views of the world, the perspective of aliens and monsters or the compulsive habits of an eavesdropper shouting out loud.
In , Shrigley was shortlisted for the Turner Prize. Throughout her practice, in sculpture, print, drawing, and film, Lucy Skaer mines the conceptual possibilities of each in order to examine the shifts between dimensions, to explore the gap between object and image, and to represent the gradations between these mediums.
The artist includes in her artworks an intimate language made of geometric and fundamental figures. In , Skaer was shortlisted for the Turner Prize, and in , she represented Scotland at the 52nd Venice Biennale. She is also editor and co-founder of Parkett, published in Zurich and New York, and has been a curator at Kunsthaus Zurich for twenty years. In she was the director of the 53rd Venice Biennale.
She is the author of numerous catalogue essays. In , she co- founded the Drawing Room, the major European non-profit organization for contemporary drawing. To claim that we can get along without study of the antique and the classics is either madness or laziness. Yes, anti-classic art, if one may even call it an art, is nothing but an art of the lazy. All I have is the small merit of knowing the road that one must follow in order to arrive.
Nothing is made with nothing, and the way good inventions are made is to familiarize yourself with those of others. Drawing contains everything, except the hue. If I were asked to put up a sign over my door, I should inscribe it: School for Drawing, and I am sure that I should bring forth painters. One must keep right on drawing; draw with your eyes when you cannot draw with a pencil. As long as you do not hold a balance between your seeing of things and your execution, you will do nothing that is really good.
The painter who trusts to his compass is leaning on a ghost. Quote of the day Real love is a pilgrimage. It happens when there is no strategy, but it is very rare because most people are strategists.
Jean-Auguste-Dominique Ingres on Wikipedia. Suggest an edit or a new quote. Jean-Auguste-Dominique Ingres Quotes. Quotes about Jean-Auguste-Dominique Ingres.
Edgar Degas French Artist. Featured Authors. Predictions that didn't happen. If it's on the Internet it must be true. For me it demonstrates that in true art, a complex psychology lives. It resides inside certain images, giving them a force and resonance that speak to the heart and the mind in the silent language of sight.
Certainly, this life of little squares possesses more ingenuity and more poignancy and more insistence than do Mr. I may not have persuaded his fans, though.
Thus it is still true that you can bring a horse to water, but you cannot make him drink. With a question mark, here I am. My being present technically makes this a self-portrait. The drapery is the star. Beginning artists should make lots of drapery studies. The old masters started the idea, and it holds more weight than at first one supposes. Drapery in portraiture defines the figure. Of course, times were better for artists when flowing robes were the fashion!
Ever since the decline of Athens, artists have fallen on hard times. Praxiteles, we miss you! I jest, of course. Drapery is also this very pliable thing. Look what crazy Gothic artists did with drapery. Drapery is an inanimate subject whose amorphous forms can adapt very readily to whatever subliminal messages an artist — or a whole society— is trying to express. Drawing drapery leads one naturally into landscape or figure or still life.
You draw the drapery and reveal — yikes! I saw the painting when it was loaned to the National Gallery of Art in Washington for an Ingres exhibit a few years ago, but made this drawing from a reproduction.
While searching the net for an image of the painting to show readers, I also found this surprising appearance of the grand lady.
She gets around more than I supposed! Actually the real painting is much larger than the reproduction of her that gazes out upon the pedestrians. The real MacCoy measures x I realize that lots of people care about celebrities. Of course, I can identify some of the currently famous actresses of the present because like everyone I enjoy eating, and consequently find myself shopping fairly regularly for groceries.
Well, that kind of thing holds no appeal for me. But — if Mme Moitessier ever showed up…. Holy cow! Of course, Mme Moitessier is unfortunately quite long dead.
Moreover, she probably did not thoroughly resemble the woman in her picture.
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