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Color - Cloudflare Design
"Every perception of color is an illusion.. ..we do not see colors as they really are. In our perception they alter one another. In order to use color effectively it is necessary to recognize that color deceives continually. In visual perception a color is almost never seen as it really is — as it physically is. This fact makes color the most relative medium in art."
design  art  Reference 
6 weeks ago by oripsolob
Artist Vincent Valdez Made a Painting So Provocative This Texas Museum Waited a Year to Unveil It. Now It's a National Sensation.
As reported by the New York Times, the museum was extra cautious in presenting the piece, which it knew was potentially inflammatory. In order to prepare the community for the work, the Blanton and its faculty met with the Anti-Defamation League and the Austin school district and held roundtable discussions about the piece. It also reached out to local social justice groups, politicians, and other community leaders. (In an apparent oversight, however, it didn’t consult with the local NAACP chapter until earlier this month.)

“The painting calls us to gaze into the faces of evil and in so doing to gaze at ourselves—our capacity for hate and for violence, our collective history, and our fraught contemporary,” wrote Mónica A. Jiménez, from the school’s department of African and African diaspora studies. “Here is our American sublime: beautiful and terrible. We want to frantically turn away, but we cannot.”
art  history  race 
november 2018 by oripsolob
Reimagining the Four Freedoms Archives | Enduring Ideals: Rockwell, Roosevelt & the Four Freedoms
Project for students?

How might notions of freedom, as presented by Roosevelt and Rockwell during the World War II era, be reinterpreted for our times? What does freedom look like today? (MANY ARTISTIC RESPONSES FOLLOW)
art  photos  photography  history  WWII 
october 2018 by oripsolob
5 Lawsuits That Could Reshape the Art World in 2018 - Artsy
Even after the 2013 case, the judge in Graham v. Prince found Prince’s total and full use of Graham’s image—without any alteration beyond adding some Instagram comments—does not lend itself to a clear-cut fair use argument. The case will now proceed to trial. If Prince loses (a big if) and the ruling is upheld on appeal (an even bigger if) the resulting precedent could reign in the broader fair use interpretation afforded to artists by the earlier ruling.
art  COPYRIGHT  2018 
september 2018 by oripsolob
Graham v Prince SDNY 1:15-cv-10160, July 18, 2018 | Fair Use | Federal Rules Of Civil Procedure
"Because Prince has reproduced Graham’s portrait without significant aesthetic alterations,
Untitled is not transformative as a matter of law. Moreover, Untitled [Richard Prince's Gagosian Gallery piece] is a work made with a distinctly commercial purpose; Graham’s original Rastafarian Smoking a Joint is, without question, expressive and creative in nature; Prince’s use of the entirety of Graham’s photograph weighs against a finding of fair use; and the Complaint adequately alleges usurpation of the primary market for Untitled. Accordingly, Prince’s motion to dismiss the Complaint is denied."

Again, the suit proceeds forward, but it's unclear if the suit was actually successful.
september 2018 by oripsolob
Exploring the Bounds of Fair Use: Graham v. Prince
Caution: "Since 2013 the Copyright Alliance has partnered with New York based Cravath, Swaine and Moore LLP to assist in finding potential clients for an externship program at Columbia Law School to provide pro bono legal representation to individuals and small businesses in lawsuits involving cutting edge copyright issues. This case was one of the cases selected through that program."

Does not say whether the case AGAINST Prince was successful; importantly, that Prince's motion to DISMISS was not successful. Hmmmm...
COPYRIGHT  art  Social  Media 
september 2018 by oripsolob
Call for Artists — Gallery Studio Oh!
Open to all local/national/international artists, all mediums accepted, excluding video art and installation art.
In order to be considered to exhibit in our gallery, you are required to provide high quality images of your work, and a short biography and statement.

Please submit materials by filling out our form, email or on a disc and send to:
Gallery Studio Oh!
4839 N Damen Ave
Chicago, IL 60625

If you have a website, please include the address with your submission.

The artist is responsible for delivery and pickup of the work, and/or all shipping costs.
photography  art 
september 2018 by oripsolob
Big Thief Capitalize on Critical Momentum with 'Capacity'
"Masterpiece is a photo of my mom and her two brothers," she explains. "She was probably about 16, give or take a year. My sister sent it to me and it just resonated with everybody. It was the right cover. On the back cover of Masterpiece, there are two little boys and one of them is on the cover of Capacity. That's my uncle Adam, and he was about 14. Both photos make me ask questions, and I like that feeling. I feel like a lot of the work is asking questions, rather than giving answers. They've been very generous and excited about being part of it. They're really important people in my life, so it's great to look at them on the albums."
bands  photos  art 
july 2018 by oripsolob
Lemmings Tavern
Bucktown bar that features local artists
chicago  restaurants  art  photography 
june 2018 by oripsolob
Are you really Facebook’s product? The history of a dangerous idea.
But even that isn’t where the story begins, because “you are the product” had been deployed to criticize media decades long before “social” entered the equation. Whether or not blue_beetle knew it, a version of the quote predates not just Facebook and Digg but the entire modern consumer internet. The invaluable online resource Quote Investigator traces it all the way back to 1973, and an unlikely source: a short film by the artists Carlota Fay Schoolman and Richard Serra called “Television Delivers People.”
This was not a novel idea even then: You can hear in “Television Delivers People” echoes of Gil Scott-Heron’s 1970 protest anthem, “The Revolution Will Not Be Televised.” These works aimed to expose broadcast television as a corporate-sponsored force for homogeneity and conformity, an obstacle to social or political change.

In this respect, Facebook is nearly TV’s opposite. The social network stands accused of unduly amplifying, not crushing, divisive views—of polarizing rather than homogenizing us.

There are at least two alternative ways of viewing our relationship to Facebook that hold more promise for making that relationship a healthier and less exploitive one. The first is to view ourselves as customers of Facebook, paying with our time, attention, and data instead of with money. This implies greater responsibility on both sides. If we understood that Facebook and other “free” online services exact real costs to things we value, we might use them more sparingly and judiciously.

The second is to view ourselves as part of Facebook’s labor force. Just as bees labor unwittingly on beekeepers’ behalf, our posts and status updates continually enrich Facebook. But we’re humans, not bees, and as such we have the capacity to collectively demand better treatment.

How about this, then, as an (admittedly ungainly) alternative to that overused maxim: “If you aren’t paying for it with money, you’re paying for it in other ways.”
advertising  Media  Social  Corporation  Video  art  tv  politics 
april 2018 by oripsolob
2018 Evanston + Vicinity Biennial Call for Artists | Evanston Art Center
Artist Submission Deadline: all entries by midnight on June 22, 2018

July 20: Notification of acceptance
August 24-27: Accepted artworks delivered to Evanston Art Center
August 28-30: Installation
August 31, 6-8pm: Opening and Artists’ Reception
September 30: Biennial Exhibition closes
October 1-7: De-install and pick up artworks
Contest  2018  art  photography 
march 2018 by oripsolob
Martin Luther King Funeral Life Magazine, April 19, 1968
When Chilean-born artist Alfredo Jaar moved to New York in 1982, he was troubled to discover that racial tensions still ran high long after the civil rights movement had passed its zenith. In Life Magazine, April 19, 1968, he manipulated the iconic Gordon Parks photograph of Dr. Martin Luther King Jr.'s funeral procession to highlight the disparity between the number of black and white mourners. Jaar's decision to present the work as a triptych, a traditional format for Christian altarpieces, helps identity King as a martyr.
photo  art  inequalities  race  history 
january 2018 by oripsolob
Conor Harrington | Outside
Irish painter of "The Blind Patriot - Stuck Inside a Statue, Look at You in Miami"

"My new mural in Miami exploring America’s relationship with its flag and partly inspired by the awful black-balling of @kaepernick7 "
art  constitution  history 
december 2017 by oripsolob
The Lasting Power of Emmett Till's Image - The New York Times
But it was another of his mother’s actions that changed the course of history: She permitted several photographers to take pictures of her son’s disfigured corpse and urged the publication of the gruesome images. “[People] would not be able to visualize what had happened, unless they were allowed to see the results of what had happened,” she later said. “They had to see what I had seen. The whole nation had to bear witness to this.”

Mrs. Till Mobley’s entreaties went only so far. No mainstream magazine or newspaper would publish the photograph, deeming its graphic imagery inappropriate. But she was able to turn to the far more receptive editors of widely-circulated black magazines like Jet, The American Negro: A Magazine of Protest, and The Chicago Defender.
image  photography  art  race  history 
december 2017 by oripsolob
DesignMiami/ TALKS
The Elliman Talks series returns to Design Miami for its third year, creating a space where leading figures in art, design, culinary arts and real estate engage in unfiltered examination into the state of contemporary design through their unique, authoritative lenses.
art  design  architecture  Travel 
december 2017 by oripsolob
S. Billie Mandle + Diane Meyer | Pictura
Flak Photo Midwest rec
122 W 6th Street
Bloomington, IN 47404
art  photography 
october 2017 by oripsolob
Malvina Hoffman | The Field Museum
Mike Bancroft recommendation:
In 1929, Hoffman received a telegram, “Have proposition to make, do you care to consider it? Racial types to be modeled while traveling round the world” (Hoffman, 1936).

It was from Stanley Field, president of The Field Museum. He, and many others at The Field, were concerned that the “anthropology halls in all countries were generally empty and the snake and monkey houses always crowded” (Hoffman 1936). The unconventional solution they came up with was the “The Races of Man.” The idea was to use sculpture as a way to reveal man to his brother.
race  sociology  inequalities  art  chicago 
october 2017 by oripsolob
Memphis (Getty Museum)
"Sometimes I like the idea of making a picture that does not look like a human picture. Humans make pictures which tend to be about five feet above the ground looking out horizontally. I like very fast flying insects moving all over and I wonder what their view is from moment to moment. I have made a few pictures which show that physical viewpoint. . . . The tricycle is similar. It is an insect's view or it could be a child's view."

Thus William Eggleston explained the radical perspective he employed in this photograph of a child's tricycle seeming to dwarf the homes and automobile in the background. This photograph graced the cover of the catalogue for Eggleston's groundbreaking exhibition of color photographs at the Museum of Modern Art in 1976.
photo  photography  art 
july 2017 by oripsolob
Daniella Zalcman
Check out "Signs of your Identity"
art  photography  photos 
june 2017 by oripsolob
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