Palace Guard detail | Ludwig Deutsch

Hey estrellavega…a painting (one of many) of a black moor by a “19th century (Austrian) German” …jew.

A Window, Not a Mirror - NYTimes.com

"How much does the cash-drunk New York art industry care about racism, neocolonialism, wanton consumption, persistent sexism, environmental spoilage or any other global realities? Next to not at all. How much does the same industry care about big, superbly made objects that pleasure the eye? Hugely.

For the past decade and a half, the artist Wangechi Mutu has been combining both elements — unpopular content and desirable form — in a series of magnetic, salon-size figurative collages that are as politically nuanced as they are visually ravishing.”

Blogging My Art Through the Years with Ron Husband: Early days at the studio...

"…Though other Americans of African decent had worked at the studio, Mike McKinney and I were the first to be on track to be animators, and Disney was making sure the world knew it.  This publicity shot went to magazines and newspapers across the country.  

The article is from this February 1978 issue of Ebony Magazine. “

Elson Lecture 2012: Kerry James Marshall: The Importance of Being Figurative

Must we accept the idea that black (figurative) artists have arrived late in the history of art and have been sidelined by art as a whole? Must black figurative art be a corrective measure of the the omittance of black figures in western art? Is that corrective measure predicated on the acceptance of an incomplete and wholly occidental narrative of art history?


Kerry James Marshall breaks down aesthetic ideals in art and pop culture

"In the places that come to represent what beauty comes to represent.. when you are not represented there that is a problem. …the same thing is true in the realm of comic books and-"
"Yes, that is Spiderman… already… the image and the idea of what spiderman represents is already internalized as a part of his concept of what constitutes the hero."
"We only see works in the museum by european artists…to allow that to stand unchallenged is unhealthy"

at 40.08 from Elson Lecture 2012: Kerry James Marshall: The Importance of Being Figurative.

As he compares fine art with pop culture, a five year old interrupts Kerry James presentation on the relevance of figurative art. 

Thanks for coming out, Leo.

No matter what you do you can never “mask” the ugly truth of our history…but you don’t have to take my word for it, ask artist @ronaldwimberly #art #artist #masks #tengu #japanese #exhibit #gallery #lowereastside #nyc #blackpower #blackface #superchiefgallery #history #truth
A Bit of History: The Contraband; The Recruit; The Veteran1865-66Thomas Waterman WoodOil on Canvas
swrd-play How do you stay focused on your projects?

"…Leonard seemed to question everything in his environment, from religion to ways of living in general. Although he was liked by just about everyone, he apparently could not accept the "normal" world as others perceived it.

In fact, he seems to have had many brilliant ideas, but there is evidence that he could not, or at least did not, focus on any one thing long enough to bring it to completion!

  • Leonardo possessed unequaled artistic skills, but he left fewer than two-dozen paintings, half of them not completed.
  • Although there were many patrons from dukes, popes, and kings, to dictators who strived to get him to become a member of their governance, he never felt that he could be secure with them.
  • As a result of his infinite curiosity, he was constantly observing, experimenting, theorizing, and inventing and he made great advances in the fields of anatomy, art, geology, engineering, physics, and physiology.
  • Despite all of his studies, they had little influence on others during his existence.
  • His lack of focus is revealed in that he left his notebooks in disorder and he never published his treatises that had the potential of modernizing science during his time.
  • He seemed to be jumping around from one project to another without actually concluding any particular objective.” -davincifocus

In November 1969, American Indians played ballgames outside the prison wall during their occupation of Alcatraz Island in San Francisco Bay.
By MALIA WOLLAN NY Times Published: December 24, 2012
SAN FRANCISCO — For decades, visitors to Alcatraz Island had trouble deciphering the faded red graffiti on the old prison’s rusted water tower.
Then last month, the National Park Service unveiled a rebuilt water tower with bold red letters reading, “Peace and Freedom. Welcome. Home of the Free Indian Land.” The freshly painted inscription is an exact replica of graffiti left during the 19 months when Native American activists commandeered the wind-scoured island four decades ago and claimed it as their own.
“Normally, the federal government is not in the business of preserving graffiti,” said Alexandra Picavet, a spokeswoman for the National Park Service, who said that to her knowledge this was the only example of restored, modern-day graffiti. “The water tower was the occupation’s most outwardly focused message to the world and it is an important part of the island’s history,” she said.
In the early morning of Nov. 20, 1969, some 80 Native Americans sailed to Alcatraz and set up camp. They would stay on the craggy outcropping until federal marshals removed them on June 11, 1971. The group’s demands included establishing a Native American university and cultural center.
“We will purchase said Alcatraz Island for $24 in glass beads and red cloth, a precedent set by the white man’s purchase of a similar island about 300 years ago,” read their proclamation. That other island was, of course, Manhattan, bought from Native Americans by the Dutch in 1626.
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Like A Sex Machine24” x 40.5”Spray paint on audio cassettesEd Ubiera