the kinder have begun to create their own art gallery in the space where they play.
—
-romero britto
Feb16
Category Archives: artist
Jan13
under the rainbow.
my classroom is chock full of
multi-age kinder (3s-young 5s)
who stay with us for two years.
one of the very best things
is watching the older kinder
who were the younger kinder
just one year before
as they quite naturally and organically grow
to become the leaders/teachers/helpers/mentors
to the new group of younger kinder
who were at home
just one year before.
what a joy it was to watch someone older
spend a very long time
finding all the special markers she needed
to create an easy to see linear rainbow
for someone younger
who wanted to create
her very own rainbow picture
in her very own style
using all the special colors.
judging by their faces
when she finished her very own rainbow
they were both equally proud of the results.
—
“nine tenths of education is encouragement.”
-anatole france
Dec18
big breakfast.
A Single Giant Froot Loop for $19?
A single serving of Kellog’s Froot Loops cereal clocks in at one and one-third cups, weighs 39 grams, and contains 150 calories, according to the nutrition facts printed on the side of the box. Though we’ve never actually counted how many loops are in that single serving, we assume it’s more than one. Oh, you only want one? OK then. Big Fruit Loop is here to deliver.
The Big Fruit Loop is just as the name implies: a single massive loop. It’s also a very much unauthorized version of the longtime breakfast cereal, and it’s the latest drop from Brooklyn-based art collective MSCHF.
That one big loop contains 930 calories and weighs around half a pound, or the equivalent of about half a box of regular Froot Loops mashed into one bowl-filling monstrosity. There’s absolutely no reason for it to exist, which seems to be exactly why MSCHF decided to create it.
“With MSCHF, we are always looking at cultural readymades we can play with,” Daniel Greenberg, MSCHF’s co-founder, told Food & Wine via email. “Cereal is, of course, one of those things. When looking at the object and thinking about what we could do with it, enlarging it to fit the size of the box seemed too perfect to pass up.”
Greenberg declined to explain what the production process for the Big Fruit Loop was like, other than to admit that “it was not easy.” He also said that the company had to reverse-engineer its loop to match the flavor of the Kellogg’s originals. To Greenberg, the two kinds of cereal taste “almost identical.” You know, minus one being gigantic and all.
—
“you may not know this but it’s impossible to open a box of ‘fruit loops’ and just eat the fruit,
let someone else have the loops”
― n
—
credits: food and wine magazine, stacey leasca, photo credit: MSCHF
Nov12
from the heart.
a child in my class made this drawing
and there is something about
the honest simplicity of it
eyes wide open to the world
that i absolutely love
—
“if i create from the heart, nearly everything works; if from the head, almost nothing.”
– marc chagall
Oct18
my message is love.
Refugee Who Paints With a Toothbrush Nominated for Prestigious Art Prize: “My Message Is Love”
For artist Mostafa “Moz” Azimitabar, no paintbrush is as special as the humble toothbrush
Facing persecution in his birth country of Iran, the Kurdish artist and musician fled to Australia in 2013. Once there, he was entered into the immigration system and would spend the next eight years in detention centers. At his first stop, an offshore camp on Manus Island, Papua New Guinea, Azimitabar turned to art to cope with his emotions.
“I asked one of the officers on Manus: ‘Can I have some paint?’… I would like to do some artwork because I don’t want to give up’,” he recalled. The guard refused his request, citing safety concerns. Azimitabar returned to his shared room, frustrated, but refusing to let it go. The reality of his situation forced him to get even more creative. He decided to work with what he had — in this case, coffee and a toothbrush.
“I don’t know what happened … that moment was so special for me. I grabbed the toothbrush and I put it in the coffee and I just dragged it (on some paper),” he said, calling it a “moment of victory.” He continued to experiment with the technique throughout his detainment. “Art and painting helped me to be strong, to continue. Because when I paint, I don’t feel any trauma.”
Then, another moment of victory came over a year after his release in 2021: He was named a finalist for the Archibald Prize, one of Australia’s most prestigious art awards, worth over $70,000. His painting, one of 52 chosen from over 800 submissions, was created using a toothbrush, coffee, and acrylics on canvas. It’s titled “KNS088,” the number the Australian government issued him during his years in detention.
“The message of my painting is love. We are all one family, connected by our humanity.”
-Mostafa Azimitabar
—
credits: Rebekah Brandes, Saeed Kahn/AFP, NSW
Oct1
not whistler’s mother.
*This work, which is a depiction of a fireworks display in London’s Cremorne Gardens, is probably Whistler’s most infamous painting. It was the central issue of a libel suit that involved the art critic John Ruskin and the artist. Ruskin had publicly slandered the work by making the statement, “I have seen, and heard, much of cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public’s face.” Whistler won the libel suit; however, he was awarded only the token damages of one farthing. This is one of Whistler’s many “Nocturnes,” which are characterized by a moody atmosphere, a subtle palette, and overall tonalist qualities.
—
“there is only one way to avoid criticism, do nothing, be nothing, say nothing.”
-aristotle
—
*art: James Abbott McNeill Whistler, Nocturne in Black and Gold, the Falling Rocket,
1875, oil on panel. Detroit Institute of Arts, Gift of Dexter M. Ferry, Jr.
Jul23
“photography is telling stories.” – jim spillane
attending the annual ann arbor art fair
i had great luck and the honor of meeting
photographer/human rights advocate, jim spillane.
i happened by his stall
drawn in by the beauty and subjects of his photographs
especially taken with his pictures of children
after much thought
finally decided on one
a young tibetan child
tiny hands held together in hello.
i asked jim his story
how he had come to take these stunning pictures all over the world.
once a criminal defense attorney in the gerald ford white house
representing vietnam war draft resisters seeking amnesty
he got sick, had a horrible experience
changed his life
trained with an ansel adams associate
began traveling the world
taking photographs of people
his subject is the human condition and the connections and responsibilities we have for each other.
using his pictures as a way to create interest, open discussion, communicate, call attention to a cause
he has worked taking photographs of workers at a nepalese brick factory for many years
created a photo book of the workers
to speak out and to tell their stories with his photographs
still seeking to help those in need and to be an effective advocate for them.
he is a natural artist, storyteller, teacher, advocate, and man.
—
“in recognizing the humanity of our fellow beings, we pay ourselves the highest tribute.”
-thurgood marshall, former justice of supreme court of the united states
—
link to his website: jimspillane.com
link to his book, ‘the face of bricks’: https://www.blurb.com/b/9897011-the-face-of-bricks
Jul19
resa.
happy happy birthday to resa
https://artgowns.com/author/resamcconaghy/
costumer and designer extraordinaire
you are an amazing talent
telling stories with your styles
making real life connections
between people in the realm of blogs
may you never stop creating art gowns, finding meaningful art in murals,
and being an incredibly creative and inspiring part of our story.
—
hello too from our whimsical blog circle who keep crossing paths:
gigi, dale, and holly –
art, poetry, nature, animals, peace, kindness, love, humor, style, stories –
compassionate creatives all.
—
“creative expression is not just a means of getting attention, although some have approached art that way. think of art as a way of connecting, of sharing your insights with others.”
-nita leland
Jun20
finding dabls in detroit.
i recently went with a group of colleagues/friends
to find the artist, dabls
working on his block in detroit
where we learned so much from him
an experience i’ll never forget
dabls’ installation-‘iron teaching rocks how to rust’
artist/storyteller dabls
uses materials as metaphors
to pass on his stories
of african and european art/cultures
open to everyone
he can be found working and sharing stories
on this abandoned block
that he has reclaimed
as his own and the community’s
most every day
dalbas mbad african bead museum
where each of his beads tells a story
dabls’ art has brought this house to life
—
“Stories are able to help us to become more whole, to become Named.
And Naming is one of the impulses behind all art;
to give a name to the cosmos, we see despite all the chaos.”
-Madeleine L’Engle
—
The Kresge Foundation elected Dabls as “2022 Eminent Artist”
to recognize his accomplishments in the arts as well as his lifelong impact on Detroit’s culture.
—
to read his full story go to:
http://www.mbad.org/best-friends
or just stop by to see him.
Jun12
exhibition comes into the light.
At This Once-Secret Exhibition, the Met’s Security Guards and Staff Display Their Own Art
For the first time since 1935, the show is finally open to the public
:focal(4096x2731:4097x2732)/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/a2/08/a208b836-e73e-4a7c-b63c-4d7a1b9f1ecd/76a5151.jpg)
Every two years, staff members at New York City’s Metropolitan Museum of Art get the chance to display their own creations on the institution’s hallowed walls. Since the tradition started in 1935, the exhibition has been something of a secret, open only to employees and their guests, Hyperallergenic’s Elaine Velie reports. But now, for the first time, the show is open to the public.
“Art Work: Artists Working at the Met” features hundreds of pieces—including paintings, drawings, photographs, sculptures and digital installations—made by guards, librarians, conservators, educators, registrars and others who work at the Manhattan museum. More than 450 of the Met’s 1,700 employees contributed to the exhibition, which is held in the space next to the museum’s ancient Greek sculpture hall, Hyperallergic notes. The show accepts all staff-made submissions, which are installed by Met staff members working extra hours.
Daniel Kershaw, a Met exhibition design manager who has overseen the show’s curation for more than two decades, says he identifies themes that unify the disparate submissions, grouping pieces that work well together (for example, landscapes go next to other landscapes). This year’s show includes a photograph of Cuba, an oil painting of a partially frozen pond, a series on Black life in Brooklyn’s Crown Heights neighborhood, and jars and cans painted to look like tiny monsters, among other works.
Until this year, museum officials and employees were extremely furtive about the exhibition—so much so that the New York Times’ Corey Kilgannon struggled to find sources for a 2012 story on the show. When he visited the Met and asked guards about it, they told him they were forbidden to discuss it with the press.
After some more digging, Kilgannon found a few guards willing to talk, including Peter J. Hoffmeister, who expressed concerns about the secrecy around the event. “It’s complicated to have artists working for you who want their art on the walls—I understand that,” Hoffmeister told the Times. “But as an artist I think it should be public, because keeping it private defeats the purpose of having an art show.”
Some of the Met’s employees are artists who work at the museum to supplement their income, while others make art as a hobby, according to Hyperallergic. But everyone who submits to the show is balancing their art with their day jobs.
Back in 2012, one such individual was Christoper Boynton, a painter, photographer and museum guard. At the time, Boynton didn’t know why the show was closed to the public. “Maybe it’s because they would have to insure the art in the show,” he told the Times. “Maybe it’s that, if someone’s artwork is shown at the museum, people may think it’s being sanctioned by the museum.”
“Art Work: Artists Working at the Met” is on view at the Metropolitan Museum of Art in New York City through June 19.
I didn't have my glasses on.... 