No.105, November 8 2011 - We went to Richmond park, saw the Deer. Loved it.
Monotype on Fabriano hot press 160 gsm paper
Ashley Loxton
- Camera: Canon PowerShot G9
- Aperture: f/2.8
- Exposure: 1/25th
- Focal Length: 35mm
16th May 2013
Reblogged From 1yearprinting
Notes: 2060
(Source: btmathers)
- Camera: Nikon D800
- Aperture: f/8
- Exposure: 1/125th
- Focal Length: 15mm
Untitled (Pizza), Tom Friedman, 2013
Are we really so different that we must be horrified of one of them uncovered, and completely okay with the other?
(Source: dustulator)
And here’s another!
Nude, No. 1 (My Albers), 2010. Yael Kanarek.
wood, the word “white” in silicone in nine languages: Amharic, Arabic, English, German, Hebrew, Japanese, Chinese, Latin, Russian
31.5 x 31.5” / 80 x 80 cm
The universalism of Josef Albers’ “Homage to the Square” is examined in Nude, No. 1. It also identifies the body as a space of negotiation located between cultures. Melanin and speech are both physical attributes of the body. Each piece in the series is a linguistic composition loaded with social tension. The underpainting of these works is a pigmented glue that represents a tone that is different from that on the surface. Bleeding into the top layers, this root level of the picture’s composition symbolically acknowledges difference. Playing with the relationship of simultaneous perceptions, these pieces activate a dense system of human struggle that is orchestrated by language, regardless of one’s skin tone. As an Israeli-American, Kanarek’s perception of space is tempered with an awareness how arbitrary borders are. Employing modes of authorship such as storytelling and multilinguialism, Kanarek manipulates the biographical predisposition of a viewer’s associations (which are dynamic). Her work enters spaces of meaning determined by a global network and the negotiation of identity that occurs when confronted by multiple systems.
David Horowitz
