The Suzanne Geiss Company presents a selection of Anita Steckel’s works from her Giant Woman (1970-1973) and New York Landscape (1970-1980) series.
Steckel’s large-scale New York Landscape collaged paintings fuse imagery inspired by the human, art historical, and urban bodies. Supine female figures, erect phalluses, dollar bills, the Mona Lisa, and other massive cultural symbols are inserted into the skyline. They sit on skyscrapers, make love, even battle in a humorous take on the city’s fraught, psychosexual sense of identity.
Anita Steckel at the Suzanne Gleiss Company until December 13, 2013.
"Naming," David Lynch's upcoming exhibition at Kayne Griffin Corcoran Gallery in Los Angeles, explores the tenuous relationship between text and image. While we often think of a thing and its name as opposite sides of the same coin, Lynch's work directs us to the instances that reveal a more slippery relation.
All of the paper dolls on this page are available to purchase as printable PDF files licensed for personal use, price ranging from just $3 to $15. Click the thumbnails for more information and a preview of each doll and her entire wardrobe.
A PDF is a high-quality printable file. Unlike the images found on the web, there is clarity of detail which reproduces beautifully in print. Purchase these paper dolls, and you can print them out for personal use – to cut out, play with and display.
hardly anybody was willing or able to explain the actual process of creating astronomical value where otherwise none might exist, and how, over many years, prices with no underlying logic have not only been sustained but have inevitably headed ever higher.
Those questions were absent in the auction commentary despite a steady litany of recent scandals in the art world. This included last week's guilty plea by art family scion Helly Nahmad, accused of racketeering, money laundering, extortion and gambling in concert with a coterie of Russian gangsters. His plea helps his secretive family, one of the most powerful in the art market, avoid further scrutiny.
Indeed, it is nearly commonplace among art professionals that art, perhaps second only to drug trafficking, is among the world's most lucrative dubious business. It is hard to overlook the connections between these two cash-rich enterprises.
Could eBay see Martha Stewart as its answer to Etsy? eBay is promoting handcrafted and American made goods on its site with the help of the iconic Martha Stewart brand, including an email campaign sent to eBay shoppers this week.
Deanna Dahlsad's insight:
The kicker is the products are handpicked each month by the editors of Martha Stewart Living.
"When Lucy Kerbel was putting together her 100 Great Plays for Women she bumped into a literary manager for a leading London theatre. “I told him I was looking for plays with mainly female casts,” the 31-year-old director says. “He asked, ‘Are there any?’”
Eventually, he half-remembered one. “That Lorca,” but it took his partner to name it: The House of Bernarda Alba. “In his mind,” Kerbel recalls, “that was the beginning and end of the conversation. And I was thinking, ‘You are the literary manager of one of the capital’s most prestigious theatres, and you have to rely on your partner to name one play with a majority female cast’.” [...]
But that literary manager isn’t alone in overlooking women in theatre. At the weekend, the National Theatre’s sparkling 50th anniversary gala was criticised by some for the paucity of female playwrights represented: only one of the more than 30 scenes featured was written by a woman (Alecky Blythe’s London Road). [...]"
Lucy Kerbel’s 100 Great Plays for Women is published by Nick Hern Books on November 14.
Once these stores and factories sold the stuff of children's dreams, but now that they lie abandoned—filled with decaying displays and disembodied doll heads—they are more likely to inspire nightmares.
"Nine years ago this week, MoMA opened its brand-new shiny $750 million building. Since this Garden of Modernism reopened, I’ve been gibbering about the dearth of art by women in the museum’s all-important permanent collection of painting and sculpture, installed on the fourth and fifth floors. MoMA is modernism’s mothership, so the way the story of modernism is told here is crucial. And the numbers are horrendous.
At the 2004 grand-opening show, there were 415 works on view on the museum’s fourth and fifth floors. Of these, fewer than 20 were by women. Less than 5 percent. In 2006, 19 were by women. A year later, the number was 14.
Which brings us to the present. I guess we can say that things are better: Today, by my count, there are 367 works of art on view on these two floors, and 29 of them are by women. That’s just short of 8 percent. Slightly less terrible. Still unforgivable."
Investing in art is a long-term project, so collectors should only buy what they love.
...Every collector also likes to have their art appreciate in value. But an artwork’s true value, beyond its importance in the larger art community and how rarely it appears on the market, is how desirable it is – the work’s aesthetic dividend.
Deanna Dahlsad's insight:
We hear this time and time again; yet people still ask...
This is about how inadequate logic, reason, passion, intelligence and imagination are in art. It’s about how reasonable it is to accept that. It’s about how misleading and misguided the word creativity is. This essay is not meant as a spiritual work, but it necessarily enters territory that sounds spiritual.
Sylvia Plath is known mostly for her poetry and prose, but arguably the same degree of violent, exuberant feeling may be found in her sketch work, now published in a volume entitled Sylvia Plath: Drawings.
Installation shot: Posters (c. 1991-present) from Riot Grrrl related shows, conventions and meetings internationally.
Alien She is a new exhibition that examines the lasting impact of the punk feminist movement Riot Grrrl on artists and cultural producers working today. It’s currently on view at Carnegie Mellon University’s Miller Gallery in Pittsburgh, Pennsylvania, before traveling nationally to cities including Philadelphia, San Francisco and Portland, Oregon. Below are photos of the exhibition and several of the featured works.
The show focuses on seven contemporary artists influenced by Riot Grrrl: Ginger Brooks Takahashi, Tammy Rae Carland, Miranda July, Faythe Levine, Allyson Mitchell, L.J. Roberts and Stephanie Syjuco. Riot Grrrl emerged in the early 1990s and emphasized female and youth empowerment, collaborative organization, creative resistance and DIY ethics. In various ways these artists have incorporated, expanded upon, or reacted to the movement’s ideology, tactics and aesthetics, as seen through several projects from each artist spanning the last 20 years, providing an insight into the development of their creative practices and individual trajectories.
"Full Disclosure: I am a feminist. It never crossed my mind that there might be anything problematic about labeling myself this way since I have openly articulated my interests in gender issues and social, political, and economic equality since my early undergraduate days. Of course, I knew that researchers had shown women today often reject the term “feminist” (McRobbie 2004; Rowe-Finkbeiner 2004; Levy 2006). However, I somehow had convinced myself that these individuals were just not informed. I truly believed that if men and women could critically examined the social construction of gender, see the ways in which gendered notions impact their lives, and take the time to critique these forces there could be greater understanding, acceptance, and embracement of feminist politics.
Last fall I found myself working on a project on women’s art. I met with several female artists whose work examined, questioned, and challenged cultural gender expectations. What I found utterly shocked me; within the art world, there are a number of female artists that use art as a vehicle to challenge gender inequality but are cautious, hesitant, or dismissive of being labeled as “feminist artists.” I found that many female artists believe that term “feminism” is so deeply connected to a stigmatized social movement that strongly reject the label even while creating feminist art."