Monday

Teddy Bear

Video about Prehistoric and some text focusing on the “Venus of Wilendorf”



"Venus" of Willendorf
c. 24,000-22,000 BCE
Oolitic limestone
4 3/8 inches (11.1 cm) high
(Naturhistorisches Museum, Vienna)
Why is the “Venus of Willendorf,”so important.

In our world there are certain artifacts and works of art that are ideal examples of how (western culture) views a historical period or art movement.




Starting with the title of the so called “Venus of Willendorf,” is now considered misnamed because most historians do not believe it is a love goddess such as we think of the Roman goddess of love and romance Venus. When it was found in 1908 by the archaeologist Josef Szombathy in the country of Austria near a place called Willendorf, archeologists believed that “cave men” (also a term that isn’t used much) saw this figurine as a kind of ancient porno magazine.




In the 1960s, after anthropology and archeology really got going as disciplines, academics felt that the figurine probably represented an image of a woman who was sturdy, well fed, and healthy. A woman with a large amount of body fat would be nice to snuggle with during the ice age. So historians see this small sculpture in different ways and from different points of views based on when they lived, what they believe, and the culture that the person who is looking at it from. One other thing that you should know, they’ve found a lot of figurines that share very similar qualities and date from the same period.







You can decide what you want to believe it is after you get some facts about it. I think that disregarding other interpretations and just describing it is a good way of figuring it out.






It’s small, about 4 inches long. It was made out of stone. The feet are broken off. It has a a dot or small circular impressions where the face should be. The “hair” is a repeating slightly geometric pattern that looks almost like a series of ovals in rows. The breasts, stomach, butt, and thighs are very large while the arms which are crossed across the chest are almost just etched shapes. The vagina is very clearly defined. The sculpture has some traces of reddish paint on it.




There are a range of interpretations of the large body parts, the hair and the lack of realism in the features of the face and the hair. The body is very naturalistic and so are the genitals. The contrast of real looking stuff to abstract or cartoonish stuff maybe an indication that the face was less important than the body or the reverse could be true. Maybe the face was so important that there was a reason to make it just a hole. Here’s the most reasonable explanation for what this sculpture is.

The sculpture is probably a representation of some kind of ideal woman. The extra body weight and exaggerated sexual characteristics might have represented a “sexy” woman or a “motherly type” or both at the same time. The stylized repeating pattern on the head is probably some sort of cap, but more likely it represents hair and could represent braids, of a type of mud encrusted hair style that some people use even today in parts of Africa.




Probably the reason why this “Woman from Willendorf” is the most popular is because it was one of the first ones found and was popularized because of it.









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https://www.udemy.com/

Friday

Petrus Christus. Saint Eloy (Eligius) in his Shop.1449


Form:  The use of oil paint to create an incredible level of realism is quite evident in this image.  Here, the artist shows off again by showing how well he is able to paint the textures and surfaces of all of these loveley items.Iconography:  We see all the images of wealth and power.  Petrus Christus has probably even included a "cameo" shot of the patrons of the image next to the Saint.  Everyday life is transposed on the story of Saint Eloy who payed a ransom for his fellow brothers out of his own pocket.  The elevation of a goldsmith, or moneylender, who is roughly the equivalent of our bankers is certainly a way of giving one's profession a positive spin.  Manuel Santos Redondo discusses this in the passage below.
St. Eloy (Eligius) in His Shop, 1449, by Petrus Christus,[xxix] is the clear representation of a goldsmith working in his shop and attending two clients: a rich, well-born bridal couple. It seems to be a representation of the goldsmith's trade, with the excuse of the portrait of a saint (hardly a subtle ploy, since St. Eloy is the patron of goldsmith's guild). The goldsmith sits behind a window sill extended to form a table, a pair of jeweler's scales in one hand, a ring in the other. Only his halo suggests that the painting deals with legend. On the right is a display of examples of the goldsmith's craft. The picture may very well have been painted for a goldsmith's guild (the one in Antwerp)
St. Eligius is the Patron of metalworkers. As a maker of reliquaries he has become one of the most popular saints of the Christian West. Eligius (also known as Eloy) was born around 590 near Limoges in France. He became an extremely skillful metalsmith and was appointed master of the mint under King Clothar of the Franks. Eligius developed a close friendship with the King and his reputation as an outstanding metalsmith became widespread.  It is important to notice that most prominent features in the life of St. Eligius can be seen both as indications of sanctity and the best professional characteristics of a good goldsmith. In the goldsmith's trade, skills were as important as reliability, as Adam Smith notices in Wealth of Nations: “The wages of goldsmiths and jewelers are every-where superior to those of many other workmen, not only of equal, but of much superior ingenuity; on account of the precious materials with they are intrusted”.[xxx]   Eligius is praised for both qualities. From his biography, we can see how important this reliability of his goldsmith was, for the king to become Eligius' protector: "The king gave Eligius a great weight of gold.  Eligius began the work immediately and from that which he had taken for a single piece of work, he was able to make two. Incredibly, he could do it all from the same weight for he had accomplished the work commissioned from him without any fraud or mixture of siliquae, or any other fraudulence. Not claiming fragments bitten off by the file or using the devouring flame of the furnace for an excuse."[xxxi] The portrait Saint Eligius by Petrus Christus is a fine example of the “occupational portrait”, describing a goldsmith's shop, the only religious connection being the halo and the fact than the saint is the patron of the guild.The moneychanger and his wife: from scholastics to accounting,
by Manuel Santos Redondo
Context:  About the artist: Petrus Christus 1420-1472/73, Bruges
Born in Baerle, a village in Brabant, in the early 1400s, PetrusChristus came to the bustling, cosmopolitan city of Bruges in 1444, when he purchased citizenship. His earliest extant works date from around 1445. They are deeply influenced by the supersharp delineations of Jan van Eyck. It used to be thought that Christus studied with Jan, but it is now known that he arrived in Bruges too late to have had any direct encounters with the master. Nevertheless, the many copies he made of Jan's work (several of which are included in this exhibition) suggest that he had access to Jan's workshop after his death.Exhibition notes. by Roger Kimball New Criterion, May94, Vol. 12 Issue 9, p55, 2p  HTML Full Text

Study with me here:  https://www.udemy.com/user/kenneymencher/ 

Matthew Ivan Cherry

CAYCE ZAVAGLIA

"Southerly"

Exhibition Dates: May 3 - June 2, 2018

Opening Reception: Thursday, May 3rd, 6-8pm

MEET THE ARTIST: Saturday, May 5th, 2.30-4pm
Q & A with Cayce Zavaglia @ 3pm


Matt, 2018, Hand embroidery: Crewel wool on Belgian linen with acrylic background
19.25 x 30.5 in / 49 x 77 cm (framed)

[New York City] Lyons Wier Gallery is pleased to announce our forthcoming exhibition "Southerly" by Cayce Zavaglia.

For the past sixteen years, Cayce Zavaglia's work has primarily focused on documenting the members of her immediate and extended family. "Southerly" marks a departure from this practice and focuses instead on the life-long friendships that were formed when her parents immigrated to Australia in 1972.

In 2015, Zavaglia was the recipient of an Artist Fellowship with the Regional Arts Commission in St Louis. This generous grant allowed her to return to Australia and photograph these childhood friends and their families. The resulting work touches on the universal immigrant experience of friends assuming the roles of absent family members. Portraying these individuals provided Cayce with an opportunity to reflect on the evolving definition of the word "family" and pay homage to her adopted country.

Zavaglia has developed a technique which has been described as "Modern Pointillism," that allows her to blend colors and establish tonalities that truly resemble the techniques used in classical oil painting. The direction in which the threads are sewn mimic the way brush marks are layered within a painting which, in turn, gives the allusion of depth, volume, and form. Her stitching methodology borders on the obsessive. This system allows her to visually evoke painterly renditions of flesh, hair, and cloth. Each portrait is hand sewn in wool and continues her investigation into the notion of "embroidery as painting" and her ongoing interest in both hyper-realistic portraiture and process.
 
Cayce Zavaglia holds a BA in Painting from Wheaton College (1992) and a MFA from Washington University in St. Louis (1998). She has exhibited with Lyons Wier Gallery since 2008 and "Southerly" marks her 6th solo show with the gallery. She was the 2013 recipient of the Great Rivers Biennial and mounted her first museum solo exhibition "Recto/Verso" at the Contemporary Art Museum St. Louis in 2014. Her work is included in numerous private collections and has been acquired by the West Collection, the University of Maine, Museum of Art, and the 21c Museum Hotels Collection and profiled in national publications such as Elle Décor, Surface Design Magazine, Fiber Arts Magazine and New American Paintings. Cayce Zavaglia lives and works in St. Louis, Missouri.


Sandra, 2018, Hand embroidery: Crewel wool on Belgian linen with acrylic background
16 x 25.25 in / 41 x 64 (framed)
 


Roland (front & verso detail), 2018, Hand embroidery: Crewel wool on Belgian linen with acrylic background
16 x 25.25 in / 41 x 64 (framed)

Tennyson (detail), 2018, Hand embroidery: Crewel wool on Belgian linen with acrylic background            
23.75 x 20.75 in / 24.75 x 21.75 in (framed)


Julie (front & verso detail) 2018, Hand embroidery: Crewel wool on Belgian linen with acrylic background
 18.5 x 17.25 in / 19.5 x 18.25 in (framed)

For more information & preview images, please contact:
 
Lyons Wier Gallery
Tel: +1 212 242 6220

Gallery Hours: Tues - Sat, 11am-6pm

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Lyons Wier Gallery, 542 West 24th Street, New York, NY 10011

Thursday

Queer|Art|Mentorship Announces 2018-2019 Mentors:View this email in your browser

QUEER|ART|MENTORSHIP

ANNOUNCES NEW MENTORS

FOR 8TH YEAR OF PROGRAM

 

Queer|Art is pleased and excited to announce the new Mentors for the 2018-2019 Queer|Art|Mentorship program. Applications for the 2018-2019 QAM Program Cycle will open on May 12th, 2018 so mark your calendars!
Now in its eighth year, Queer|Art|Mentorship supports a year-long exchange between early-career and advanced-career LGBTQ artists and curators working together in pairs and as a class. This year’s program includes an incredible lineup of Mentors working in five different fields of artistic practice: Film, Literature, Performance, Visual Art, and Curatorial Practice. 

 
Film

Elisabeth Subrin is an award-winning writer, director and video artist. Her critically acclaimed first feature, A Woman, A Part was released theatrically in 2017. Subrin is also an internationally acclaimed video and installation artist whose work has been exhibited at The Museum of Modern Art, The Whitney Biennial, The Institute of Contemporary Art in London, The Guggenheim Museum, The Venice Viennale, and Harvard Film Archives, among others.

Frédéric Tcheng is a civil engineer turned filmmaker. Originally from France, he holds an MFA in Film Directing from Columbia University. He co-produced and co-edited Valentino: The Last Emperor, co-director of Diana Vreeland: The Eye Has To Travel, and his directorial debut, Dior and I, was released internationally in 2015 to critical and public acclaim.


Literature

Che Gossett is a trans femme writer, an archivist at the Barnard Center for Research on Women and a PhD candidate in trans/gender studies at Rutgers. They are the recipient of the 2014 Gloria E. Ánzaldúa Award from the American Studies Association, a Radcliffe research grant from Harvard University, the 2014 Sylvia Rivera Award in Transgender Studies from the Center for Gay and Lesbian Studies at the City University of New York, and the 2014 Martin Duberman Research Scholar Award from the New York Public Library. 

Charles Rice-González, born in Puerto Rico and reared in the Bronx, is a writer, long-time community and LGBT activist, and co-founder of BAAD! The Bronx Academy of Arts and Dance. His debut novel Chulito (Magnus Books 2011) has received nearly a dozen awards including a 2013 Stonewall Book Awards - Barbara Gittings Literature Award Honor from the American Library Association. 


Performance

Mashuq Mushtaq Deen is an award-winning, queer theater artist and a resident playwright at New Dramatists (class of 2022). His newest production “Draw the Circle” performed at Mosaic Theater and Rattlestick Theater. He is a MacDowell Colony's Arch and Bruce Brown Fellow (2015-16), and a New York Foundation for the Arts Fellow. 

David Thomson, a native New Yorker, has primarily worked as a collaborative performer/creator in the fields of music, dance, theater, and performance. Thomson is a Bessie Award-winning artist for Sustained Achievement (2001), a 2012 US Artist Ford Fellow, a NYFA Fellow in Choreography, and a Yaddo, MacDowell and Rauschenberg Fellow.


Visual Art

Nancy Brooks Brody is a visual artist, whose work spans across media and materials, including painting, drawing, sculpture, and more recently site specific interventions. Her work is in the permanent collections at MOCA, Los Angeles as well as Trafic FRAC Haute-Normandie, Rouen, France and Fonds National d'Art Contemporain, FNAC Paris, France. Committed to social justice and activism, she was a member of ACT UP and is a founding member of the collective, fierce pussy.

C. Finley is the curator of the Whitney Houston Biennial, which recently completed its second iteration. As an artist, Finley is known for her elaborate geometric paintings, skillful use of color, and her activism through street art. Previous projects include Wallpapered Dumpsters which has been featured in the New York TimesLa Repubblicathe Huffington PostNYLON MagazineDazed, and Women’s Wear Daily


Neil Goldberg makes video, photo, mixed media, and performance work that focuses on embodiment, sensing, mortality and the everyday. This work has been exhibited at venues including The Museum of Modern Art (permanent collection), The New Museum of Contemporary Art, The Museum of the City of New York, The Kitchen, and The Hammer Museum. 


Curatorial Practice

Nelson Santos is an artist, curator, designer, and the former Executive Director of Visual AIDS, a non-profit arts organization that utilizes art to fight AIDS and supports artists living with HIV/AIDS. While at Visual AIDS (2000-2017) he curated Video Positive, The Bronx Museum, NY; Go Figure, LGBT Center, NY; Robert Blanchon + Stephen Andrews, Miami Dade Art Gallery, FL; Between Ten, Spin Gallery, Toronto, and co-curated Sight of Constructions with Michael Gonzalez. 


What is Queer|Art|Mentorship?

Queer|Art|Mentorship supports a year-long exchange between early-career and advanced-career LGBTQ artists living in New York City - working together in pairs and as a class across five fields of creative practice (Film, Literature, Performance, Visual Art, and Curatorial Practice). Fellows apply with a specific project they would like to work on during the program and meet with their Mentors monthly to discuss their progress. Fellows also meet each month as a group. In this way, the program nurtures exchange between artists at all levels of their careers and works against a natural segregation between generations and disciplines. At the culmination of the program, each fellow participates in a special exhibition that showcases the progress of their project. The program begins in October and ends in November of the following year. 


What Kind of Fellows Are We Looking For?


We seek Fellows who:
·    Work within at least one of the following artistic fields: Film, Literature, Performance, Visual Art, or Curatorial Practice
·    Self-Identify as queer, gay, lesbian, bisexual and/or transgender
·    Are New York City-based
·    Are not currently enrolled in school or university
·    Are Early-Career and professionally focused
·    Have a specific project they’d like to work on with a mentor during the 2018-2019 Mentorship cycle. (Note: The project application requirement for Fellows in Curatorial Practice is as a curator-in-residence. See below.)

Most importantly, we are looking for artists and curators who have an extraordinary potential for engagement in queer and artistic communities and would gain from, and add to, interaction with others.

Beginning with the 2018-2019 cycle of Queer|Art|Mentorship, prospective Fellows in Curatorial Practice will apply to participate as a curator-in-residence during the program. As such, they can expect to engage with their peers working in Film, Literature, Performance, and Visual Art and take a leading role in the curatorial process for organizing the annual public exhibition at the culmination of the program. Working closely with their Mentor and Queer|Art staff, Curatorial Fellows, under this new model, gain important experience working with artists across different fields of creative practice and will have completed the planning and production of an exhibition, live event, and accompanying publication as a guaranteed outcome of their fellowship.



What Is The Timeframe?

Applications open: May 12, 2018
Intent to Apply Deadline: June 12, 2018
Application Deadline: July 18, 2018
Program Begins: October 2018


Each Mentor chooses the Fellow they will be working with during the program. Applicants selected to participate in the program receive year-long support (October 2018-September 2019) with once-a-month meetings with their Mentor. Fellows also meet monthly as a group, further engaging with a community of artistic peers across disciplines. 

Please go to www.queer-art.org/mentorship for more information about the program, Mentors, and application instructions.
 

Copyright © 2018 Queer|Art, All rights reserved.
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ARTS JOBS

Seeking employment in the arts? Whether you're an actor or administrator, conductor or curator, soprano or secretary, your next job may be listed here. You can sort these postings by deadlinedate postedcounty or job type.
Note: Our database assigns an arbitrary deadline of January 1 of next year to Arts Jobs submitted with no deadline. Don't delay in applying.
Looking to hire? Post an arts-related job. 
Disclaimer: Public submissions are reviewed and posted to the California Arts Council website on a weekly basis. If your listing has not been published within 5 business days of submitting your information, contact Wendy Moran at wendy.moran@arts.ca.gov to check the status of your post. The California Arts Council screens submissions for any spam or solicitous material, but does not endorse and cannot guarantee the accuracy or authenticity of any user-submitted content. 
 
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Turnaround Arts: California
Culver City
04-30-2018
Los Angeles Philharmonic Association 
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04-30-2018
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04-30-2018
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San Francisco
04-30-2018
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Pomona
04-30-2018
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Los Angeles
04-30-2018
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Ketchum, ID
04-30-2018
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San Francisco
04-30-2018
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San Francisco
04-30-2018
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San Francisco
04-30-2018
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Los Angeles
04-30-2018
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Los Angeles
04-30-2018
Plamu Art Academy
Irvine
04-30-2018
MUSE/IQUE
Pasadena
04-30-2018
Cornerstone Theater Company
Los Angeles
04-30-2018
Yerba Buena Center for the Arts
San Francisco
04-30-2018
Kronos Quartet/Kronos Performing Arts Association
San Francisco
04-30-2018
Los Angeles Theatre Center
Los Angeles
05-01-2018
Antenna International
San Francisco
05-01-2018
Museum of Contemporary Art Santa Barbara
Santa Barbara
05-01-2018
Todd Hido Studio
Oakland
05-02-2018
The Wende Museum of the Cold War
Culver City
05-02-2018
The Actors' Gang
Culver City
05-02-2018
Washed Ashore
Bandon, OR
05-03-2018
Contemporary Artist
Los Angeles
05-04-2018
Go For Broke National Education Center 
Los Angeles
05-04-2018
Los Angeles County Metropolitan Transportation Authority
Los Angeles
05-07-2018
San Diego Art Institute (SDAI)
San Diego
05-07-2018
Los Angeles Modern Auctions
Los Angeles
05-08-2018
Grand Central Art Center
Santa Ana
05-11-2018
Asian Art Museum
San Francisco
05-11-2018
Destiny Arts Center
Oakland
05-11-2018
Community Music Center
San Francisco
05-11-2018
California Institute of the Arts
Valencia
05-13-2018
Dramatic Results
Long Beach
05-13-2018
La Jolla Music Society
La Jolla
05-15-2018
Education Through Music-Los Angeles
Burbank
05-16-2018
Los Angeles Philharmonic Association
Los Angeles
05-16-2018
San Diego Repertory Theatre
San Diego
05-18-2018
Resounding Joy / MusicWorx
San Diego CA
05-21-2018
Alonzo King LINES Ballet
San Francisco
05-25-2018
Alonzo King LINES Ballet
San Francisco
05-25-2018
Alonzo King LINES Ballet
San Francisco
05-25-2018
Marbella Villas
Desert Hot Springs
05-31-2018
Cantor Arts Center at Stanford University
Stanford
05-31-2018
U.S. Arts & Design
Rowland Heights
05-31-2018
Pacific Chorale 
Costa Mesa
05-31-2018
Performing Arts Workshop
San Francisco
05-31-2018
SCI-Arc (Southern California Institute of Architecture)
Los Angeles
05-31-2018
Pasadena Playhouse
Pasadena
05-31-2018
Grand Performances
Los Angeles
05-31-2018
SCI-Arc (Southern California Institute of Architecture)
Los Angeles
05-31-2018
SCI-Arc (Southern California Institute of Architecture)
Los Angeles
05-31-2018
CalWest Educators Placement
Los Angeles
06-01-2018
InConcert Sierra
Nevada City
06-01-2018
LUX Art Institute
Encinitas
06-01-2018
Luna Dance Institute
Berkeley
06-01-2018
Venice Arts
Venice
06-01-2018
Museum of Humanity Los Angeles (MOHLA)
Los Angeles
06-10-2018
Yerba Buena Center for the Arts
San Francisco
06-15-2018
Los Angeles Philharmonic
Los Angeles
06-19-2018
CSMA
Mountain View
06-25-2018
University of California, Los Angeles
Los Angeles
06-30-2018
zSharp
Oakland
07-31-2018
zSharp
Richmond
08-01-2018
Muckenthaler Cultural Center
Fullerton
08-31-2018
Satsuki Shibuya Studio
Rancho Palos Verdes
09-30-2018
Streetside Stories
San Francisco
10-01-2018
Montalvo Arts Center
Saratoga
12-31-2018
California College of the Arts
Oakland
12-31-2018