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savage-kult-of-gorthaur · 28 days

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THE RISE OF ANDYMANIA -- CLASS OF '65.

PIC(S) INFO: Spotlight on the opening of Warhol's first museum show at the Institute of Contemporary Art in Philadelphia on October 8, 1965, and reportedly the moment that Warhol, and America, realized that Andymania might rival Beatlemania as a pop culture phenomenon. The ICA audience was more interested in him than in the Flowers and Green Stamps that covered the walls. 📸: Steve Schapiro.

PIC #2: Andy Warhol photographed at the 47th Street [Silver] Factory in front of "Flowers" silk screen prints, holding a light cord, NYC, c. 1964. 📸: Bob Adelman.

Sources: www.blind-magazine.com/stories/andys-pop-life & Vanity Fair Magazine.

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theoffingmag · 2 months

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Amy Yao’s Doppelgängers (2016), a structure that combines pearls, rice, and plastic imitations of both, considers how observation alone is not always able to identify authenticity from verisimilitude. It challenges the viewer to gaze at the mound and question whether they are looking at the true object, imitations of the object, or whether that even matters to begin with.

Individual Collectivity: Scratching at the Moon at ICA Los Angeles

#art #art writing #art criticism #amy yao #asian american artists #aapi #scratching at the moon #institute of contemporary art #los angeles #dylan kaposi #the offing

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theesirrichard · 4 months

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Museums offer opportunities for great, pensive, candid moments.

#canonshooter #photography #canon #photographer #museums #institute of contemporary art #Boston #contemporary art #art #massachusetts #newengland #planet earth #black photographers

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happywebdesign · 1 year

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https://www.icasf.org/

#ICA SF #Institute of Contemporary Art #San Francisco #visit #exhibitions #calendar #art #typography #type #typeface #font #Söhne #2023 #Week 03 #website #web design #inspire #inspiration #happywebdesign

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gingit-cake · 2 years

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Mickey Milkovich greeting card line.

#shameless #mickey milkovich #gallavich #Gallavich IRL #ian x mickey #siteseeing #boston #ICA #institute of contemporary art

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letters-from-a-lily · 10 months

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A collection of the postcards I got in Boston last year

#isabella stewart gardner museum #institute of contemporary art #postcrossing #postcards #postcard #pen pals #penpals #penpal #pen pal #my postcards #my penpals #snail mail #snailmail #snail mail revolution

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brittkinch · 1 year

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#boston #massachusetts #spring 2023 #ica #institute of contemporary art #icaboston #ica boston #happy bday me

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akidwithball00ns · 1 year

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Institute of Contemporary Art

#akidwithball00ns #art #boston #ICA #Institute of Contemporary Art #day trip #pictures #muse aesthetic #museum #animation

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garadinervi · 1 month

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From: Ruby Sky Stiler: ‘Inherited & Borrowed Types’, Text by Sara Greenberger Rafferty, Designed by Jiminie Ha, Portland Institute for Contemporary Art / Publication Studio, Portland, OR, 2010, Printed by Dynagraphic, Portland, OR [© Ruby Sky Stiler]

Group Exhibition: Human Being, Curated by Kristan Kennedy, Portland Institute for Contemporary Art, Portland, OR, September 10 – October 17, 2010

#graphic design #art #visual writing #visual poetry #pattern #mixed media #exhibition #catalogue #catalog #cover #ruby sky stiler #sara greenberger rafferty #kristan kennedy #jiminie ha #publication studio #portland institute for contemporary art #oregon #2010s

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boyhood · 8 months

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Hey quick question for a project I'm doing for work: do American children read Beatrix Potter??????? I am American and was a child but my family is from Cumbria so idk what the general experience is

#pls help #i'm talking about butchery to seniors and 4th graders in a really normal and cool and normal educational way #because i work for a contemporary art institution #i guess????#anyway you know the crime rabbit or what

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theaskew · 3 months

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Odilon Redon (French 1840-1916), Guardian Spirit of the Waters, 1878. Charcoal and chalk on paper, 46.6 × 37.6 cm. |18 3/8 × 14 13/16 in. (Source: Art Institute of Chicago)

#art #artwork #modern art #contemporary art #modern artwork #contemporary artwork #French art #French artist #symbolism #Art Institute of Chicago #Odilon Redon

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theoffingmag · 2 months

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Individual Collectivity: Scratching at the Moon at ICA Los Angeles

Contrasting with the video art, a table displays an array of domestic objects which are arranged in an orderly cluster, documenting the subjects of a plethora of images that Amanda Ross-Ho found in her father’s own photography portfolio. The work, Untitled Prop Archive (THE PORTFOLIO) (2024) combines found objects with fabricated ones, placed on a table that imitates that which she remembers from her childhood home. Beyond the sculptural work is a large lightbox containing a water-damaged image of Ross-Ho’s father, who practiced as a photographer in a commercial photography studio, standing behind an arrangement of boxes containing laundry detergent and trash bags, at work. The striking image is framed in such a way that it looks almost as if he is sitting at the table, presiding over all the domestic goods that he once photographed. Ross-Ho’s work, much like the rest of the exhibition, evokes a sense of vulnerability, domesticity, and intimacy.

Image: Installation view of Scratching at the Moon, Institute of Contemporary Art, Los Angeles, February 10–July 28, 2024. Photo: Jeff McLane / ICA LA

#art #art writing #art criticism #photography #amanda ross ho #asian american artists #scratching at the moon #institute of contemporary art #los angeles #dylan kaposi #the offing

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longlistshort · 6 months

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Kimowan Metchewais, “Cold Lake Fishing”, 2004/06

Koyoltzintli, “Gathering Roots” and “Spider Woman Embrace”, Abiquiú, New Mexico, 2019, from the series MEDA, 2018/19, Archival pigment print

(Alan Michelson “Hanödagayas (Town Destroyer): Whirlwind Series”, 2022 Archival pigment prints and “Pehin Hanska ktepi (They Killed Long Hair)”, 2021 Single-channel video installation: wool blanket and video projection; 1:05 minutes (looped), no sound)

Currently at the USF Contemporary Art Museum is Native America: In Translation curated by Wendy Red Star and organized by Aperture. The work included offers viewers a chance to discover new perspectives on the Native American experience.

From the museum- “The ultimate form of decolonization is through how Native languages form a view of the world. These artists provide sharp perceptions, rooted in their cultures.” —Wendy Red Star

Native America: In Translation assembles the wide-ranging work of nine Indigenous artists who pose challenging questions about identity and heritage, land rights, and histories of colonialism. Probing the legacies of settler colonialism, and photography’s complex and often fraught role in constructing representation of Native cultures, the exhibition includes works by lens-based artists offering new perspectives on Indigenous identity, reimagining what it means to be a citizen in North America today.

Works included in the exhibition address cultural and visual sovereignty by reclaiming Native American identity and representation. Honoring ancestral traditions and stories tied to the land, Koyoltzintli (Ecuadorian-American, b. 1983) reflects on how the landscape embodies traditional knowledge, language, and memories. Nalikutaar Jacqueline Cleveland’s (Yup’ik, b. 1979) photographs of contemporary tribal communities in western Alaska document Native foraging and cultural traditions as a form of knowledge passed through generations. Revealing stories of trauma and healing, Guadalupe Maravilla (American, b. El Salvador, 1976) communicates autobiographical and fictional narratives informed by myth and his own migration story.

Expanding Indigenous archives and collective memory through photographic means, works by the late artist Kimowan Metchewais (Cree, Cold Lake First Nations, 1963–2011), drawn from his personal archive of Polaroid photographs, construct self-realized Native imagery challenging the authority of colonial representation. Excavating repressed colonial histories of invasion and eviction, Alan Michelson (Mohawk, Six Nations of the Grand River, b. 1953) reinterprets and repositions archival material to redress history from an Indigenous perspective. Marianne Nicolson’s (Musgamakw Dzawada’enuxw First Nations, b. 1969) light-based installation projects Dzawada’enuxw tribal symbols of authority and power onto colonized spaces to contest treaties that imposed territorial boundaries on Indigenous lands. Duane Linklater (Omaskêko Ininiwak from Moose Cree First Nation, b. 1976) reconfigured the pages sourced from a 1995 issue of Aperture, featuring Indigenous artists, creating space for artistic improvisation and reinvention across generations.

Reflecting on performative aspects of Indigeneity and the colonial gaze, Martine Gutierrez’s (American, b. 1989) series of photographs reinterpret high-fashion magazine spreads with a revolving roster of identities and narratives to question Native gender and heritage. Working across performance and photography, Rebecca Belmore (Anishinaabe, Lac Seul First Nation, b. 1960) creates powerful reenactments of past performances incorporating organic materials that reference knowledge, labor, and care of the Earth in defiance of state violence of Indigenous people.

This exhibition closes 12/1/23.

Rebecca Belmore, “matriarch”, 2018, and “mother” from the series “nindinawemaganidog (all of my relations)”, 2018, Archival pigment prints

Photos by Rebecca Belmore and Installation by Marianne Nicolson

Marianne Nicolson’s installation detail

Nalikutaar Jacqueline Cleveland, “Molly Alexie and her children after a harvest of beach greens in Quinhagak, Alaska”, 2018 and “There are two main Yup’ ik names for crowberries or blackberries in Alaska, “paunrat” and “tangerpiit””, 2017, Archival pigment prints

Guadalupe Maravilla, “I Crossed the Border Retablo”, 2021, Oil on tin, cotton, glue mixture, wood

Duane Linklater, “ghost in the machine”, 2021, Archival pigment prints

Martine Gutierrez, “Queer Rage, Dear Diary, No Signal During VH1’s Fiercest Divas”, and “Queer Rage, THat Girl Was Me, Now She’s A Somebody”, 2018. digital chromogenic print

One of Kimowan Metchewais’ polaroids from the slide show

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arthatred · 6 months

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Cy Twombly.

#Cy Twombly #Art #Art History #The Art Institute of Chicago #Contemporary Art

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arthistoryanimalia · 1 year

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#TwoForTuesday for #BeKindToSpidersWeek: #pleasenosquish:

Pablo Picasso (1881-1973) The Spider (L'Araignée), plate facing page 144 from Eaux-fortes originale pour des textes de Buffon (Histoire naturelle) made 1936, published 1942 aquatint, sugar lift etching, scraping, and drypoint on ivory laid paper image: 31 × 22.5 cm (12 1/4 × 8 7/8 in.); sheet: 36.8 × 27.7 cm (14 1/2 × 10 15/16 in.) Art Institute of Chicago

2. Paloma Picasso (b. 1949) for Tiffany & Co spider brooch, late 20th century 18k gold, diamonds, tourmaline, onyx (some sources list this as black jade) W 1.57 in (39.88 mm) x D 0.35 in (8.89 mm) x L 1.53 in (38.87 mm) 1st Dibs

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collectionarchive · 1 year

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by Win McCarthy

source: collectionarchive.tumblr.com

#Win McCarthy #kw #kw institute for contemporary art

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