#expirementing with watercolor backgrounds

[pricklenettle]

#danny phantom #dp #my art #sam manson #sam’s greenhouse #expirementing with watercolor backgrounds #i’m still learning

[lune-redd]

Mushroom Kingdom

#mario #super mario #super mario bros #super mario brothers #smb #mushroom kingdom #nintendo #enviroment art #art #my art #fanart #watercolor #watercolour art #dont often do full backgrounds so this was a neat lil expirement

[medictonki]

Filter forge license key

#Filter forge license key license key#

It provides thousands of photo effects - cartoon and watercolor effects, frames, distortions, glitches, sketches, and more to create textures, to make visual effects while enhancing your image quality.

#Filter forge license key license key#

release license key that was recently sent to you in a separate email. Unique portrait application used for modifying photos. We have excellent news: the final version of Filter Forge 9.0 has been released. The license type of the downloaded software is shareware. A Filter Forge Professional Edition lifetime upgrade license lets you pay only once and automatically receive the license key for each new version released. Free & fast downloader (more info) Always available Tested virus-free You might also be interested in. If you are having problems registering, please contact our support team via our contact form. Copy and paste or type your license name and license key. Select Help > Enter License Key from the main menu (or, if the trial version has already expired, click the 'Enter License Key' button in the pop-up window). The key features of Filter Forge include a visual filter editor and a free online library of user-created filters to which anyone can contribute. This tool allows you to use many built-in filters to create your own tools. The contents of the download are original and were not modified in any way. Open the email containing your license name and license key. Filter Forge is a high-end plugin for Adobe Photoshop allowing computer artists to build their own filters seamless textures, visual effects, distortions, patterns, backgrounds, frames, and more. Filter Forge Pro is a powerful tool that is built to help users edit images.

#Filter forge license key

[explorer-of-art]

amy in the 雨

clipstudio paint clippy points are expiring at the end of the month so i ran around buying brushes. the rain in the background comes from this brush

im happy with using the watercolor brush over the umbrella and all the colors

#sonic #sonic the hedgehog #sth #amy rose #my art

[mostlysignssomeportents]

#12yrsago Gigantic Little Nemo book does justice to the loveliest comic ever

I just bought a copy of the astonishing Little Nemo in Slumberland: So Many Splendid Sundays, the single largest book I've ever owned, and quite possibly the most enchanting.

So Many Splendid Sundays collects 110 of the full-page Sunday color newspaper strips from Winsor McKay's Little Nemo in Slumberland, published at their original full size -- 16 inches by 22 inches (this is more than a coffee-table book, in other words: add four legs and it could be a coffee-table).

It's the first time I've ever seen Little Nemo pages at the size they were published, back at the turn of the 20th century, and it's also the first time I've ever really gotten Little Nemo.

These strips, orginally published in breakfast-table-hogging broadsheets, were watercolor masterpieces, huge paintings that depicted the weekly dreamland adventures of Little Nemo, tripping through fantastic, surreal worlds that  McKay brought vividly to life. Each page ends with a charming corner panel in which Nemo's mother wakes him for school, making Slumberland vanish.

I've seen them reproduced at generous (but smaller) sizes, and they always seemed a little goofy and uninteresting. I just couldn't figure out what all the fuss was about. But when I opened a copy of the mammoth Splendid Sundays collection, the appeal of Little Nemo hit me like a shovel upside the head. Once you've seen Little Nemo at full size, you'll get it too: as generous, gentle, beautiful and wildly imaginative paintings.

These 110 strips were chosen by Nemo collector Peter Maresca, who scanned and digitally restored them, a true labor of love. He left the backgrounds of each page slightly grey, lifting out the yellowing of age, but restoring that muted tone  of fresh newsprint. That single detail makes a tremendous difference, especially when combined with the generous page-sizes: you can't help but feel transported a century back in time when you see this.

At $120, this might be the kind of book you'd only think of getting as a gift for a  friend, and never treating yourself to, but you'd be cheating yourself. This is one $120 book that's worthy buying for your own enjoyment (though I can't imagine a better gift!).

Link

See also: Expirable copyright makes giant-sized Little Nemo possible

https://boingboing.net/2006/09/25/gigantic-little-nemo.html

[designgraphics]

Magical Watercolor Collection with extended license! $8

Exclusive 50% off on these amazing graphics! 4 big watercolor sets with 600+ graphics – illustrations, alphabets, backgrounds, textures, frames & patterns! Right now on Expiring SALE with code MWC8 in checkout just $8 (regular deal price $16)! Don't miss it.

Ending in 2 Days: Feb 23, 2019! { BUY NOW }

#watercolor #graphics #extended license #under $10 #watercolor collection #weddings.

[kristanni-20x6]

CHRISTMAS/NEW YEARS SALE. LAST CHANCE TO GET A DISCOUNT UNTIL IT EXPIRES TOMORROW

- I can do fanart, OCs and the like. However, I can’t do anything that super complex (ie. Transformers) or anything hyper realistic (mainly of people, though still life could be okay). Examples can be found on my DA and tumblr

- I can also do SFW and N.SFW. Please do ask me about fetishes. Most fetishes do not bother me but ask anyways so then we can negotiate about it (unless the fetish really turns me off)

- For backgrounds, there’s a no/simple background option (left picture) and a complex background option (right picture) Simple backgrounds can range from a simple wall and floor setting, patterns with geometric shapes, gradients, etc. and complex background includes any outside settings (including fields), inside of a cafe, a school, and any other related backgrounds. If you’re unsure if the background you want is simple or complex, go ahead and ask me.

- In my previous commission sheet, I offered that characters can be drawn in a watercolor format. This option is no longer available. Reason being is that my strengths with watercolors lie more in backgrounds such as outdoor settings (as seen with the picture with the giraffes) rather than with characters and I don’t want to offer a subpar product.

- For extra characters, two extra characters are allowed in a piece. However, this may or may not change in the future

- Lineart with two or more different colors constitutes as multicolored lines and adds 2 dollars to the total price of the pic. This does not apply to lineart with a single color other than black/dark brown/dark gray.

- You must pay me first before I start on your commission. However, if I run into some sort of issue with your commission, we can talk about giving you a partial or full refund. I’ll try to keep you in the loop of things and update you

- I will ask you for your full birthdate to verify that you’re over 18 if you’d like to purchase a N.SFW commission. If I find out that you’re underage, you will not be able to purchase one until your 18th birthday.  

- Prices are in US dollars and I only accept Paypal. My paypal is kristanni20x6 @ comcast . net (without the spaces of course)

- When in doubt about if I’m able to do a commission, feel free to ask me. I’ll be more than happy to answer them.

-Be sure to have spare money to cover for the Paypal fee. This will be stated when I give you your price.

Want to purchase other items from me? My store is here: https://kristanni-geek-store.tumblr.com/

Want to help me out financially but don’t have enough for a commission, buy me a coffee at ko-fi! Link to my ko-fi is here.

The comcast email is still active for paypal payments. However, if you want to contact me via email, please contact me at kristanni20x6 @ gmail . com.

#commissions

[wallpapernifty]

24 Reasons Why You Shouldn’t Go To Purple Morning Glory On Your Own | Purple Morning Glory

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The post 24 Reasons Why You Shouldn’t Go To Purple Morning Glory On Your Own | Purple Morning Glory appeared first on Flower Nifty.

from Wallpaper Nifty https://www.flowernifty.com/24-reasons-why-you-shouldnt-go-to-purple-morning-glory-on-your-own-purple-morning-glory/

#purple flower #purple morning glory flower #purple morning glory invasive #purple morning glory lsa

[bohemehqs]

✳︎ ˙ ∙  time to pop some champagne — you’ve just been signed DORIT, JAE-SUNG, & ALEKS  ! step into my office & we’ll talk details. you have 24 hours to look over your contract before our offer expires.  ╱  DANIELLE CAMPBELL, CHOI SOO-BIN, & KASHIMIZAVR.

✳︎ ˙ ∙ ( DANIELLE CAMPBELL ) retrieving data on DORIT RUNA ST. MARTIN … they’re a FINE ARTIST / CHILDREN’S BOOK ILLUSTRATOR  in the ( TALENT ) division & have been since JUNE 2018. they left UPPER EAST SIDE, NEW YORK behind for this bc ( children’s books stopped her from feeling isolated due to her crippling shyness & hearing loss ).they identify as cis-female + demisexual, go by SHE HER, & turned twenty-one last february 19th. i heard they have a bit of a SELF-DEPRECIATING + NIAVE streak, but they can be really UNCOMMONLY KIND + INQUISITIVE. you’ll often find them ( knitting octopuses ) or at ( central park ) when they aren’t working. their WORK THAT WATERCOLOR playlist is their go-to, probably bc of south london forever by florence + the machine. BUZZ! hey, look, they just tweeted: “clouds are like people. everyone sees something different looking at them.“

✳︎ ˙ ∙ ( CHOI SOO-BIN ) retrieving data on JAE-SUNG GOK … they’re an ACTOR in the ( TALENT ) division & have been since november 2018. they left BUSAN, SOUTH KOREA behind for this bc ( he had already made a name for himself in parts of korea, his next step was america ). they identify as cismale + pansexual, go by HE / HIM, & turned 19 last OCTOBER. i heard they have a bit of a DECEPTIVE + SCATTERBRAINED streak, but they can be really PASSIONATE + MELODIOUS. you’ll often find them ( GETTING HIGH AT THE NEAREST PARK AT NIGHT ) or at ( DISNEYLAND ) when they aren’t working. their CA$H MONEY playlist is their go-to, probably bc of the box by rody ricch. BUZZ! hey, look, they just tweeted: “i had to look behind me a couple times while driving bc i thought someone was in my car w me.. man, if someone doesn’t claim this jacket TODAY, im throwing it out— idc if it cost 300$”

SUBPLOT INFO: resort guest in THE RESORT.

[ k, she + her, pst ]

✳︎ ˙ ∙ ( KASHIMIZAVR ) retrieving data on ALEKS SOKOLOV … they’re a GUITARIST / BACKGROUND VOCALIST in the ( TALENT ) division & have been since august 2017. they left TEMPE, AZ behind for this bc ( they wanted to throw themselves into their music & get out of a normal life ). they identify as genderfluid + pansexual, go by HE/THEY/SHE, & turned 22 last DECEMBER 6TH. i heard they have a bit of a SELFISH + INSECURE streak, but they can be really PLAYFUL + CLEVER. you’ll often find them ( sitting in the recording studio ) or at ( THE TWILIGHT ROOM) when they aren’t working. their WHAT THE FUCK AM I DOING playlist is their go-to, probably bc of not on drugs by tove lo. BUZZ! hey, look, they just tweeted: “the fact that an old lady moved away from me on the subway because i was speaking russian on the phone is the best thing to happen to me because now i can manspread in victory”

SUBPLOT INFO: guitarist / background vocalist of no fun intended

[ l, he/him, est ]

#hi babes!!! #twitter rp #oc rp #talent rp #fame rp #accepted

[mysticsparklewings]

Velvety Birthday Cake

As a little thank you for all the birthday wishes; here's some art from me to you! :3 And oh boy, was this a wild time to make!  I mentioned in my 2019 Art Summary! that I wanted to do another custom Shopkin drawing to celebrate my birthday as I did with Birthday Wishes last year, and I...half-way stuck to that idea  I ended up going with a Num Nom instead of a Shopkin, as just like with that other Shopkin, until now I had only ever drawn 1-2 Num Noms on a dry erase board for fun, and also looking through the different Shopkins I was considering, none of the ones I picked out felt quite right. Then it occurred to me since the Num Nomes are more strictly food (more specifically sweets) oriented than Shopkins, that to be sure there was at least one red velvet option to choose from (since once again my birthday cake is to be of the velvety and red kind ). I was right! And in fact, I had a couple of different options to choose from. I ended up going with the series 4 Num, Velvety Cake, and "borrowing" the candle from the Birthday Polish-it Nom. (Although it occurs to me just now that I kinda didn't have to "choose" between the candle and Velvety's berries because the whole point of some of the series 4 Nums is that they have holes in the top for the Polish-it Nom tops to stick out of... Lesson learned for next time?) The main customizing I did here was, naturally, the berries from Velvety's design got taken out, partially for the sake of simplicity and I thought those and the candle would be too crowded, and also because, frankly, I don't think I'd want berries on a red velvet cake.  Even raspberries, and I generally really like raspberries. I'm just not much of a mix-fruits-into-baked-goods person. The other custom thing was making the...I assume cream cheese frosting because that's was everyone else and their mother pairs with red velvet...into chocolate frosting because that's what I prefer. (And highly recommend if you've never tried it! Red velvet is a derivative/cousin of chocolate cake, so the flavor profiles go together very nicely!) The thing about this drawing from start to finish that held me up the most was figuring out the mediums/textures to get and use correctly. Originally, I thought I'd use much more of the Faber Castell gelatos for this, but 1. I didn't have nearly the color selection I needed, and 2. Even if I had, the tips of them are bit chunky and difficult to get in exact spaces. I learned the latter point first-hand at the end when I went back to darken up the lines/rough edges on the chocolate frosting with one. I managed in the end, but it was much trickier than I had even imagined it would be. Speaking of those "rough edges," they're honestly where a lot of the problems came from. In addition to not having great solutions for how to get just the right texture for them (crayons ended up being my main source on that after the gelatos didn't pan out so well), I also had a hard time getting the right colors. Like I side, I don't have a huge color selection for the gelatos, and the crayons...well, despite having the full Crayola 152 set, there actually wasn't a ton of variety over there either, mostly because a lot of the crayons color out more pastel than they look, so you get a lot that look pretty same-y and too light. So I did have to supplement slightly by using color pencils in the lines too. Ten years later once I had the lines figured out though, then it was time to move out to actually coloring the thing, and this went slightly smoother since I had better-ish ideas of how I wanted to go about it. I'd decided to use a watercolor base on the body (all the pinky-red you see), then use alcohol marker as a base everywhere else, and supplement any shading as necessary with colored pencils. When I went in with the watercolor I tried to get some shading in and get a little of a "cake" texture; dots/holes. However, whatever I managed to do for texture ended up getting lost under the pencil shading later because the watercolor shading needed some serious help. Fortunately, my colored pencils were able to mostly salvage that. For some reason, the two sections farthest to the left came out slightly more pinky/purple, but there wasn't much I could do to fix that. Other than that though, after I went in with the pencils I was pretty happy with how the body was looking, if a little pink for red velvet, but in my defense, the official artwork is too. So then I did marker bases and basic shading for the candle, flame, frosting, and her eyes and mouth. The candle and her face were pretty straight-forward, aside from the mouth being simple gradients. The frosting was a bit trickier, given the way the shading goes and how I had to blend it out. Still, even that ended up working out better and more quickly than I anticipated. I did have to go back over my thick lines for the face with one of my markers to get it back to the proper hue after my colored pencils and the surrounding watercolor paled out/wore off the original lines pretty noticeably. And I was so nervous the whole time because I was using the brush tip and concerned that at any moment I might apply just a little too much pressure and ruin everything. But fortunately, that's not what happened. Then I went back to add the shine on the frosting, which took more patience. I'd put pencil on, blend it out, and repeat several times over before the shine was exactly how I wanted it. Naturally, the white accents on her eyes and a teeny tiny bit on her nose were done with white gel pen...not much else to say about that. Then it was time to do some sort of background. After some thought, I wanted to go with my PanPastels. And while I really wanted to do pink and yellow, I went in telling myself no, that it had to only be yellow because I physically can't get my pink one separated from the little tower to use it. (All five colors I have screw together into one cylinder and you unscrew the little tower to get the one you want; at some point, the pink was twisted on way too tight and now I can't get it off to save my life.) But after I did just the yellow...It was missing something. Then I got an idea and went digging through my old makeup. I ended up using a little of an old pastel pink eyeshadow and a blush, neither of which I think I've used in the last 2-3 years (and probably shouldn't at this point because makeup does expire, usually within a year or so) and blended some pink into the yellow, mostly on the corners. Which created this nice glowing effect and a really pretty shade of peach/orange. It's an unconventional "mixed media" method, but I'm so glad I tried it; makes me want to get more cheap eyeshadow & blushes just to use them as pastels!  (Although I'm pretty sure for fine art/art you're seeling the original copy of that's probably not the best thing to do since it's not made for that, but if you really wanted to...!) I couldn't decide where to sign it, so I added my signature, subtlely, in-post on the computer. Which was way more difficult than it should've been because my tablet is out of commission and I'm using a completely different set up that doesn't work anywhere near as well. But it's there and it's done. (However, once I get...some solution sorted out...I may update this piece so it's all a bit nicer, we'll see.) Unfortunately, I discovered that apparently, I hit some pink/purple/dark reddish-maroon colors that my scanner (or maybe computers in general?) can't pick up accurately, much like on I'm Not Dead. And you know what the kicker is? It was on the lines and rough edges where that happened! The parts I worked the hardest on! BOO!! >:( (And the shading on the frosting wasn't quite right, but that was slightly less concerning.) I think I managed to mostly fix it with the overlay trick I used last time, but it's still not quite right. :P But hey, it's still pretty cute, it's done, and I can move on with my life now.   Thank you again to anyone that's sent me birthday wishes or been kind enough to help out with the tablet situation I’ve been dealing with; it really means a lot and I can't put into words just how much I appreciate it all! You all are bright lights in a sea of darkness.   ____ Artwork © me, MysticSparkleWings ____ Where to find me & my artwork: My Website | Commission Info + Prices | Ko-Fi | dA Print Shop | RedBubble |   Twitter | Tumblr | Instagram

[joyousjordan]

how did you make your header?

I used a trial of Photoshop which has since expired, but it’s an overlay with a transparent background.

The font (FC Strawberry Frosting) and the watercolor overlay (Paper 27) I used are available in this collection on Creative Market, my literal fave website for graphics and fonts. 

#blog design #design #graphics #creative market #fonts #answered #Anonymous

[sacramentocadentist]

Do Hand Drawn Watercolor Logo

Do Hand Drawn Watercolor Logo

image 0

I will do hand drawn watercolor logo

do and lipstick, do handmade cards sell at craft fair, do hand pump wells freeze, do hindus wear turbans, do handyman need license in colorado, do hindus eat dairy, do handles like kyrie, do h and m tops run small, do hand lotions expire, do handles go up or down on a bureau, watercolor stock s & vectors find watercolor stock in hd and millions of…

View On WordPress

[jobsbyjoce-blog]

Coachella: Desert Highs and Valley Lows

I made it out of Coachella/Stagecoach in one piece, and that was not easy! Working as a payroll manager for the Resources department was a one of a kind experience that I will not be repeating. This was my first time working a music festival, and coming from a background of award shows I was in for a rough living & social experience.

The Festival  

Let’s be honest! The biggest perk of working this show is getting to pop into the festivals after work or on our lunch break! It was such a surreal experience.

The Highs Show days were always so high energy and good vibes. It was exciting to know that everything we were working for was coming together for an unforgettable experience for the guests. We got meal cards for free food on show days. I would constantly get mozzarella sticks and elote. Needless to say I gained weight out there, but what can I say – who turns down free festival food! I got to see some lit shows. My favorites were:

5. Lil Uzi 4. DJ Snake 3. Dillon Francis 2. Kendrick 1. Shania Twain

I was really blessed to be able to link up with some friends from high school and college throughout the different weekends of Coachella and Stagecoach. The moments where I could see familiar faces made life in the desert so much better.

The Lows As I mentioned before, there was lock down during show days, which made life so inconvenient. Also, the sounds of Lady Gaga kept me up on Saturday nights. I didn’t go see her performance but I could hear every note. I spent a lot of time by myself during the festival..well during my entire time at Coachella. So I feel like next time I go to a festival I want to be with my friends or family.

Living on Festival Grounds

The majority of the resources team was given on-site “housing” which was mental containers turned into bunks. We had A/C and bunk beds. I had one roommate, a girl from catering named Sam. The rest of the bunks were occupied by the guys I was supervising. The bathroom was about 30 feet from my room, and the showers were a bit closer. The showers were cold so I got a month long membership at a local 24-hour Fitness so I could work out then shower with some type of dignity.

The Highs I liked having a short commute to work. I would park by my bunk and just walk to the office. One of the manager recommended that I bring an air mattress which was a great piece of advice. I got to eventually bond with the other guys, although it was a slow start. Also, we had catered meals three times a day. The meals were always pretty good and I saved so much money on groceries.

The Lows I found out a majority of my management team (all but two of us) were living off site in a house with a pool and I got kind of bitter because I was bumming it by myself. A major issue I had was the security checkpoints throughout the festival grounds. Our bunks were located right by the concert site, so every time I left for breakfast, lunch, the gym, I would have to come back through a “truck stop” and get my car examined. Each security guard was different. Get out of the time, pop your trunk, open your glove box, show your wrist band. Quite a few times I would be turned away because my wristband was from the week before, or my parking sticker was expired and it was so miserable. I would have to call the other managers for assistance and a lot of time, they were too busy to be bothered. So living on site was something that made the entire experience really tough. On festival show days, Friday, Saturday and Sunday, they have “lock down” so that after 9 or 10pm you couldn’t re enter the grounds. So after work, if I wanted to work out or grab dinner I would have to be back before that time otherwise I would no be allowed inside until 2 or 3am.

The Desert

At first I thought, there really wasn’t going to be much to do in the desert but I was surprisingly wrong!

The Highs A few of my coworkers swooped me up on my day off to visit art installations called Desert X. They are art pieces located all around the desert by artists in hope to “amplify and articulate global and local issues.” ALSO, by the grace of God my friends from undergrad Laura & Cassie live in the desert. Who would have guessed! I met them at ACE Hotel Palm Springs and we caught a drag queen hosted trivia night. I spent the night with them a couple of times and it was just wonderful. And last but not least were the sunrises and sunsets. The silhouettes of palm tress against the watercolor sky was a view I really could not get enough of!

The Lows The heat and dust were the number one thing I couldn’t stand. I ended up with “Coachella Cough” fore a few days, as a consequence of forgetting to wear my bandana when I was out and about on the festival grounds.

The Job

As payroll coordinator I was helping manage and supervise our team of about 120 employees clock in/out, prepare their time sheets to be prepared and help with all things payroll. I also was helping deploy employees to different stations around the venue. Coachella is a 3 square mile area, so I would take a golf cart and pick up and drop off people when needed. I was on a management team of about 8 people, half were day shift, half were overnight. I had no overnight counterpart.

The Highs I loved the guys we worked with. They were so hardworking and many were down to earth and easy to talk to. I would help them fix their time sheets and chat with them while doing it. I really enjoyed getting to know the guys and what they do outside of Coachella. I really am ecstatic about having a management credit on my resume. I learned so much about respectful communication, problem solving, and budgets.

The Lows The biggest low of the job itself was that I was promised a certain amount of hours and weeks on this job, and because of poor planning prior to my start, my hours were cut severely. It was a huge learning experience—always negotiate and solidify your dates, rate and hours before you start a job. I was played very heavily because I was trying to be agreeable, however I walked away with about 50% less money than what the hire offer letter indicated I would be earning. As a freelance individual, I would have benefited by protecting myself and making sure I was going to leave with the money I expected to make. Watching my hours get cut due to “budget” things was really tough on my attitude. I want to do a good job, and I came to the desert to work, but many of my working hours turned into me taking naps or on the phone in my bunk.

That’s a summary of my time in Coachella Valley! I think festivals have their positives and negatives but overall I am grateful for the experience. Will I ever do this again?

 No.

#Music Festival #Coachella 2017 #Freelance #Payroll #Blogger

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Hyperallergic: The Greatest Biennial of All

The 2017 Whitney Houston Biennial (all photos by the author for Hyperallergic)

Three years ago, the Whitney Museum opened its last biennial in the Marcel Breuer building, a sprawling but largely inward-facing show that drew heavy criticism for its lack of diversity. Just a few days later, a one-night exhibition of 85 women artists popped up in a small studio space in Brooklyn. Though it wasn’t expressly positioned as a response to the Whitney Biennial, the Whitney Houston Biennial seemed to revel in inclusivity and, in that sense, felt like a rebuttal.

Now the 2017 Whitney Biennial has arrived in the museum’s new home, bringing it with both praise — for showcasing a more heterogeneous group of artists engaged with the world around them — and considerable critique — for hollow depictions of violence. Alongside it, the Whitney Houston Biennial has quietly made a return too, in a space run by Chashama just 1.5 miles from the main event and lasting for 10 days instead of four hours.

Nadja Verena Marcin’s cheeky video “How to Undress in Front of Your Husband” (2016), HD video, 13 mins

Artist and curator C. Finley founded the Whitney Houston Biennial, and she’s the organizer once again of the 2017 edition — with considerable help from a large group of women and queer folks. That part is important, because for her, the show is as much about art as it is about community and “creating connections” for the artists involved. “It encourages people,” she says of being included in the exhibition, especially students whose work is hung alongside art by the likes of Linda Mary Montano. For better or for worse, in the art world, “you get things by who you know. This is who we know.”

Francena Ottley, “Seat of Heritage” (2016), 26 x 15 in

As in 2014, that “we” seems to encompasses a genuinely broad spectrum of artists, though the one common factor among the 167 of them may be that they’re not household names (with Anne Carson and Justin Vivian Bond among the few exceptions). Walking through the show, which covers nearly every inch of wall space and a chunk of the floor — Finley calls this, fondly, “my crazy, salon-style weirdness” — I recognized work by some friends and acquaintances but spent most of my time appreciating all that was new. I paused for a while to look at and listen to Dominika Ksel’s haunting tribute to science fiction writer Octavia Butler, “Parable of Democracy” (2017), and watched, nearby, Nadja Verena Marcin’s cheeky video “How to Undress in Front of Your Husband” (2016). I pondered Patricia Dominguez’s intriguing prints in “The Museum of Seagulls” (2017) and marveled at a trio of pieces by Francena Ottley, including a miniature chair that appears to be made entirely of hair. I laughed many times, not least thanks to the Cake Butt Collective’s snappy “King Cake” video (2016) and Meegan Barnes’s clever sculpture “Peek-a-boo Versace Booty” (2016). Each participant was asked to pick a female-identifying “pioneer” who inspires them; those short response texts — on subjects ranging from Venus figures to famous artists like Lynda Benglis to a librarian in Havana to many people’s mothers — are included on the wall labels and make for a lot of interesting reading, if you’re inclined to do it.

It’s difficult to know what to make of a show like the Whitney Houston Biennial, where the sole determining factor for participating artists is their womanhood (Finley says applications were open to anyone who identifies as such). There’s a beauty to the diversity — of identities, media, and styles — but there’s also the feeling of a grab bag, plus the nagging question of whether it ghettoizes its participants. In 2014, the scrappy show blew into a stifled art world like a breath of fresh air; in 2017 and the days of Trump, there seems to be less distance between the Whitney and Whitney Houston (both literally and figuratively), and the latter, lacking any kind of unifying theme, risks not having enough of a clear purpose.

For Finley, the show’s value lies in the creation of a community, exposure for artists, and possible sales. I find myself agreeing — promoting the work of lesser-known women artists is always a social and hopefully an economic good. But I was also encouraged to hear that Finley wants, starting in 2019, to bring on younger curators, with an eye towards passing the biennial on to them to shape as they see fit. In a doggedly sexist world, the Whitney Houston Biennial remains necessary, but it’s still figuring out how to grow into a force of its own.

Installation view, 2017 Whitney Houston Biennial, with Angel Favorite’s “Intention Platform” in foreground

The Cake Butt Collective, “King Cake” (2016), video

Dominka Ksel, “Parable of Democracy” (2017), woven cotton, 80 x 60 in

Installation view, 2017 Whitney Houston Biennial

Jennifer Mack-Watkins, “Afro Hawk” (2011), silk screen, 26 x 35 in, and “Black Warhol” (2011), silk screen, 26 x 40 in

Above: Daniela Gomez Paz, “Tierra” (2016), melted fabric, expired pigments, tempera paint, crayons, found resin, and objects, 9 x 12 in; below: Megan Pahmier, “Of the Same” (2014), paper, 3 x 6 x 1 in and “Soft Sound” (2014), paper, 7 x 9 x 1 in

Foreground: Aniahs Gnay, “Thumbs Fell from the Sky” (2013), 24 x 36 in; background: Gabriela Vainsencher, “El Objeto Que Se Acuerda” (2016), archival inkjet print mounted, 72 x 88 in

Jia Sung, “As you can see, i have: a red heart, a white heart, a yellow heart, an avaricious heart, a greedy heart, an envious heart, a petty heart, a competitive heart, an ambitious heart, a scornful heart, a murderous heart, a vicious heart, a fearful heart, a cautious heart, a perverse heart, a nameless obscure heart, and all kinds of wicked hearts, but not a single black heart.” (2016), oil on panel, 33 x 12 in

Work by Desiree Des in the 2017 Whitney Houston Biennial

Installation view, 2017 Whitney Houston Biennial

Becky Flanders, “Vagina Deathstare” (2015), archival inkjet print, 20 x 30 in

Patricia Dominguez, detail of “The Museum of Seagulls” (2017), 9 digital prints, 24 x 34 in

Installation view, 2017 Whitney Houston Biennial

Keri Oldham, “Hungry Ghosts” (2016), watercolor on paper, 24 x 32 in

Elana Langer, “Trigger Spray” (2017), bottle, label, aromatherapy spray, humor, 1.5 x 4.5 in

Foreground: Tora López, “Baroness” (2017), cast porcelain and resin stand-to-pee device, 1.75 x 8.125 x 1.625 in; background: Amy Khoshbin and Anne Carson, “I was born for love not hatred” (2017), double-sided felt banner, 120 x 57 in

Installation view, 2017 Whitney Houston Biennial

Alex Nuñez, “Whitney” (2016), mixed media on vinyl album cover, 14 x 14 in

Entrance to the 2017 Whitney Houston Biennial

The 2017 Whitney Houston Biennial continues 325 West Broadway (Soho, Manhattan) through March 29.

The post The Greatest Biennial of All appeared first on Hyperallergic.

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