There are days when I just hate anime… Like, why did I spend all those years drawing in anime styles?? I guess it was because it was easy. You can hide bad poses and a lack of dynamic with lots of props and details and hair—-And it was really shiny and sparkly too! (the EYES—the HAIR!)
I feel however that it stunted my growth as an artist for a long time and I regret not drawing more cartoons despite my love for them. I try to correct that now as an adult—-But my anime influences still keep showing through both my styles in drawing and animating and it’s very frustrating.
Sometimes I think I need help. Other days I just wanna give up. And other days I just go back to the comforts of anime and say “screw it”.
the first major New York City exhibition to explore, through rare paintings, collages, and photographs, the emergence of a critical 20th-century avant-garde movement. Various artistic developments in the second half of the 20th century have been influenced by a performative paradigm that emphasizes a move away from formal, static objects and toward more directly experiential, event-like, and sensorial gestures. In the early 1960s, the Vienna Actionists defined their radical style through a critique of painting, specifically that of European Art Informel and the Abstract Expressionism of the New York School. Under Austria’s Second Republic, Brus, Muehl, Nitsch, and Schwarzkogler sought out new possibilities for expression that could transcend the shadow of World War II. Motivated by material experimentation, they developed their art around radical body-centric performances through which authentic experiences of reality and incisive political statements could be directly and intensely perceived.
an exhibition of new works by renowned Korean artist Do Ho Suh. On display at both 540 West 26th Street and 201 Chrystie Street, the exhibition will highlight the significant role and varied forms drawing plays in Suh’s oeuvre. This two-part show will feature the range of his works on paper, including drawings using pencil, pen, ink, and watercolor, his unique “thread” drawings, as well as his large-scale rubbings. Primarily known for his room-scale installations made of transparent fabric that recreate spaces in which he has lived, the artist has consistently utilized drawing throughout his career to explore and develop relationships between common themes of his practice including notions of home, physical space, displacement, identity, and memory. A focus of this exhibition, and Suh’s most elaborate use of drawing to date, is his Rubbing/Loving Project. Here Suh painstakingly covered the flat walls and three-dimensional fixtures of the interior and exterior of architectural spaces that hold great personal, cultural, or historic significance to him with vellum and rubbed each surface with colored pencil or graphite.
Formation flight Sunday. “Four planes of U.S. Navy Carrier Air Group Three (CVG-3) in 1958: A Vought F8U-1 Crusader of fighter squadron VF-32 Swordsmen (left), a Grumman F9F-8P Cougar of reconnaissance squadron VFP-62 Det.43 Fighting Photos (above), a Douglas A4D-1 Skyhawk of attack squadron VA-34 Blue Blasters (below), and a McDonnell F3H-2N Demon of VF-31 Tomcatters (right). CVG-3 was deployed aboard the aircraft carrier USS Saratoga (CVA-60) to the Mediterranean Sea from 1 February to 1 October 1958. CVG-3 (after 1963 CVW-3) was stationed aboard the Saratoga from 1958 to 1980.”