Archaeologists estimate humans have tattooed themselves and each other for about 12,000 years. John Yuyi has updated this ritual for the social media age. The Taipei-born, New York-based artist became an Instagram sensation for applying her Facebook profile as a temporary tattoo on her face, reflecting our complex relationship to online expression, identity, and desire for approval. This series expanded to include likes, messages, avatars and logos, inking flesh, even temporarily, with the digital structures we inhabit and are now a part of us. John Yuyi shows how aesthetic taste and desire (here for Gucci’s Le Marché des Merveilles watch) is more than skin deep. – Text by New Territories (Samantha Culp)
To see more of Josh’s photography, follow @joshwool on Instagram.
Josh Wool’s (@joshwool) self-described approach to portraiture is incredibly slow and unapologetically simple. Using equipment and techniques that are more than a century old, the Brooklyn, New York-based artist painstakingly extracts his images from a process that begins with photographic plates and developing chemistry that he makes himself. From there, his portraits are crafted from a conversation, natural light when possible and the removal of any extraneous details or distractions.
“The folks in these pictures are artists, musicians, photographers, creatives and friends,” says Josh. “There’s a certain intangible thing that draws me to choose the people I photograph. In most cases, it’s some aspect of their persona — sometimes it’s their strength, others it’s a sense of vulnerability. With others, it’s something I just can’t put my finger on, but I know I need to photograph them.”
The public dimension is integral to Holzer’s work. Her large-scale installations have included advertising billboards, projections on buildings and other architectural structures, and illuminated electronic displays. LED signs have become her most visible medium, although her diverse practice incorporates a wide array of media including street posters, painted signs, stone benches, paintings, photographs, sound, video, projections, the Internet, and a race car for BMW. Text-based light projections have been central to Holzer’s practice since 1996. As of 2010, her LED signs have become more sculptural.” (x)
Tending to his work like a garden, New York-based Austrian artist Martin Roth grows grass within the fibers of Persian rugs, constantly watering his works to ensure the grass grows lush from within the dense fabric. The end result of this project, first exhibited at an Austrian castle in 2012, will always be the same. The rugs will unravel and the grass will die. This fatalistic act is both poetic and political for the artist, working with a sensual ephemerality as well as speaking to Western countries’ urges to bring their values to other countries.
Upstate New York-based illustration artist Madeleine Buzbee will be creating original commissioned work for the entire month of February. 80% of the profits will go towards either Planned Parenthood, or The Council on American-Islamic Relations. Here is an example of their work! These would be good for a tattoo idea, Valentine’s Day gift, merch design, or a flyer for an event you are hosting. Feel free to contact them via email at email@example.com or through direct message on Instagram.
In 2005, we opened Zoe Keramea: Geometry of Paradox, featuring two- and three-dimensional works on paper by the under-recognized New York-based artist. The exhibition reflected Keramea’s sense of delight in visual challenges as she invited viewers to involve themselves in the mental “unfolding” of the work. The drawings she produced for the exhibition used deceptively simple motifs, such as lines, knots, and geometrical shapes, to challenge spatial conventions.
Keramea has been exploring enfolded surfaces through sculpture, printmaking, drawing, and ceramics. Her work is deeply rooted in the history of geometrical figuration as a system of both logical and metaphorical thought. For the artist, geometry proposes an array of conceptual potentialities with internal logics that are available to be analyzed, recontextualized and turned inside out or upside down. Although lines have strong cultural associations for Keramea (she was born in Athens and raised in an environment full of shipping lines and fishing nets), the lines in her art function as conceptual problems. For her, lines not only reflect the path between two points, but are elements project space, define context and imply volume.
Knots II, IV, VI, VIII, X, 1990. Zoetype, each 7” x 40“
Spikey Moebius, 2002. Paper and thread, 8” x 8”” x 4 ½”
Noutilus Antecedent, 1998. Graphite on paper, each 7 ½” x 7 ½”
Born in The Netherlands, growing up in Australia, and currently living in New York City, artist and designer Minka Sicklinger’s artwork is filled with iconography, symbolism and cultural influences from her years of traveling and living abroad. We’re not only excited to feature her and some of her mystical drawings, but we’re also excited to have her design a custom skate deck to be raffled off at this year’s Babes Ride Out East Coast event. We got a chance to chat with Minka on various topics – from her travels and early experiences with cultures and art from other countries to how the most challenging part of art at times can be yourself.
Today we’re going back in art history to the birth of the Guerrilla Girls!
Seven New York-based female artists formed the group in 1985 in response to a MOMA exhibition called ‘An International Survey of Recent Painting and Sculpture’. Only 13 of the 169 artists were female. The show’s curator stated that anyone excluded from the show should rethink his career (note the pronoun used).
In reaction to this prejudice and gender bias, the Girls protested in front of the museum and began their mission to fight against gender inequality in the art world.
Over the years they’ve remained anonymous, extending their attention to challenging sexism, racism and tokenism in films, mass and popular culture.
Art writer Susan Tallman says of their infamous posters (some pictured above), “[They] were rude; they named names and they printed statistics (and almost always cited the source of those statistics at the bottom, making them difficult to dismiss). They embarrassed people. In other words, they worked.”
The artist Tasha Dougé with hold her work “This Land is OUR Land,” a flag made out of hair. Tony Cenicola/The New York Times
Curly. Straight. Processed. Silkener. Dreads. Good hair. Nappy hair.
Wigs. Today we’re exploring the world of hair, a billion-dollar
all its complexities, hair is an integral element in the New York-based
artist Tasha Dougé’s work “This Land is OUR Land.” We spoke with her
about the piece, and the intersection between history, art, hair, and
identity. (The conversation has been lightly edited and condensed.)
What inspired you to create “This Land”?
inspiration came from the phrase “Make America Great Again.” O.K., so
we’re going to make America great…When was it great? Who made it great?
Who was it great for? When you answer these questions, you’ll have a
slew of answers. When I think about this nation as a whole, it wouldn’t
be what it is now without the contributions of enslaved Africans. I
wanted to explore how I could convey the story of slaves in a way that
hasn’t been done before. Without much thought, the image of the American
flag came to mind. And then I thought: “Oh, I’m going to make the
American flag with black hair.” And then I wanted to replace the stars
Describe the creative process.
hair I used was synthetic braiding hair in different shades (black,
dark brown, brown, gray) that I purchased online. There were times that I
was exhausted, because I work 9 to 5. She was definitely a task as she
is 5 feet by 3 feet. I thought to myself that I could have walked away
at any given point because no one knows she is in existence, but “no”
kept resounding in my head, because my ancestors didn’t give up. And
their pain was nowhere near my pain. So if I’m going to pay homage to my
ancestors, I need to do right by them and complete this task. I
reference her, Justice, as my blessed burden to carry. When you’re
speaking truth that people don’t want to hear, that can be burdensome.
used a braiding technique of elongating the braid without creating a
new braid. It was a technique that I had watched for years of getting my
own hair braided in African hair shops. Once I was done with all the
strands, some 15 feet long, I then stitched them to chicken wire.
final touch was sewing on the balls of cotton instead of stars. I
wanted every element of that flag to have some type of representation:
The brown stripes speak to the varying spectrum of color we are
(light-skinned slaves were in the house and darker slaves were in the
field); and we are all interwoven in that trauma of skin tone; the gray
represents the years of oppression and it’s ongoing; the black box
represents the black experience exclusive to this country. There is
something very unique about the experience of black people in America.
Cotton is really what spearheaded slavery in the first place.
What is the takeaway?
want people to recognize and acknowledge the unquestionable
contributions of my – better yet – our ancestors to this country. I want
people to delve into the trauma of being unrepresented, ignored and
invisible. I want people to feel pride, shame, loss, gratitude, remorse,
respect and everything else there is to feel. I want people to see the
resilient nature of the ancestors and their descendants because we are
still slaves, just in a different rite. I want people to see the amount
of labor and the level of commitment that is needed when striving for
justice. And there are so many more layers to explore because she
speaks to many facets of our existence and exploitation.
What does hair mean in the African-American community, and how do you think other communities view our hair?
answer for this one is far too long to condense the layers into a few
sentences. I can say this for now: after people kept asking me why I
chose hair, it made me realize how black people propel the hair
industry. Either we subscribe to the European aesthetic and spend all
our money there, or we try to buy African hair and products from shops
in our communities, but owned by people outside of our race. Either
way, the money never funnels back into the black community. There is
also the issue of cultural misappropriation. One word…Kardashians.
New York based Artist, Marina Abramović performed “The Artist is Present,” a 736-hour and 30-minute static, silent piece, in which she sat immobile in the museum’s atrium while spectators were invited to take turns sitting opposite her.
On opening night in 2010 at the MoMA, her ex-lover Ulay made a surprise appearance. This is love.
The cover of Joanna Newsom’s latest album, “Divers,” is a photograph by the New York-based artist Kim Keever. Keever is known for crafting elaborate dioramas in an aquarium, then releasing pigments into the tank and taking pictures of the resulting underwater scenes.
Leo Castaneda is a multidisciplinary artist based out of Miami and New York. His work plays with ideas of immersion and mixed reality- the merging of real and virtual worlds. Forms enter and exit various mediums to create a constant feedback loop; images and textures seen in virtual simulations may originate from physical pieces, and vice versa.
Artist talk: Diamond Stingily 18 Jun 2017, 5-7pm @ Yale Union
Join us at YU for the second home school artist talk of the 2017 curriculum! Diamond Stingily will join us via Google Hangouts to discuss her work and experiences with us.
Diamond Stingily is an artist and writer based in New York. She has shown at Egg (Chicago), A1 (Chicago), Project Row Houses (Houston), Arcadia Missa (London), Queer Thoughts (NYC), Ramiken Crucible (LA), and elsewhere. She has read and published at Signal Gallery (Brooklyn), Chin’s Push (LA), and Dominica Press. She currently runs the Diamond Stingily Show at Know Wave radio and is preparing a forthcoming project with Publishing House (Gstaad, Switzerland).
Jordan Eagles is a New York based artist who experiments with blood. Eagles has been working with animal blood to explore what he thinks are life’s fundamental questions. He create works that evoke the connections between life, death, body, spirit, and the Universe