no boundaries it's like an art

10

ART SCHOOL | Jack Graydon (OR) | Vans US Open of Surfing 2017

Our next featured artist and participant in this year’s 2017 Vans US Open of Surfing is a talent out of Portland, OR, artist Jack Graydon aka Tolietsnake.  This traveling, skating, and painting talent has been creating his works for some time now–from walls to trucks and hidden places in Thailand. Graydon’s style is never stagnant or stiff, but rather ever-changing, adapting and exploring its boundaries, much like the artist himself. We’re stoked to feature Graydon’s work and find out his approach to large scale murals, how he started painting, and what event he’s looking forward to see at this year’s 2017 Vans US Open of Surfing. 

Photographs courtesy of the artist | Portrait by Tobias Lee

Keep reading

We might have misunderstood Hogwarts Houses for years

I have a theory that the valued quality of each of the four Houses isn’t really about the personality of its students.

The valued quality of each of the four Houses has to do with how they perceive magic.

Stick with me a second: Hogwarts is a school to study magic. Magic as Hogwarts teaches it can be seen as many things: a natural talent, a gift, a weapon, etc.

So how you believe magic should be used will both reflect your personality and change how you handle that power.

“Their daring, nerve, and chivalry set Gryffindors apart,” Gryffindors perceive magic as a weapon. Gryffindors tend to excel in aggressive forms of magic, like offensive and defensive spells, and they are good at dueling. But a true Gryffindor knows that the power is a responsibility, and so they must always use their powers to stand up for what’s right. They are the sword of the righteous, which makes them as good at Defense Against the Dark Arts as they are at combat magic.

Hufflepuffs believe that magic is a gift and that the best gifts are to be given away. Hufflepuffs, “loyal and just,” would naturally abhor the idea of jealously guarding magic or using it to hurt someone else. So Hufflepuffs share their magic to benefit of Muggles, like the Fat Friar, to protect the overlooked, like Newt Scamander with his creatures, or to oppose those who would use magic to torment and bully, like the Hufflepuffs who stood with the DA and the battle of Hogwarts.

Slytherins are the opposite: they believe their magic is a treasure that they have been entrusted to protect. The Slytherin fascination with purity, with advantage, with cunning and secrecy–all of which were perverted by the Death Eaters–comes from the idea that people with magic in their veins have been given something special that it is their duty to protect at all costs. And perhaps they aren’t entirely wrong: power in the wrong hands can be dangerous. And power interfering at will with Muggle affairs is a gross presumption that could turn the course of history. Though the series shows some of the worst that Slytherin can be, “evil,” is not a natural Slytherin tendency. “Cautious,” is.

Ravenclaws believe that magic is an art form, one that is beautiful and should be appreciated and studied for its own sake. If “wit beyond measure is man’s greatest treasure,” then asking what magic is for is useless. It’s more important to immerse oneself in magic for its own sake. Ravenclaws push the boundaries of magic to see if they can, hence Hermione’s spell experiment on the DA coins being dubbed a Ravenclaw quality, but like Luna Lovegood in the pursuit of extraordinary creatures: they can also be content to plumb the depths of what already exists.

So while you can see where personalities will overlap over Houses, perhaps in Sorting we should be asking ourselves less what we think we are and more what we think we believe. 

7

Space 

Papyrus’ concept of personal space is….peculiar.

-sigh-

Look, folks.  I do my absolute best to be friendly to people online, especially those who are friendly to me.  But I would like to make something clear.

Please do not mistake friendliness and openness for generosity.  I am a professional artist and quite frankly cannot afford to be generous with my art.  It is, after all, my trade.

The fact of the matter is that I cannot and will not take requests.  I have said so countless times.  I know some of you ask very nicely, but while I do appreciate the politeness, the answer is unfortunately still “no.”  Repeated requests will only have the effect of making me more staunch (and probably annoyed) in that response.

I sincerely, sincerely appreciate that folks enjoy my art.  Nothing brings me more happiness than that.  But I ask that you please respect my boundaries here.  “No” means “no.”

4

more au yukina wuuuu… scary/scared girl

(phone doodles)

Anime/Manga Shoutouts

Originally posted by mobpsycho100

Mob Psycho 100 - Very nice animation, likable and somewhat down to Earth protagonist, interesting characters all around. The protagonist reminds me a bit of Haruka from Free! and Kuroko. Fun fact: This is made by the creator of One Punch Man. Shoutout to the animation in the opening. Definitely should have won an award. 12 episodes. Hoping for a sequel anime. It has an ongoing manga but..the art for that…isn’t the best…Yeah. I personally find it hard to read because of the art alone. Everything else is fine. But those shaky lines….I wish the fanbase was bigger :/

Pandora Hearts - Great story telling, all of the plot twists will blow your mind, very nice artwork, an emotion experience that made me cry many times, especially during the finale (and not just because it was ending). Will forever recommend to anyone and everyone. Similar to Black Butler. It has 104 chapters and finished in March 2015. Has an anime adaptation, but it ends in filler, doesn’t cover a lot of the bigger twists later on and is quite old at this point. 

Originally posted by shiromahou

AKB0048- Think Love Live but more dramatic, in space, battle lolis and with more plot. It’s quite similar to Pretty Rhythm in how there is an plot, the main characters have emotional distress for good reasons plus switches to 3D animation aren’t that jarring. 

The Monogatari Series- My current craze. Definitely not for anime newcomers. Follows and deconstructs the harem anime elements at the same time. The harem is very subtle. Excellent character development (Shoutout to Senjougahara), great visuals (SPECIAL shoutout to Kizumonogatari. Holy hell, the quality is almost too HD for my eyes), interesting story arcs and great characters (10/10 lolis). Has quite a bit of talking, so if you enjoy action 24/7 like shounen, this is not the series for you. The timeline can get quite confusing, but its best just to watch the seasons in airing order. This is SHAFT’s passion project, so prepare for some mind screwy visuals at points. Has some very Japanese puns and wordplay. Quite a bit of gore occasionally. The main character has had his asskicked by almost every girl in that image above and more. 

From the New World (Shin Sekai Yori)- This anime is…an experience. This is that one hidden gem. It has various psychological elements that are very well done and leave a sense of eeriness and mystery throughout. Oh, and prepare to question your own morality and humanity afterwards. Basically, humans have evolved to the point of having mind powers like being able to move things with their minds and lighting them on fire with a thought. The main character has just come of age for her powers and in placed in a class to learn more about them/how to control them/learning in general. However, she experiences things that make her question the present and past of her people and humanity that her village has kept secret. But the truth is much darker and morbid than expected. This anime follows the characters from 12 years old to about 26 years old. A very good 25 episodes. Do not take this series lightly. 

Kyokai no Kanata (Beyond the Boundary)- One of my top anime of all time and one of the only ones I will always be okay with rewatching. Great story telling, beautiful art and animation (bless kyoani), interesting characters (mostly) and a good balance of light hearted stuff and emotional backstory/plot. There’s a romantic subplot-ish, but its kinda like plot with romantic overtones? idk how to describe it exactly. Has 12 episodes and one movie sequel that everyone should absolutely see and watch the scene after the credits.

Durarara- I could watch it again. VERY big and diverse cast of characters. It’s very easy to lose track of who’s who in the first few episodes. All of them are interesting and have some depth, though. There’s not really a definite main character for this, honestly. The perspective switches quite a bit. Very good story arcs and characters (and development). The animation can get a big dodgy at times, but for the most part, it’s alright. Definitely gets an upgrade in the sequels. This might just be the example of Supernatural Things in Daily Life genre. Plus gangs. Has a second season that’s broken into cours: Duarara!!X2 Sho/Ten/Ketsu. Has a sequel as a light novel series only (Durarara!! SH). Shoutout to Mikado for having the most badass protagonist character development I’ve seen in a long while. 

Weekly salad fluff because life is strange and stressful and yay salads.

idk if I mean it when I say weekly but considering my notebooks ayyyy

anonymous asked:

you probably get asked this a lot but i just discovered your blog recently, and man your fanart has revived my drarry obsession! so i would like to ask, what are your all time fave drarry fics?

Actually, I’ve never had this question asked so thank you for asking! I’d love to share my all time favs and considering that I’ve been reading Drarry for over a decade (fuck me I’m old), I have quite a few. Get ready, my dear, because you have just opened a can of worms…:D

Note that I’m a big bottom!Harry fan so all of these fics are bottom!Harry or switching fics (if there is any sex, that is)

I also live for angst so many of these may contain abuse, noncon, super angst, etc etc.

Happy reading! 

AU Hogwarts Years

1. Once Upon a Sleepless Night by Daaro Moltor: Voldemort has figured out a new way to cheat death; somehow he has managed to manifest himself inside of Harry Potter’s head. Harry is on the verge of jumping from the Astronomy tower when Hermione figures out that all they might need is a pureblood… *** Super fun read with original plot. It’ll suck you in.

2. White Horses by Jackie Stevens: They say that there are no white horses - those that we think of as white are really just a faded and deceiving grey. Names can be misleading, and definitions can be false, and yet through the maze of artifice and deceit, we might just find something true. When Harry returns for his last two years at Hogwarts School, he will find that boundaries are shifting and not everyone is who he thought - including himself. He will have to learn that change is like those elusive white horses: swift, beautiful and irretrievable. ***This story is so incredible and poignant; I really have been wanting to draw fan art for it! Ultra fave. 

3. Faith by Dragongirl16: What if the wizarding world turned its back on Harry? Who will stay true? Who can he turn to? What will he do? ***A few words about this one: This story was written during the golden age of HP fanfiction (early 2000s) so the many cliches that we all make fun of today are included in here. HOWEVER, I do believe that those many fics were actually modeled after this one. The writing is nothing amazing, and could’ve benefited from a beta (were there even betas back in 2003..?) but the plot is actually one of the most original that I have ever read. I wasn’t able to put this story (and its sequel!) down. I still think about it to this day. This story with its sequel amount to over half a million words fyi.

4. My Hero by XxRoGuExHeArTxX: When Harry is brutally beaten & raped by a mystery assailant, a very unexpected hero comes to the rescue in the form of Draco Malfoy. Nothing at Hogwarts is as it seems though, and Harry & Draco soon realize all they can depend on is each other. ***Another golden age fanfic that I followed for five years until it was finished. Once again, more Drarry tropes here but fics like these were the reason why those tropes were so popular back then. 

AU Deathly Hallows

1. Dirty Business by ILoveToChin25: Harry is captured after setting off on his own to find the remaining Horcruxes, and is kept alive for Voldemort’s own nefarious games. Draco Malfoy is assigned to look after him, and does so to protect his own self interest. Or does he? ***This story is a friggin epic. It’s around 185k words so buckle up. 

2. (Bound By) Clandestine Addiction by Shinguresan: They were drawn together, irrationally, irrevocably. In the face of fear, hate and pain they always felt the pull to return. For a bond unwittingly formed by Harry’s fatal spell? Or something…else? ***And this one is over 250k words! Awarning that the sex is very explicit yet the writing is fantastic. Excellent characterization and feels-a-plenty.

AU Eighth Year

1. The Silent World Within You by @femmequixotic, @noeeon : Harry only wanted Malfoy for one night, one birthday. It wasn’t meant to be anything more. *** I fucking love Mpreg. No Shame. This story is beautiful.

Post Hogwarts

1. Magic Eight Ball by tigersilver: Hermione brings a Muggle device to their usual after-work drinking sessions; Malfoy is utterly fascinated. Harry is not, especially as Malfoy keeps asking it questions about his personal life. *** This fic is on the lighter side compared to the others on this list. One of the only stories that has caused me to squeal.

2. WORM FOOD by Elysium2: The battle is over, but Harry is still fighting. He’s thanking his lucky stars that he learnt long ago how to properly ignore his problems. And Draco Malfoy. ***Very original plot and excellent writing. Gave me all the feels. This is another that I want to draw fan art to. Super love.

3. Post Tenebrus Lux by Cjblack: It had been five years since the light had fallen under the Dark Lord’s reign. The Wizarding World assumed Harry Potter had been murdered by Voldemort days after his capture; few knew the truth. And sometimes the truth can be much, much worse. *** Mpreg. Angst-a-plenty which is right up my alley. And so heart-wrenchingly romantic. This is one of the best stories that I’ve read in a long time. If a story is able to make me feel something, then it’s good. I was feeling all over the place. 

Totally AU

1. The Masks of Real Heroes by @aelys-althea: One desperate decision has unimaginable consequences. When Harry received his letter at eleven, he turned down the offer to attend Hogwarts. He had to; it was his only chance to escape. Five years later and, in the brief moments he recalls his decision, he feels nothing but regret. Until an incident causes the opportunity to arise once more, and he is finally given the chance to escape that which has smothered him for so long. *** Another rather dark fic that was recently finished along with its sequel. Harry’s characterization was brilliant and the entire story was very well written. I’ve already read it twice :)

2. Dismantle Repair by shamrocker531: How a random meeting in a coffee shop can change everything. Nonmagic. *** You want a fic that’ll put you on an emotional fucking rollercoaster? READ THIS. I can’t listen to Dismantle Repair by Anberlin now without getting goosebumps, and it was one of my favorite songs even before this story. Goddd the song is in my head now as I’m typing this and it still gives me feels. If you choose to read this, LISTEN TO THE SONG FIRST. Anberlin rocks. 


If anyone knows the tumblrs of any of these authors, feel free to tag them!

2

Finally we saw what we’d come all this way to see. Not only was the jetty above water; it looked like a glyph marooned in a desert. It was smaller than I expected it to be. Also wilier. The jetty changed shape and seemed to actively grow or shrink as we drove parallel to it, forcing us to constantly recalibrate our perception of it.

In short: We were not in hell. This was no inferno. The sky was low and soft and gray-mauve or dark mauve, as were the isolated triangular crags of mountains in the distance. ‘‘From that gyrating space emerged the possibility of the ‘Spiral Jetty,’ ’’ Smithson wrote. ‘‘My dialectics of site and nonsite whirled into an indeterminate state, where solid and liquid lost themselves in each other.’’ The lake, with its pinkish cast, was difficult to differentiate from the sky, creating the illusion that there was no horizon line. It kind of did feel like the end of the world, though not in the way I originally meant it. The world hadn’t been destroyed; it simply dissolved into a combination water-gas-solid substance that surrounded us. Salt lakes, I later learned, are also known as ‘‘terminal lakes’’ or ‘‘endorheic basins.’’ ‘‘Endo’’ (from the Ancient Greek) means ‘‘within’’ and ‘‘rheic’’ ‘‘to flow.’’ They are self-contained bodies that do not empty into any ocean. They are the self-contained end to an infinite means.

One of Smithson’s favorite words was ‘‘dialectic,’’ meaning he desired that things exist in productive tension with other things, thereby producing a ‘‘dialectical situation.’’ Our situation, vis-à-vis the jetty, clearly qualified as a dialectical one. But what was the ‘‘site’’ here, and what was the ‘‘nonsite’’? I’d been reading oodles of Smithson and still felt confused by these two words that crucially underwrote all of Smithson’s earth art.

‘‘What you are really confronted with in a nonsite is the absence of the site,’’ he said in a 1969 interview. ‘‘In a sense the nonsite is the center of the system, and the site itself is the fringe or the edge,’’ he said in a 1970 discussion with the earth artists Michael Heizer and Dennis Oppenheim. (If I occasionally tired of Smithson’s gnomic tendencies, I was not alone. Oppenheim, in the same 1970 discussion, grouched: ‘‘Why do you bother with nonsite at all? Why don’t you just designate a site?’’) But the most compelling definition, to me, is Smithson’s claim that the nonsite is ‘‘based on my experience of the site.’’ The nonsite is a drawing or a sculpture or a box containing slate from a quarry. It is the collaborative transmission, or so I like to think, that results when a geographical landscape moves through or commingles with a figurative, human one.

Sites and nonsites, in other words, involve the equal interplay of consciousness and matter. Which again made me think about the crows and what had thus far shaped their interior landscapes, the ones that might come to play (or interplay) on this trip, as well as on the vaster metaphorical trip that eventually their lives would comprise. How might they contain their interior landscape — their evolving selves, basically — and how will they productively, without becoming overwhelmed (or without imposing preconceptions that close down possibilities), deal with the deluge of feeling and information that exists both within a person and without?

In his essay ‘‘The Spiral Jetty,’’ Smithson included a list of materials a person encountered as she walked from the center of the jetty. He demarcated 20 directional points (North, North by East, etc.) The materials view from each point was the same:

Mud, salt crystals, rock, water.

Mud, salt crystals, rock, water.

The same materials, listed 20 times, the stack of repeated words gesturing toward sedimentary time layers while also, in replicating the many hash marks on a compass, implying the unseen presence of a circle.

Smithson completed ‘‘Spiral Jetty’’ in 1970. He died in Texas in 1973, while aerially surveying the artificial lake area where he hoped to build his ‘‘Amarillo Ramp.’’ He hired a plane, a pilot and a photographer. The plane crashed. All three were killed. The artificial lake is dry now. The ramp, completed after his death by his wife and friends, is eroding. The crash site — or maybe it is a nonsite — is a few hundred yards away.

We parked in the dirt lot. We scrambled down the rocky bank onto the flats. The push-pull of negative/positive space made the jetty seem even more kinetically alive and like the storm its shape resembled, one that messed with the intuitive logic of water behavior. The land we’d driven over was filling up with water, while the lake appeared to be emptying of it.

We walked the spiral many times; we developed individual jetty styles and jetty rules. The crows cut across the puddled sand between the concentric rings, but I did not, I never did that, I would never do that. I walked the line, or rather, the curve. Later we flung off onto the flats. My husband made minijetties with black rocks he found in the sand. The jetty, he said, was spawning.

We returned to the jetty and walked it again. Was it an ancient ruin? Was it the beginning of a new civilization? Was it an example of, as Rainer Maria Rilke wrote, ‘‘the revision of categories, where something past comes again, as though out of the future?’’ In always being both, it encouraged temporal slippage. We were not looking at the past or the future; we were in the middle of time. We were at the point of dislocation around which salt crystals spiraled upward like a staircase as they grew. The crows wrote their names on the sand, and because there was no rising tide — no ocean’s clock — their names would possibly never be erased.

Smithson, in his 1966 essay ‘‘Entropy and the New Monuments,’’ mentions a recent electrical blackout in the Northeast. ‘‘Far from creating a mood of dread,’’ he wrote, ‘‘the power failure created a mood of euphoria. An almost cosmic joy swept over the darkened cities.’’ (When Smithson wrote this, a far more economically destitute New York had yet to experience the subsequent 1977 blackout, the violent and anarchic results of which would probably not be qualified as expressions of ‘‘cosmic joy.’’) When we are in Maine, we often lose our power, and yes, the promise of darkness inspires glee. I gleefully fill the tub with water and the lamps with oil and make sleeping situations nearer to the woodstove. I create in our domestic interior a much more active and dynamic conversation with the exterior, that thing we are so often unaffected by, or simply trying, with our house, to keep out. And while this skill set has mostly been of use in places where the power lines are aboveground, sagging, even in good weather, from tilted pole to tilted pole, the underground electricals of New York are now equally menaced by rising (and descending, into the works) water. My gleeful preparations are increasingly applicable to many more situations, and by that possibility I feel energized. Not because I crave drama or instability, but because I am rendered, in a kind of trippy and exhilarating way, both indispensable and irrelevant.

At the jetty I became entirely irrelevant, and the result was even more exhilarating. Smithson, when searching for a framework with which to explore both limits and limitlessness, found useful the concept of entropy, i.e., the second law of thermodynamics. Entropy proved intriguing to him because, as he understood it, energy was ‘‘more easily lost than obtained’’ and thus, ‘‘in the ultimate future the whole universe will burn out and be transformed into an all-encompassing sameness.’’ I experienced that ultimate future. I experienced what the planet would be like when we were, every one of us, gone. I had, before our visit, worried not only about my crows but also about the loneliness of a planet that might someday have no one to see it, walk through it, feel intense things because of it. That is what made my brain and my heart fold in on themselves. Cities, yes, gone; ice caps, gone; but the beauty of the planet routed through a human consciousness, that’s what I couldn’t comprehend vanishing. This was what, more than my own particular death, I’d despaired at. But on the jetty, I understood what Smithson intuited so long ago in Rome: Beauty did not need us.

‘‘You don’t have to have existence to exist,’’ Smithson said.

If there were a sun, it would have been setting. As the sky grew subtly pinker and purpler, other cars appeared: two families, a lone woman and a couple. Some walked the jetty, but others struck out directly for the invisible horizon and soon became tiny black marks floating in the middle of the same-color distance. The young couple stood on the flats and hugged and kissed. The lone woman neatened the jetty; she found errant rocks and threw them back within the boundaries, redarkening its outline.

Back in the parking lot, as the rain finally started (it had been threatening), we talked to some of these people. All of them were longtime residents in the area. The jetty-neatener said: ‘‘I’ve never been here before. Today just felt like the day.’’

The Art at the End of the World

anonymous asked:

I didn't see this in the art advice tag so sorry if you've answered this before and I'm just blind lol, but how does one use a clipping mask/layer? I've sorta figured out how to add them, but I don't know where to go from there. (p.s. I love your art style so much, it's so pretty and inspiring ahh)

Hey sorry for late reply!! 

So I’m going to answer this with Fire Alpaca, but the principle is the same in Photoshop/most other programs that involve clipped layers. 

Basically all clipping a layer to another layer means is that any colour applied to the clipped layer ONLY shows up on the layer it’s clipped to. So for example you can shade a layer - say clothing - like crazy outside of the boundary of your actual clothes layer but then just clip it to the actual clothing. See below: 

It’s a very useful feature!!! 

4 Books on Latin American and Latino art
A Shelfie from Selene Preciado, Program Assistant

Hi, I’m Selene Preciado, program assistant at the Getty Foundation. Outside of my work at the Getty, I am an independent curator of Latin American and Latino art.

In anticipation of Pacific Standard Time: LA/LA, this selection of books is inspired by the initiative’s effort on advancing the fields of Latin American and Latino art history by promoting their dialogue, as these are often perceived as separate fields of study albeit sharing narratives and historical contexts. One of the strongest points of convergence between the two fields is in the strategies of conceptual artists, particularly in arte de acción or performance, which has been a significant area of production in the Americas since the sixties. 

PST: LA/LA exhibitions such as the Armory’s Below the Underground: Renegade Art and Action in 1990s Mexico; the Hammer’s Radical Women: Latin American Art, 1960–1985; or Axis Mundo: Queer Networks in Chicano L.A., organized by ONE National Gay & Lesbian Archives at the USC Libraries, as well as the highly anticipated performance art festival organized by REDCAT (January 2018) will include performance artists from across Latin America, the United States, and other diasporas.

1. “Arte No es Vida: Actions by Artists of the Americas, 1960-2000,” by Deborah Cullen. (El Museo del Barrio, 2008).

This exhibition catalogue for Arte No es Vida: Actions by Artists of the Americas at El Museo del Barrio is one of the most comprehensive compilations on performance art by Latino and Latin American artists, and it includes a detailed chronology of the most important actions since 1957 until the year 2000. The exhibition was also a curatorial laboratory for exploring the problem of exhibiting performance—a time-based medium—through documentation, video, ephemera, and objects.

2. “ASCO: Elite of the Obscure, A Retrospective, 1972–1987,” by C. Ondine Chavoya and Rita Gonzalez. (Hatje Cantz, 2011).

This 432-page tome is the most important document on the East Los Angeles collective ASCO (1972–1987), produced on the occasion of the major retrospective organized as part of the Getty’s Pacific Standard Time: Art in L.A., 1945–1980 in 2011. But don’t let its girth intimidate you—the exhibition catalogue is very dynamic, fully illustrated, and contains about twenty essays of different lengths and topics, such as ASCO’s walking murals, collaborations, or “No-movies,” as well as a section on documents and extensive bibliographic information.  

3. “Corpus Delecti: Performance Art of the Americas,” by Coco Fusco. (Routledge, 1999).

This book was edited by theorist, curator, and artist Coco Fusco, whose work since the 1980s has explored postcolonial, gender, and race issues. Corpus Delecti is an excellent resource and one of the very first performance art surveys that bridged together regions and movements by including art from Latin American, Chicana/o, and Caribbean artists, as well as genres that blurred the lines between fine arts, theater, vaudeville, and staged political protest.  

4. “MEX/LA: ‘Mexican’ Modernism(s) in Los Angeles, 1930-1985,” by Rubén Ortiz-Torres and Jesse Lerner. (Hatje Cantz, 2011).

Like ASCO: Elite of the Obscure, this catalogue was published in conjunction with the groundbreaking exhibition MEX/LA, part of Pacific Standard Time: Art in L.A., 1945–1980, and organized by the Museum of Latin American Art. Just like the exhibition, this catalogue is an unconventional and thought-provoking approach to telling the story of the relationship between Mexico and Los Angeles. 

Departing from forked origins—from the mythological location of Aztlán, the founding of L.A. as a “Latin American city” (since it was Mexican territory back in 1781), to the presence of Mexican muralists in the 1930s who ignited local production—it visits chapters in L.A.’s history that explore exchange, remix, appropriation, and ongoing negotiations of race, class, and gender. Through the work of Chicana/o artists like ASCO, Barbara Carrasco, Yolanda López, and Ricardo Valverde, as well as Americans such as Wallace Berman, the Eames, or Millard Sheets, MEX/LA pushed boundaries also in exhibition making. Its non-chronological, non-thematic approach consisted in connecting artists and artworks through ideas.

While this book doesn’t solely focus on performance art, the MEX/LA catalogue might be the unifying thread of this list, in that it offers a critical view on hybrid and shifting identities as performative constructs. You only have to take a look into the performativity of figures such as Robert Stacy-Judd, the Zoot Suiters (a counterculture of the 1930s–40s), or even the borrowed Maya elements in the architecture of Frank Lloyd Wright—all included in the particular universe of MEX/LA. The concepts explored in the exhibition and catalogue of MEX/LA are part of the origin story of what is now Pacific Standard Time: LA/LA.

darkautomaton  asked:

Just wondering, since I've been considering opening requests myself: What are some good boundaries to set when asking for requests? Like, I know things like "No NSFW, No Gore, etc..." but I'm afraid I might scare people away if I'm too picky. Got any advice?

i only set public boundaries for really extreme things like gore or nsfw and other things im uncomfortable with like pda/shipping.

i would reccomend deleting any ask that is too political because there is always going to be someone that violently disagrees with the content of the ask. Dont take anything you can be attacked for.

probably dont do oc requests for free, its not great for people to think they can get free art from you of whatever they like. It leads to entitlement and that is very not fun.

Ultimately its up to you what asks you take, these are just some things ive learned to maximize fun and minimize bullying and sadness. (Also make sure you have fun and dont worry too much about sticking to the exact prompt. Its not a commission so u can just go hog wild)

anonymous asked:

What's your opinion (and in what consist yours) about subversiveness in art?

subversion imo should consist of a subversion of form and directed towards not a fixed utopic scenario but formlessness. the subject matter, if exist, cannot be subversive by itself because that would mean there is still a centralised subject, and a direction - instead of infinite arrows pointing in nowhere and coming from nowhere in particular. subversion done by bodies include not only a violation of the body but the attempt to transcend its boundaries, etc. like pure disorientation instead of a radical new ground that is fragile to attack. or pure, open movement instead of structured movement towards a place. idek 

camrazstuff  asked:

hi!! I wanted to tell you how much I love your style—it's seriously amazing. It's the ideal type of style I want to achieve someday; it seems relaxed and natural and you're able to get across emotions so flawlessly. I feel like I'm more restricted with my art, I'm not really sure how to remove these boundaries I've set for myself and draw with? could you help me, like maybe tell me what kind of stuff I should practice and how I can get a more natural feel to my art?(sorry for bugging you haha,,)

FIRST OF ALL THANK YOU A LOT YOURE VERY SWEET AN SO ARE YOUR COMPLIMENTS!

Secondly I’m gonna try an help you as best I can ok but im not like a professional or nothin so bare with me

first things first heres some cliche advice: PRACTICE!! Expressions are really REALLY hard! but when I was younger an just didnt know what to draw,I’d jus do a big page fulla jus expressions! No heads or nothin dont worry about that! They dont even need to be compex! They can be basic then you jus try an one up yourself as you go on! I used to do that a lot! heres an example in case words fail me

Another thing you can do that I found helps is tryina draw a bunch of expressions and make them as DIFFERENT as possible! make sure none of them even look a lil alike! An try do fit as many as you possibly can on one paper thats really fun too! Or try to see how many different mashups of expressions you can make! Disgusted/Angry,Disgusted/Sad,Disgusted/Happy an ect. ykno? OR You can try to see how many different ways you can draw ONE typa feeling like how many completely different ways can you draw sad expressions,angry expressions an so on an so forth!

SECOND THIGNS SECOND: STUDY BODY LANGUAGE!!

That’s another big thing that helped me! I got a buncha books on body language,what it means what subconsious,consious lil things people do when theyre sad and happy an all that! Know what open body language looks like! Know what closed off body language looks like! Then……believ it or not….you can start usin bodies to convey expression too…..n tbh bodies (hands especially) are like a big part of expressions n esp the way I use them! Lookit man Look at this youre not gonna believ this

Body language helps A LOT in conveyin expression!! an whts a good expression without good body language to go with it mang???

THE LAST ADVICE I CAN OFFER: DONT BE AFRAID TO EXAGGERATE!!

Jus because an expression is cartoony or waay overexaggerated doesnt mean it aint good! Not every expression has to be realistic to be good! I would super suggest you keep that in mind because I didn’t for a long time. It’s okay to have your faces scrunch up and stretch and have eyes an mouths that go off the face,ykno? Don’t be afraid of that,buddy.

AN THATS ALL THE ADVICE I HAV CONSIDERIN EXPRESSION N HOW LIKE THINGS GO TOGETHER I HOPE IT HELPED BOOM

inktober day 24 - mob + garden 

Ordona Province & the Meaning of Twilight

Twilight is the hour that sets the human heart yearning.  The lingering light is a herald of the fall of darkness, and its subdued and quieting gleam wakes memory and wistfulness from their daytime repose.  For as tranquil as a gentle dusk appears, that which it evokes is also somber and melancholic.  Hovering on the edge of night, umber hues fade into a more shaded palette that is swiftly followed by the coming of a sable sky clad with stars.

This daily sequence is a metaphor of death and rebirth, and many have written on its power and nuance.

James Ellis: “Twilight is like death; the dark portal of night comes upon us, to open again in the glorious morning of immortality.”

Thomas Cole: “How lovely are the portals of the night, when stars come out to watch the daylight die.”

And yet it is also the hour of appreciation, peace, and contentment.

Henry Wadsworth Longfellow: “What heart has not acknowledged the influence of this hour, the sweet and soothing hour of twilight, the hour of love, the hour of adoration, the hour of rest, when we think of those we love only to regret that we have not loved them more dearly, when we remember our enemies only to forgive them.”

And one of memorable color.

James Thomson: “Of evening tinct the purple-streaming amethyst is thine.”

John Milton: “Twilight gray hath in her sober livery all things clad.”

Vladimir Nabokov: “The cell was filled to the ceiling with the oils of twilight, containing extraordinary pigments.”

Nabokov’s oils of twilight

If the quotes were many, it is because I think something within them is incalculably important to our coming discussions.  These feelings, given new life during this time of desperate illumination, are very much at the heart of Twilight Princess, and without adequate respect and thoughtfulness for the beauty of emotion, description, and the intense struggle of poetry and communication, little can be drawn from this masterwork.  I urge that this game be played in moods of introspection and calmness, as suggested by the inclusion of rather purple poetic verse.  There are a few critical elements that are present in the quotes above: these are the accompanying conflictions of temperament, reverence for the colors of sundown, and a tendency toward higher thought with concomitant inaction of body.  All of these concepts hold great significance throughout the game, and without mindfulness of them, the game is little more than a vessel for trivial enjoyment.  

People are constantly at battle over their opinions and feelings, and even in Hyrule, people have mixed thoughts concerning the waning light.  Indeed, it can be viewed as a time of fear, or it can be enjoyed as a time of tender catharsis.  In the opening scene to the game, Rusl and Link sit beside an Ordonian stream, caught up in quiet conversation.  “Tell me something,” Rusl asks.  “Do you ever feel a strange sadness as night falls?  They say it’s the only time when our world intersects with theirs … The only time we can feel the lingering regrets of spirits who have left our world.  That is why loneliness always pervades the hour of twilight.”  This dialogue captures the essence of this game, one of differing conceptualizations, mindsets, and ideals.  Instead of the duality of light and darkness, we are presented with a spectrum; and, in the area where the two touch and begin to blend, doubt and confusion dwell.  After all, this evening hour enables light and shadow to momentarily coexist—when the two realms brush against one another.  Some within Hyrule, most notably Princess Zelda, hold that only gloom and depression can exist in such an atmosphere, but Midna and the Twili present a differing perspective—one of attachment.   “Some call our realm a world of shadows,” Midna says mournfully.  “But that makes it sound so unpleasant … The twilight there holds a serene beauty … You have seen it yourself as the sun sets on this world.  Bathed in that light, all the people were pure and gentle.”  We as gamers find ourselves caught somewhere in the middle of these two mentalities.  Through the injunctions of powerful spirits of light, we are forced to feel as though the coming of twilight to the world is an evil, but we also come to love Midna, her people, and what she is fighting against—the perversion of something that she finds to be wonderful and sublime.  The citizens of Hyrule only ever see the twilight of Zant, which confirms all their preconceived suspicions and terrors, and not the delicate half-light so loved by Midna.  And with this in mind, the game begins.  

Ordon village is an agrestic community enshrined in pine forests and mountain peaks.  It is a settlement of pristine farmland, whose rustic inhabitants live comfortably, enjoying their commune with nature, yet at once setting themselves apart from it.  In this alpine environment, animal domestication has thrived, and village life is heavily agrarian.  Though not a part of the larger Kingdom of Hyrule, those living within Ordona Province are still distinguishable to those of other territories by their informal speech and distinctive attire.  Ordonian products—their milks, cheeses, and pumpkins—have even found their way to the far-flung storehouses of Snowpeak Ruins.  The lasting impression of this hamlet is one of warmth and satisfaction.  

The rugged terrain upon which the livelihood of the people is nurtured 

From household commodities, the state of the town is easily readable.  Rocking horses, pictures, tapestries, waterwheels, wind vanes, ovens, potted plants, cooking ware, dolls, and a great many leather-bound books show that this village has long been at peace.  There is no thought of invasion, although weapons are produced and a perfunctory watch maintained, and the townspeople have created an indulgent and comfort-driven society.  In such a self-contained community, there is much time for leisure, and aside from the tending of livestock, few things need prolonged activity or focus.  (An interesting side note: there exists a small agricultural town in southern Italy named Ordona, from which the characteristics and namesake of Ordon Village may be derived.  Mountainous and forested, the region surrounding this city is also home to the only lasting expanse of Italy’s Black Forest.  The Black Forest in this area is also called the Foresta Umbra, the word Umbra being derived from shadow.  Both settlements, then, are pastoral centers that rest under a shadow, though of different sorts.)  

The very picture of comfort - inside Rusl’s house

The dwellings reflect quintessential Kokiric elements, several of which are built directly into large trees.  Most of the construction in this town is of wood, and uses the naturally-existing trunks and branches of the trees for support and embellishment.  This is especially true of Link’s house, which stands a small distance outside of the village proper.  It was constructed upon raised land, and built into the irregularly-shaped hollow of a living tree, whose branches can be seen weaving in and out of the structure.   The wooden beams and floorboards of the house are raw and unfinished, and are unevenly cut.  The windows also echo this design, containing no glass, and letting in a filtered sunlight through latticed woodwork. 

Yet, not all parts of the houses appear purely natural, as they have a distinct purple tile that reinforces their roofing.  It is a hybridization, probably due more to pragmatics than aesthetics, which results in a delightful appearance.  Most homes in Ordon are individual units, creating visible boundaries between families.  Along this same line, each house bears its own insignia, which is found upon the goat-horn crest next to the door.  The emblem found above the doorway into Link’s house is a golden triangle, which likely hints at his destiny and past.  Other houses bear the symbols of leaves, pumpkins, and cats.  Because the raising and domestication of goats is the lifeblood of the village, they take a central role in Ordonian art and custom.  They are found in pictures and tapestries, and their horns are hung upon every passageway entering and exiting the community.  They are displayed prominently above the gates protecting the town and spring, both of which hold obvious significance for those living nearby.  

A village house built into the roots of a tree

The golden triangle marking found upon Link’s banner

Because of the protected surroundings of Ordon Village—the mountains and bridge-spanned chasm—there is little need to worry for safety.  Time that was once afforded to creating the security of a settlement is now used to cultivate the many aspects of a defined culture, though one slow to change.  Nothing pressing or foreboding lies on the horizon, so the townsfolk are at lasting peace.  Higher thought and appreciation can only be born in a society that enables individual reflection, and the conversation of the initial cutscene displays that both of these experiences are well at work within certain villagers.  What follows are realizations of one’s place in the world.  Rusl knows all too well these fleeting contemplations: “You have never been to Hyrule, right?  In the kingdom of Hyrule there is a great castle, and around it is Castle Town, a community far bigger than our little village … And far bigger than Hyrule is the rest of the world the gods created.  You should look upon it all with your own eyes.”  And, in time, that is exactly what will happen.

anonymous asked:

honestly good for you telling that person to fuck off bc trying to navigate fandom, particularly fandoms for children's media, as a minor and being literally inundated with porn and fetishy art from actual adults from all sides is exhausting and incredibly upsetting. anyway you don't gotta post this its just that theres no need to feel bad about setting boundaries like that & it sets a good example for young ppl knowing they dont have to put up with this. have a good day dude

this really helps actually thank you bc i trust my gut with this kind of stuff usually but for some reason the guilt tripping & shit from those people was getting to me and made me feel like i fucked up or misjudged the situation. its also good to hear it from an actual minor who experiences this & wants it to stop

anonymous asked:

Hi @upthehillart , I'm having a lot of trouble in my art class. I am a pretty good artist but my teacher is the worst! She is setting so many limits and boundaries that I feel trapped! I just want to do my own thing and be free instead of the harsh projects. I just wanted to know if you could just shed some light on this situation. Maybe you've felt this way before...? Btw, your art is AMAZING

Oh, I’m sorry that you feel this way!! Sounds like you’re really struggling a lot, which I’m sorry to hear, but I actually can’t really relate to this.. :/ And that’s because I like limits, I like having guidelines to follow and explore my skills and imagination within concrete boundaries. Sometimes when I don’t have any limits, I have the hardest time. I even have a quote for this which I love and agree with wholeheartedly:

When forced to work within a strict framework, the imagination is taxed to its utmost–and will produce its richest ideas.” - Poet T.S. Eliot

Nevertheless, one shoe doesn’t fit all, and it seems like for you, limits entrap rather than liberate, which is unfortunate. But that’s why you go to school and work on projects–so that you’re subjected to a diverse range of creative possibilities and explore your artistic capabilities within a variety of frameworks. Some things you will enjoy, and other you’ll hate. Some things will enlighten you, and some things will prove to be unworthy of your time. Either way, you learn something, and that’s valuable.

Don’t stop putting effort in your school projects–look at them as an opportunity to discover something new about yourself–what you like and dislike, what you comes easy to you and what you find tough. All experiences are good!!
Also, don’t forget to create art outside of school, for yourself. Free yourself, enjoy art, have fun! Very important :)

Of course, your teacher might be stricter than I’m imagining. Some art teachers say that there are “right/correct” ways to draw and “wrong/incorrect” ways to draw. And that couldn’t be more false. It all depends on what you’re aiming for. So limits aren’t a bad thing, but if your teacher doesn’t change those limits from one project to another in order for you all to try different things, then no wonder you feel trapped. In this case, I would suggest you talking to your teacher and politely expressing the way you feel about the projects that you’re given. If you are working on a project and feel like, if you could do some aspects of it differently from the established framework, your work would be more effective, then don’t be afraid to speak up. <3