New York City 's Jewish Mother

Eva Hesse was a German-American Jewish sculptor. Her metal sculptured work “Metronomic Irregularity II” (1966) exhibited in the Eccentric Abstraction show curated by Lucy Lippard, exemplifies curial sentiments of what is considered as eccentric abstraction. [9] According to Lippard’s envisage of the eccentric sculpture for her show she was unexpected of the work. As she sees a less organic form she wanted of the work compared to Hesse’s previous sculptured work of the year, “Hang Up” (1966) made from steel tube, acrylic paint on cloth and wood. [3] Whereas “Metronomic Irregularity II” (1966) are seen with little of erotic overtones, but a waving of minimalist geometric shapes with expressionist gesture. ［4］Contrasting from Kandinsky’s watercolour on paper “Watercolour No. 6” (1911) rather than using the regular geometrical shapes to express his synesthesia beliefs, Hesse uses shape and lines allied with organic form in relating to the human body. Hesse uses of geometric repetitions in her work also moves a distance away from the uncompromising

Browne, Emily. "10 Things about Being an Artist That Art Teachers Don't Tell You." TheGuardian.com. The Guardian Website, 21 Feb. 2013. Web.

When visiting an exhibition of art work by artists was organized by Winston Salem State University at the Diggs Gallery. When I reached, the Art Gallery, it packed with students of the university. Clusters of people were inflowing the exhibition halls, their faces were pleased with joy. On the walls, pencil drawings and Jet Magazines were up for presentation. Most of them replicate daily activities and some of them brought us into a world of imagination of how life was in the past. As I sauntered through the exhibition halls, I heard the voice of a public speaker who was telling the guests about the artists and their works. The exhibition offered me precious minutes of moderation and enriched my mind. It brought me back into my pleased and peaceful past.

Shannon Jackson’s “High Maintenance” examines the work of Mierle Laderman Ukeles, an influential artist in performance and feminist art discourses. Jackson uses Ukeles’ collaborations with the New York Sanitation Department in order to exemplify the ways in which her artistic identity as a mother, artist, and feminist give rise to ideas about labor both within and outside of the gallery space. Jackson forces the reader to think about performance as a “reciprocally sustaining infrastructure—one that needs to be supported in order to support” and how that reciprocal relationship “serves as its most fundamental link to a larger socio-political consciousness on the role of maintenance in sustaining human welfare” (Jackson, 78).

After reading the article Everyone is an Artist written by Megan Kokomo, it gave me a great chance to look back of myself and to think again about the controversial topic: “What is art and who is the Real Artist?”

In this ambitious work, Sarah Thornton opens to doors to the art world and anyone is welcome to enter. The organization of Seven Days in the Art World allows the reader to easily follow Thornton as she experiences the art world from buying, selling, to creating art. Seven Days in the Art World delivers an entertaining account and perspective on the art world. This book is an excellent resource for not only students, educators, and art enthusiasts, but also those who don 't know a thing about the art world. In reviewing this book, the principal criteria included detailed information on each location Thornton visited giving any reader a sense of belonging through detail, explaining art terminology, and connecting the locations she visits one another in various ways. Although Thornton changes her tone toward the middle of the book and an artist contradicts himself making parts of the book confusing, these problems are only a minor distraction to the story being told.

My breath forms small clouds in front of me as I push through the bitter wind, my bag's straps digging deep into my shoulder. Reaching the glass industrial door, I swing it open, welcoming the rush of warmth on my face. I climb the four flights of cement stairs to the third floor, my boots and heavy breathing echoing off the walls. The thick steel door swings open revealing an art studio with its own character and energy. Patterned cotton drapes spill out of the bins while rolls of canvas gather pastel dust in the corner. I plop my burlap tote and camera bag down next to Greek plaster busts and one of the many easels that litter the area. The strong smell of oil paint mixes sharply with the smell of turpentine and cleaning chemicals, overwhelming my senses.

As the TATE Museum state (2015), in the late 1980s and early 1990s, Dumas created some works based around the subject of pregnancy and babies. With her threatening expression, olive green hair, and anointed painted body, this child challenges us and looks like a power of destruction. However, the title discloses her as a creative creature (a painter). She is Duma's daughter, Helena. The artist has striven to highlight the baby body by applying a powerful dark blue contrasting colour in her belly. The child talented hands are immersed in black and red paint, which a first look could seem that she is covered by blood but actually it is an evidence that she has been painting.

Throughout history women have been seen as the exception to the rule that artists are men. While conditions have improved, women are still excluded from galleries, museums, textbooks, and overall are not granted the same privileges as male artists. Many people insist that today women are granted equality in the art world, yet textbooks solely on ‘women artists’ exist; instead of integrating women into the general history of art there is a whole separate section for them. Instead of simply calling everyone artists terms such as ‘woman-artist’ exist. World renowned museums such as the Museum of Modern Art and the Metropolitan Museum of Art insist that they have ‘integrated women into their collection’, yet the

This ‘Auction of abstractions’ unfolded questions regarding conventions of social interaction, nowadays many artists make no distinction between their work inside and outside the gallery. We find ourselves in a place where the mundane is elevated and revered (Bishop 2006). Kaprow came across the idea of appreciating ordinary activities through Jackson Pollock. He was excited by the performative possibilities of painting. After Pollock’s death he wrote an essay, exploring what he thought Pollock had meant for painting, art and life (Beaven 2012). He suggested that ‘the art to come was one that incorporated everyday life, and everyday objects.’ (Kaprow qtd in Beaven 2012). He then went on to develop the “Happenings" which he describes as ‘something spontaneous, something that just happens to happen’. (Kaprow qtd in Beaven 2012). Kaprow created two hundred Happenings and eventually he shifted his practice into what he called "Activities", committed to the enquiry into normal human activity in a way congruent to ordinary life. One particular work called ‘18 Happenings in 6 Parts’ was performed in 1959 at the Reuben Gallery in New York and is one of his earliest and most important Happenings. This participatory event

When I first walked into the Art Gallery, I did not walk in with an open mind. I came in thinking it would be boring and unappealing. I always thought of art as nothing but a cluster of pictures, drawings and sculptures. To my surprise, after walking around and taking everything in, I became enthralled with what I saw. The Art Gallery was very spacious, sterilized, and everything had its own area. Out of two of the main artists that was showcased, Nadine Saitlin’s displays is what fascinated me the most.

The concept of “Art” is one so traditional and culturally ingrained, that it’s meaning and purpose is often simply presumed. Yet, certainly more as of late, the question has been asked, what “Art” really is. There are numerous technicalities, and fields so extensive as to be unable to ever explore every trade in Art, but what is clear is that Art stays unchanged in that it always remains an ever changing form of expression.

Feminism and expression has been in women’s art since the 1970s, time does not change and movements continue. Antonis’ unique style helps her stand out during this shifting feminist art movement and art environment. Antonis’ work reflects the core principles of the movement: “women artists as being historically important and influential. These artists are her aesthetic, feminist heritage, and their concerns with the body, female beauty, identity, and constructions of femininity, as well as their methods of appropriation and questions of authorship, are all

In the process we shall examine the importance of art and the role it plays in society, the factors that make something a work of art and who decides or should decide what a work of art means or signifies; is it the artist, the audience, the critic or perhaps even history itself?

“Artists who innovate and challenge existing conventions have an effect on the artworld as profound as an earthquake- they change the shape as of the art landscape”.