Hello frends! I am an artist. My roots take place in St.Petersburg, which has great architecture, culture and history that influenced me once and forever. Today, in the times of technical progress, mass production and new artificial materials I search for inspiration in the foundation of the Arts - old Russian Orthodox icons, Renaissance and folk cultures. I seek out look for new shapes and images within my themes using different materials, but my favorite is glass for its plasticit... [more]
As the time in my space in LA, West Eleven, was coming to a close in the fall of 2012, one thing was for sure. Fat Man, my nefarious creation, needed to be dealt with in all his gluttonous, icky, preverted, greedy glory. He was born earlier in the year from an idea to create a sculpture that embodied the various industries and powers that destroy the soul of beauty and true goodness in the world. He did his job many times over throughout the year at West Eleven and even added humor... [more]
Of course it takes a movie to show how unbelievable the art market can be: for his Oscar-nominated film Big Eyes, Tim Burton had a lot of material to work with. The movie tells the true story of painter Margaret Keane (portrayed by Amy Adams), whose paintings of big-eyed children infiltrated pop culture in the 1960s and how her husband Walter (played deviously by Christoph Waltz) took credit for them.
Margaret Keane, San Francisco, Here We Come, 1991. Keane Eyes Gallery, San Francisco, via Flickr user Rocor
Throughout the film critics, collectors, and viewers a... [more]
Zakir Hussain’s latest works at Gallery SKE in Bangalore is a wonderful presentation of works to understand that originality can only be claimed as an unclaimed, seen as the other in the final omnipresent grand narrative of itself. The claim to originality that his works make in the beginning is by having a title ‘no title’. This is very interesting as the self proclamation of having no title negates the presence of the trace of the past. If there is any c... [more]
The Face of Joan Didion.
In his 1957 publication, Mythologies, Roland Barthes wrote a chapter entitled “The Face of Garbo” that traced the marked distancing of Hollywood’s representation of the female face from the concept of awe, toward the effect of charm—childish and feline. We have not strayed far from this portrayal of women on screen since. Within Western history, and within our treatment of these images, there is something inexplicably aesthetic within the urge to... [more]
“The body is always a body that is an unfinished entity.”
—Lisa Blackman, The Body (Key Concepts), Berg, 2008
“We have a whole history of representation in which the black body was not the privileged body,” Kerry James Marshall said in an interview a few years ago. “So there was no crisis of representation for me, because the black figure is underrepresented.” Marshall has patiently, and masterfully installed black figurative paintings in predominan... [more]
I have a nine to five job working for a non-profit. I used to be a part-time educator/part-time stay at home mom, wondering artist. Before that, on occasion I was a full time Art teacher and alternately a full time mom. I was at a meeting the other day, where someone referred to Housewife artists in a not-so complimentary light. I had to chuckle inside. What is the difference between an artist who stays at home with her kids and a housewife who makes art? Quality, I guess..getting to be cal... [more]
Northside Independent Artists (or NIA) had two successful art shows in 2014, and we are poised to schedule a third show for mid-2015. We are a diverse collective of artists who reside on Chicago's North side. Our mediums range from oil paint to collage.
I am Dean Johnson, a co-founder of NIA. I serve on the Board of Directors for ChiPRC (http://chiprc.org/), which was our venue for the second show. I regularly teach art workshops there (http://www.deanjohnsonartstudio.com/events/). As Arts Co... [more]
In the film After Life (1998) by Kore-eda Hirokazu the recently deceased end up on a minimalist film set. In this purgatory they discuss and improvise with their fellow travelers until they have decided on the ultimately defining moment of their lives. They re-enact it and then pass over to whatever paradise or nothingness may be waiting for them. One by one the dead come to terms with what they’ve left behind. Except for one, who can’t decide.
That guy could have been Nobuyoshi Araki.... [more]
A while back during Berlin’s Indian summer, when the weather was more hospitable to a trio of tropics-born expats, I met up with the Doha-based artist duo Christto Sanz and Andrew Weir at a sleepy kietz café in Prenzlauer Berg.
Sanz, from Puerto Rico, and Weir of South Africa, have made waves lately with their vibrant and somewhat in-your-face surreal photographs that weigh in on power structures of culture in locations like their current home Qatar. Their artwork is almost camp,... [more]
Selected by London-based writer Philippa Snow, ArtSlant's Page 3 Pin-Ups is an acerbic take on the topless tabloid muse. The new weekly series is inspired by Playboy’s Playmates, Page Three, and Letters To Penthouse: for anyone who’s ever muttered the phrase “fuck contemporary art” and really meant it.
Today’s internet-smashing pin-up is notable for the fact she has everything the modern gentleman wants: an ass that won’t quit, one that Sir Mix-A-Lot (O.B.E.) would love.... [more]
New York based photographer Eric Chakeen (a former assistant to Ryan McGinley) shared some of his shots from his latest project, And Away They Go, which documents the life at the Del Mar racetrack—a place Chakeen visited often growing up in San Diego. Here, the photographer gives ArtSlant his personal perspective on the complex social atmosphere at one of California's most historic sports venues.
The Del Mar racetrack opened in 1937. It was a huge part of Hollywood in its halcyon days. Lucille Ball, Frank Sinatra, and Bing Crosby were frequent vi... [more]
A significant moment for African American artists from the Southern states: the Souls Grown Deep Foundation, an organisation dedicated to the documentation and archiving of Outsider African American Art, has donated 57 works to New York's Metropolitan Museum of Art collection.
The works speak of a period in Art History that has received little attention until now, that began during the days of slavery and subsequent segretation in the Deep South, and evolved during the Civil Rights Movement in... [more]