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Walker Art Center design director Emmet Byrne interviews Westboro Baptist Church’s designer: “I confess a perverse curiosity about the subject, not to mention the irony of a homo talking to a bigot about the medium and not the message. Is there anything to be learned about design from someone whose values are so radically different than my own?”

Walker Art Center design director Emmet Byrne interviews Westboro Baptist Church’s designer: “I confess a perverse curiosity about the subject, not to mention the irony of a homo talking to a bigot about the medium and not the message. Is there anything to be learned about design from someone whose values are so radically different than my own?”

— 3 weeks ago with 31 notes
#graphic design  #typography  #westboro baptist church 

Nail Art History 

susikenna:

ANDREW MASULLO

NAIL ARTIST: Mei Kawajiri / @ciaomanhattan2012 

HAND-PAINTED ON: February 6, 2014

— 3 weeks ago with 868 notes
#nail  #nail art  #art history  #art 

likeafieldmouse:

Kris Martin - Lost Wax (2013) - Bronze & ceramic

— 1 month ago with 1581 notes
N55, SNAIL SHELL SYSTEM, 2001

A dwelling that can be rowed on water or carried/rolled on land, featured in the essay, “Home Makers: Artists Get Practical—and Political—About Housing.”

N55, SNAIL SHELL SYSTEM, 2001

A dwelling that can be rowed on water or carried/rolled on land, featured in the essay, “Home Makers: Artists Get Practical—and Political—About Housing.”

— 1 month ago with 79 notes
#art  #housing  #urban planning  #n55 
Son Lux at the launch of Sisyphus’ eponymous LP, Walker Art Center, February 14, 2014. Photo: Gene Pittman

Son Lux at the launch of Sisyphus’ eponymous LP, Walker Art Center, February 14, 2014. Photo: Gene Pittman

— 1 month ago with 19 notes
#son lux  #sisyphus 
Sufjan Stevens at the launch of Sisyphus’ eponymous LP, Walker Art Center, February 14, 2014. Photo: Gene Pittman

Sufjan Stevens at the launch of Sisyphus’ eponymous LP, Walker Art Center, February 14, 2014. Photo: Gene Pittman

— 1 month ago with 196 notes
#sufjan stevens  #sisyphus 
Serengeti at the launch of Sisyphus’ eponymous LP, Walker Art Center, February 14, 2014. Photo: Gene Pittman

Serengeti at the launch of Sisyphus’ eponymous LP, Walker Art Center, February 14, 2014. Photo: Gene Pittman

— 1 month ago with 15 notes
#serengeti  #sisyphus 
"There was a sense toward the end of that period, which many people associate with the aftermath of the 1993 Whitney Biennial, that people got tired of the subject position battles. There was a backlash … as artists, critics, and institutions grew weary of defending their privilege and more or less decided that the whole identity politics thing was over.
Attendant with that has been a simplification of the art of the time, as if somehow it was lacking in formal or material complexity, and was merely artists stating self-essentializing positions as a way to make space for marginalized positions within an art world that had hitherto excluded them. And yet, of course, much of the art of that era continues to inform and enrich the present. While I am not suggesting that the artists in this exhibition represent Identity Politics 2.0 (as if identity politics ever ended, for that matter; it is everywhere, all the time, de facto, and we are all participants), they do represent artists who are unafraid to engage the world in broad and ambitious ways, and who deploy their identity, or at least a conscious acknowledgment of its existence, within the work. What feels different to me is that they all reconsider notions of loyalty to a group away from identification based on class, race, ethnicity, gender, and sexuality and toward some less codified organization of alliances.”
-Bartholomew Ryan, extract from the conclusion of 9 Artists catalogue essay.
Join 9 Artists curator Bartholomew Ryan in the galleries tonight at 5 pm for a conversation about the exhibition, which closes Sunday.

"There was a sense toward the end of that period, which many people associate with the aftermath of the 1993 Whitney Biennial, that people got tired of the subject position battles. There was a backlash … as artists, critics, and institutions grew weary of defending their privilege and more or less decided that the whole identity politics thing was over.

Attendant with that has been a simplification of the art of the time, as if somehow it was lacking in formal or material complexity, and was merely artists stating self-essentializing positions as a way to make space for marginalized positions within an art world that had hitherto excluded them. And yet, of course, much of the art of that era continues to inform and enrich the present. While I am not suggesting that the artists in this exhibition represent Identity Politics 2.0 (as if identity politics ever ended, for that matter; it is everywhere, all the time, de facto, and we are all participants), they do represent artists who are unafraid to engage the world in broad and ambitious ways, and who deploy their identity, or at least a conscious acknowledgment of its existence, within the work. What feels different to me is that they all reconsider notions of loyalty to a group away from identification based on class, race, ethnicity, gender, and sexuality and toward some less codified organization of alliances.”

-Bartholomew Ryan, extract from the conclusion of 9 Artists catalogue essay.

Join 9 Artists curator Bartholomew Ryan in the galleries tonight at 5 pm for a conversation about the exhibition, which closes Sunday.

— 2 months ago with 10 notes
#9artists 
Installing Untitled (2011) for the opening of Jim Hodges: Give More Than You Take.

Installing Untitled (2011) for the opening of Jim Hodges: Give More Than You Take.

— 2 months ago with 54 notes
#Jim Hodges  #art 
"Identities are formed at the unstable point where personal lives meet the narrative of history. Identity is an ever-unfinished conversation."
Stuart Hall (1932-2014)

(Source: studiomuseum)

— 2 months ago with 2691 notes
#Stuart Hall  #cultural studies  #Identity