#Elliot & erick

[scintillulae]

[prettyfamous]

Selena Gomez | Time | Elliot & Erick Jimenez | May 2024

[lucesolare]

Zuri Tibby by Elliot & Erick Jimenez for V Magazine March 2018

[coffeeandfrenchfilms]

Indira Scott by Elliot & Erick Jiménez for Jonathan Cohen, 2023

[longlistshort]

Above are photographs by Elliot and Erick Jiménez for the 2023 Florida Prize in Contemporary Art at the Orlando Museum of Art.

The twins' photographs explore art history references and religious iconography to create a body of work which beckons you in to see what emerges from their dark canvases.

The museum's information about the work-

Elliot & Erick Jiménez are the first collaborative artist team to be presented in the Florida Prize exhibition. They have the additional distinction of being identical twins. Growing up with shared interests in art and photography, each contributed individual strengths, creating their work through a process of planning, communication, and mutual respect. Their aesthetic approach is inspired by the canon of European art history and their Cuban heritage, while also being relevant to contemporary visual culture. The Jiménezes are first-generation Cuban Americans raised in Miami. Since an early age they have been involved in a religious practice native to Cuba called Lucumí and more popularly known as Santeria. A pantheistic religion, Lucumí arose by a process of syncretism. It combines the beliefs and practices of the Yoruba people, who once comprised most of the enslaved people of Cuba, and Roman Catholicism, the sanctioned religion of the island's Spanish Colonial rulers. In part to conceal the practice of Lucumí, Catholic rituals and sacraments were conflated with those of the Yoruba. Saints became an alternate manifestation of Yoruba deities known as orishas. As with seeking the blessings of saints, followers of Lucumí seek the good will of orishas so that they will benevolently offer guidance and protection in life.

In their current series of photographs, the Jiménezes have visualized the representation of deities within the syncretism of Lucumí and Catholic beliefs. Pictured are symbolic figures, their faces deeply shadowed or obscured, but identifiable through iconography much the same as the saints seen in old master paintings. This reference to the history of European painting is made explicit in works like The Grand Odalisque, which echoes Jean-Auguste-Dominique Ingres's painting of the same name. The Jiménez photograph depicts Oshun, the orisha of beauty, love, and fertility, reclining on a yellow drapery, her iconic color. Unlike Ingress overtly seductive odalisque, Oshun is a mere silhouette in black, an aloof deity covered with sparkling gems like stars in a night sky.

In The Apotheosis of Lucumí, François Lemoyne's masterpiece The Apotheosis of Hercules is the stirring backdrop for a beautiful allegorical figure representing the Lucumí religion. Surrounding her from Lemoyne's painting are the gods and goddesses of the ancient classical world, another pantheistic religion which in turn was to be conflated with later Christian practices, saints, and celebrations.

Other deities portrayed in these works include Ibeji, the orisha of twins. The Jiménezes posed for this photograph costumed in ruff collars that recall Cuba's colonial past. El Padre, El Hijo, Y El Espíritu Santo presents Obatala, creator of human bodies, shown in three different positions representing the Trinity. Yemaya, mother of all orishas, is the subject of Blue Chapel, her associated color. In this work's four panels she is a dark figure seen with the pale image of God the Father. They sensually express the evolving relationship between the two deities and between Lucumí and Christianity. The panels represent, in sequence, rejection, acceptance, advocacy, and interdependence. Blue Chapel exquisitely conveys the mystery, allure, and power these intertwined religions have for their followers.

[benmavininellitonu]

[TR] İkizler Elliot ve Erick Jiménez, Entre dos mundos'u kökenlerinin kutsal hikayelerini araştırarak derlediler. Ortaya çıkan figürler geçmişin masallarına ait olduğu, mistik bir havası olan bir dizin. - 20. yüzyılın sonunda doğan, Lucumí olarak da adlandırılan Santería, Küba'daki Afrika diasporası tarafından yaratılan bir dindir. Orishaların (Batı Afrika tanrıları) ve Katolik azizlerin figürlerini birleştiren bir senkretizm. İnançlar ve gelenekler arasındaki bu geçişin, siyah nüfusun dinlerini gizlice uygulama ihtiyacından kaynaklanmış olabileceği söyleniyor. Hıristiyan figürlerinin şeklini alan taptığı ruhlar böylece fark edilmeden geçmiştir. Doğal ve renkli soyut unsurlardan, bu tanrılar evrildi ve insan şeklini aldı. Küba ve Amerika kökenli fotoğrafçı kardeşler Elliot ve Erick Jiménez, bu maneviyatla, karşıt köklerden gelen çok sayıda yüzü olan bu dinle büyüdüler. Şimdi birlikte New York ve Miami arasında birçok etkiyi aşan rafine bir estetiğe sahip çalışmalar gerçekleştiriyorlar.

[ENG] Twins Elliot and Erick Jiménez compiled Entre dos mundos by researching the sacred stories of its origins. The resulting figures belong to the tales of the past, a series with a mystical atmosphere. - Born at the end of the 20th century, Death Santería, also known as Lucumí, is a religion created by the African diaspora in Cuba. A syncretism combining figures of orishas (West African deities) and Catholic saints. It is said that this shift between beliefs and traditions may have resulted from the need to practice the black mass religions in secret. The souls worshipped by Christian figures have thus undergone differentiation. These gods evolved and took human form from natural and colourful abstract elements. Cuban and American brothers Elliot and Erick Jiménez grew up with this spirituality, this multifaceted religion from opposing roots. Now they perform together between New York and Miami with a refined aesthetic that transcends many influences.

[sherrep]

Meghan Collison in Vogue Turkey by Elliot & Erick

[modelsof-color]

Sherry Shi by Elliot & Erick Jimenez for Tush Magazine - September 2019

[queersrus]

masc names similar to styx and eden please?

i hope these help!

styx:

achlys, acheron, alfeios, aelo/aello, alyx brix/bryx cocytus, caron/charon, ceto

dione, diona eos, electra, eryx faber, fairy/ferry, fair

hydra, harpy, hades kishi ladon, lethe, leto, lyre, leven

mir nix/nyx oath

phlegethon, pallas, promise, pandora, perse river strix/stryx, sphynx/sphinx, siren, storm, static, scheol

tyche, thoe, truth, thia/theia whisp/wisp, wix/wyx, winx

eden:

adam, aaric/aarik/aarick, ander, andrik, atticus, archer, amy, ava blake, boaz, brecken/bracken, ben, briar caleb, callie, cheriet, clover

daniel/danielle, daniela, david easton, eli, eitan, ellerd, eric/erick/erik, edwin, edwina, elliot/elliott, elias, elad, elisha, ella, eve, ede, erin, ebony

faith grace hope, heather, holly, harper

ilon, ivy, imee jude, justice, jordan levi, lyra, liberty, lauren, laurel, leah

mia, mary, micah noah, noam, nora, naomi, neve, nik phoepe, page/paige, peris

ruth, rowan sam, stellan, stiller, seth, shira, sasha taylor, trinity, terisa

yvonne, yuval zion, zeden

[shaddad]

the grand odalisque, de elliot e erick jiménez

[imsovoguesblog]

New Cover Alert ⚠️

Selena Gomez graces the cover of TIME Magazine’s June 10th, 2024 June issue.

📷:Elliot & Erick Jiménez,

👗: Erin Walsh

[scintillulae]

[aci25]

La revista TIME ha dedicado su primera portada en ESPAÑOL al puertorriqueño Bad Bunny.

🇵🇷 Bad Bunny fue a la Universidad de Harvard y dio una charla sobre su protesta musical y activismo social a 300 estudiantes que abarrotaron un anfiteatro en el 2019.  

El año pasado, el Wellesley College en Massachusetts comenzó un curso sobre el impacto sociopolítico del Conejo Malo en la sociedad.  Este año, las universidades de San Diego y Loyola Marymount en California están ofreciendo cursos para estudiar cómo Benito Antonio Martínez Ocasio impacta la comunicación masiva y cultura global además de la política colonial de Puerto Rico.  Todos estos cursos tienen matrícula llena y el de la Universidad de San Diego se ofrece a nivel de maestría.

Probablemente, los estudiantes de estas clases aprenderán que hay puertorriqueños, además de otros hispanos, que sufren de un complejo de inferioridad porque creen que el idioma inglés, la cultura y valores estadounidenses son superiores.  En contraste, Bad Bunny ha declarado y demostrado que el idioma, la música y cultura estadounidense no tienen supremacía mundial.

Benito ha dicho: <<Yo siempre creí, desde el principio, que yo podía llegar a ser grande, que yo podía llegar a ser uno de los mejores cantantes del mundo sin tener que cambiar mi cultura, mi lengua, mi idioma, mi jerga.  Yo soy puertorriqueño. ¿Por qué yo tengo que cambiar? Nadie le pide a un artista gringo que cambie, (su idioma y nacionalidad para ser exitoso)>>. En un artículo del diario español El País, Benito afirmó: <<Hay que romper eso de que los gringos son dioses … No, papi>>.

De hecho, el Conejo Malo es tan o más exitoso que cualquiera de los estadounidenses que cantan en inglés.  Por tanto, los artistas de la nación puertorriqueña y de otros países hispanos no tienen que negar o modificar su identidad nacional ni doblegarse a las demandas del mercado estadounidense ni tampoco rendirle pleitesía para triunfar.

“Time”, una revista extranjera que el mes pasado cumplió 100 años de trayectoria, publicó por vez primera en su historia una portada con titulares exclusivamente en español para reconocer que Benito le está comiendo los dulces a los estadounidenses sin usar el idioma anglosajón.  Aún más, Bad Bunny está dando cátedra sobre su puertorriqueñidad y el impacto mundial de sus comunicaciones mediante la academia estadounidense que ofrece sus cursos en varias universidades.  Por tanto, ¿cómo se puede valorar, aprovechar y aplicar el contenido educativo de Benito en Puerto Rico?

La foto adjunta es de Elliot y Erick Jiménez para “Time”.

Read the TIME article here: https://time.com/6266349/bad-bunny-cover-story/

[lucesolare]

Zuri Tibby by Elliot & Erick Jimenez for V Magazine March 2018

[coffeeandfrenchfilms]

Indira Scott by Elliot & Erick Jiménez for Jonathan Cohen, 2023

[longlistshort]

Work by Elliot and Erick Jiménez (photographs, left) and Reginald O’Neal (paintings, right)

Sculptures by Akiko Kotani, Paintings by MJ Torrecampo

Work by Denise Treizman

Work by Amy Schissel

Photography by Peggy Levison Nolan

Work by Magnus Sodamin

Work by Yosnier Miranda

Work by Cara Despain

There is some really impressive work currently on view for the 2023 Florida Prize in Contemporary Art at Orlando Museum of Art.

From the museum site about the exhibition-

The Florida Prize in Contemporary Art is organized by the Orlando Museum of Art to bring new recognition to the most progressive artists in the State. Each year OMA’s curatorial team surveys artists working throughout the State before inviting ten to participate. One artist will receive a $20,000 award made possible with the generous support of local philanthropists Gail and Michael Winn.  Artists range from emerging to mid-career, often with distinguished records of exhibitions and awards that reflect recognition at national and international levels. In all cases, they are artists who are engaged in exploring significant ideas of art and culture in original and visually exciting ways.

This year’s artists are-

Denise Treizman (@denisetreizman )

MJ Torrecampo (@mjtorrecampo )

Akiko Kotani

Peggy Levison Nolan (@peggylevisonnolan

Amy Schissel (@amyschissel )

Reginald O’Neal (@_reginaldoneal_ )

Elliot & Erick Jiménez – (@elliotanderick )

Cara Despain (@caradespain )

Yosnier Miranda (@occurrences)

Magnus Sodamin (@magnificentmagnus )

Over the next few posts I will be adding more photos and details about the artists from the exhibition.

This exhibition will close 8/27/23.