#Institute For Research in Art

[longlistshort]

Kimowan Metchewais, “Cold Lake Fishing”, 2004/06

Koyoltzintli, “Gathering Roots” and “Spider Woman Embrace”, Abiquiú, New Mexico, 2019, from the series MEDA, 2018/19, Archival pigment print

(Alan Michelson “Hanödagayas (Town Destroyer): Whirlwind Series”, 2022 Archival pigment prints and “Pehin Hanska ktepi (They Killed Long Hair)”, 2021 Single-channel video installation: wool blanket and video projection; 1:05 minutes (looped), no sound)

Currently at the USF Contemporary Art Museum is Native America: In Translation curated by Wendy Red Star and organized by Aperture. The work included offers viewers a chance to discover new perspectives on the Native American experience.

From the museum- “The ultimate form of decolonization is through how Native languages form a view of the world. These artists provide sharp perceptions, rooted in their cultures.” —Wendy Red Star

Native America: In Translation assembles the wide-ranging work of nine Indigenous artists who pose challenging questions about identity and heritage, land rights, and histories of colonialism. Probing the legacies of settler colonialism, and photography’s complex and often fraught role in constructing representation of Native cultures, the exhibition includes works by lens-based artists offering new perspectives on Indigenous identity, reimagining what it means to be a citizen in North America today.

Works included in the exhibition address cultural and visual sovereignty by reclaiming Native American identity and representation. Honoring ancestral traditions and stories tied to the land, Koyoltzintli (Ecuadorian-American, b. 1983) reflects on how the landscape embodies traditional knowledge, language, and memories. Nalikutaar Jacqueline Cleveland’s (Yup’ik, b. 1979) photographs of contemporary tribal communities in western Alaska document Native foraging and cultural traditions as a form of knowledge passed through generations. Revealing stories of trauma and healing, Guadalupe Maravilla (American, b. El Salvador, 1976) communicates autobiographical and fictional narratives informed by myth and his own migration story.

Expanding Indigenous archives and collective memory through photographic means, works by the late artist Kimowan Metchewais (Cree, Cold Lake First Nations, 1963–2011), drawn from his personal archive of Polaroid photographs, construct self-realized Native imagery challenging the authority of colonial representation. Excavating repressed colonial histories of invasion and eviction, Alan Michelson (Mohawk, Six Nations of the Grand River, b. 1953) reinterprets and repositions archival material to redress history from an Indigenous perspective. Marianne Nicolson’s (Musgamakw Dzawada’enuxw First Nations, b. 1969) light-based installation projects Dzawada’enuxw tribal symbols of authority and power onto colonized spaces to contest treaties that imposed territorial boundaries on Indigenous lands. Duane Linklater (Omaskêko Ininiwak from Moose Cree First Nation, b. 1976) reconfigured the pages sourced from a 1995 issue of Aperture, featuring Indigenous artists, creating space for artistic improvisation and reinvention across generations.

Reflecting on performative aspects of Indigeneity and the colonial gaze, Martine Gutierrez’s (American, b. 1989) series of photographs reinterpret high-fashion magazine spreads with a revolving roster of identities and narratives to question Native gender and heritage. Working across performance and photography, Rebecca Belmore (Anishinaabe, Lac Seul First Nation, b. 1960) creates powerful reenactments of past performances incorporating organic materials that reference knowledge, labor, and care of the Earth in defiance of state violence of Indigenous people.

This exhibition closes 12/1/23.

Rebecca Belmore, “matriarch”, 2018, and “mother” from the series “nindinawemaganidog (all of my relations)”, 2018, Archival pigment prints

Photos by Rebecca Belmore and Installation by Marianne Nicolson

Marianne Nicolson’s installation detail

Nalikutaar Jacqueline Cleveland, “Molly Alexie and her children after a harvest of beach greens in Quinhagak, Alaska”, 2018 and “There are two main Yup’ ik names for crowberries or blackberries in Alaska, “paunrat” and “tangerpiit””, 2017, Archival pigment prints

Guadalupe Maravilla, “I Crossed the Border Retablo”, 2021, Oil on tin, cotton, glue mixture, wood

Duane Linklater, “ghost in the machine”, 2021, Archival pigment prints

Martine Gutierrez, “Queer Rage, Dear Diary, No Signal During VH1’s Fiercest Divas”, and “Queer Rage, THat Girl Was Me, Now She’s A Somebody”, 2018. digital chromogenic print

One of Kimowan Metchewais’ polaroids from the slide show

[beegs-bugs]

Jonathan “I hate you and ghosts aren’t real but just in case stay in my bed to avoid the ghost worms” Sims

[internationalemeteorologie]

Cuno Amiet

Moon landscape. 1905

[dragonagitator]

Book that can almost certainly be found in Gale's library back in Waterdeep:

(from The 5E Guide to Sex)

If I understand the mechanics correctly, Gale would not have any of these buffs during the events of the game (since he'd been celibate for so long), but once he gets back to Waterdeep and spends two weeks studying it again then they would stay in effect for as long you and he keep banging at least once every 10 days.

There are enough intriguing and fucked up implications here to spawn at least a hundred fanfics lol.

[ki1ldeer]

Little doodle thing of older Them™️ because I think about them sometimes (and it’s Finn’s canon birthday today. Happy canon birthday Finn)

[compass-needle]

Uniform redesign i was bored after losing motivation on the last drawing.

Also some other hc like the robes are made out of rayon or smth lightweight n cheap idk

[valerian-hyacinth]

The blue ones :DDDDD

redbubble link

[dreamspy]

Things aren't always as they seem.

Artwork by @dreamspy

[simonh]

Science of Compliance: Behavioral Research In Clinical Trials by National Library of Medicine Via Flickr: Alternate Title(s): Behavioral research in clinical trials Contributor(s): Gordis, Enoch, 1931- National Institutes of Health (U.S.). Medical Arts and Photography Branch. NIH Reunion Task Force. Compliance/Adherence Working Group. Publication: [Bethesda, Md. : Medical Arts and Photography Branch, National Institutes of Health, 1993] Language(s): English Format: Still image Subject(s): Alcoholism, Behavioral Research, Clinical Trials as Topic Genre(s): Posters Abstract: White poster with black print. Visual image consists of wavy strips of pink, blue, yellow, green, deep pink, and gray, the two shades of pink being much wider than the others. Details of the lecture are given along with the topic to be discussed--addictive diseases, alcoholism. Extent: 1 photomechanical print (poster) : 67 x 42 cm. Technique: color NLM Unique ID: 101456175 NLM Image ID: C02940 Permanent Link: resource.nlm.nih.gov/101456175

[addictedgallery]

The State of Artistic Freedom 2024

The yearly Freemuse Report is widely regarded as one of the most important international reviews of artistic freedom. It is often relied upon by international legislative bodies, NGOs, researchers, and journalists to tackle the rising global issue of art censorship.

Click 👉 HERE to download a copy of the report.

Worth a read!

About Don't Delete Art (DDA)

Don’t Delete Art (DDA) strives to raise awareness and advocate for a more tolerant and inclusive digital environment for artists. They are dedicated to the protection and promotion of diverse forms of artistic expression on digital platforms, calling for companies to actively engage artists in the creation of more just and responsive moderation mechanisms and practices. DDA uses its platform and gallery to highlight censored voices and recognises its position as an advocate and educator on the kinds of censorship artists face online and the role of digital platforms in ameliorating it.

To learn more about DDA, click HERE

Don’t let the rising tide of art censorship swallow more art – report to DDA when you experience censorship and suppression, and tell your community to do the same at: https://www.dontdelete.art/submit

[lezet]

V.A.- "Collage Music (22) " is out on Institute For Alien Research (UK)!!

V.A.- "Collage Music (22) " is out on Institute For Alien Research (UK)!! featuring: Ayis Kelpekis AbstractJak Humanfobia Peppermint Jet & Levallois Pendro shaun robert Skeptical Horizon ؆П˗̶ gintas k shaun robert KR Seward Dreihasenbild Lezet

Lezet's contribution: https://ifarmusiqueconcretecompilation.bandcamp.com/track/eclipsing-us

cover background image 𝑨𝒅𝒆𝒑𝒕𝒖𝒔 𝑴𝒆𝒄𝒉𝒂𝒏𝒊𝒄𝒖𝒔

[nobuyukikakigi]

2024年春の仕事

ここへ来てようやく春らしい陽射しが注いでくるようになりました。それまで福岡では、気温は平年と変わらないものの、重い雲が垂れ込め、時折雨風が強くなる日が続いていて、気分も体調も落ち込むことが多かったので嬉しく思っています。学期の��まりの慌ただしさもようやくひと段落し、溜め込んだ仕事に少しずつ取り組んでいるところです。美学と哲学の講義にも、またこれらを深めるゼミにも熱心な学生がいて刺激を受けています。ゼミではエドワード・W・サイードの晩年の著作を読み始めました。彼が何を問い続けてきたのかを顧みることをつうじて、現在の厳しい状況を見通す思考の方途を探れればと思います。 3月8日に広島交響楽団の���奏会を聴くために訪れた広島にて さて、3月から4月の仕事についてご報告しておきたいと思います。まず、書評紙『週間読書人』の3月1日号に、郁文堂から昨年末に刊行されたヨアヒム・ゼング編／細見和之訳『ア…

[harbek]

Get ready for a Game Changer!

I̴̫͈͖͠'̸̘̺͛ͅv̸̲̰̦͛e̵̬̪͊ ̸̧̬̤͂b̸̼̰͊͒͜e̵͇͎͐ẽ̶̟ṉ̷̯̪͗͂͒ ̵̭̑̓h̸̬̾̄ḛ̴̛̹̪̿r̸̮̊e̴̖͆̒ ̵̣̬̲̽͝t̴̳̫̔̇ḣ̴͓e̸̥͕̎ ̴̡̧͉̔̒̏w̶̲͑̀͐ĥ̶̖o̴̙̻͂ļ̷̍e̵̫͇̅ ̸͍̓͂̕t̷̗̗̼̂̅i̴̟̞̍̒̈́m̵̲̠̃ͅë̶̡̳͇́͒͐!̵̹̦͌͠

Drawn in Photoshop, animated in Spine Pro. The final art piece I made for my bachelor thesis on GIF as a medium for art.

I've been researching digital art in the context of modern folk art, outside institutional or commercial art. I analysed almost 500 art GIFs across Tumblr, Artstation and GIPHY.

There's almost no academic research on art GIFs, so it was important to me to examine and document it. I also examined the optimisation of GIFs and how it relates to web sustainability.

And because the bachelor program was focused on art practice, I then created my own art GIFs, and it seemed only right that I should do it through fanart of something I've been really into lately. Thanks @samreich and the rest of Dropout for giving me some unhinged content as inspiration. Watch 'Game Changer' everyone, it's great.

[phinoli]

i have an interview today. the application labeled the position as project manager but the director, when we spoke, refers to the position as assistant director? it doesn’t really matter because both titles will look good on a resume but still what do i call myself girl?!

[skalidris]

i know i've technically only studied art history in an institutional sense but saying that affiliates me in most contexts with intellectual traditions i am usually fringing myself to . so i think 'cultural history' describes what i care about better

[bonyfish]

NSFW/Not Safe for Work is a funny concept to me because I have on separate occasions worked as 1. a creator of porn comics for an online subscription service, 2. a film archivist, digitizing material for the The Kinsey Institute for Research in Sex, Gender, and Reproduction. I got to experience the dissonance of writing a crisp, professional email to my editor like I was taught to in art school and then attaching 18 pages of dong pictures to it. I've called a coworker over to dispassionately watch hardcore pornography over my shoulder so that they could help me make sure I was scanning a film at the correct frame rate. We were both wearing lab coats at the time. In terms of raw percentage, I have likely spent half or more of my professional life working in situations where it would not be all that unexpected to see someone's hole(s) in the course of my duties.