#Janiva Ellis
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Janiva Ellis, Untitled (Grey Anvil), 2019
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Janiva Ellis
Untitled (grey anvil)
2019
oil and graphite on canvas
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Janiva Ellis Scope, 2019-2022 oil on canvas 76 × 71 × 3 in (193.04 × 180.34 × 7.62 cm)
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Janiva Ellis
Catchphrase Coping Mechanism, 2019 oil on linen 86 × 70 in (218.44 × 177.80 cm)
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Janiva Ellis — Curb Check Regular, Black Chick, oil on canvas (2018)
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Stress and Jest: A Conversation with Janiva Ellis
by Laura Brown
some excerpts:
ELLIS: There is a history of image making in both pop culture and the canon of art that has been given an inflated sense of merit, most of which ignores or degrades the existence and irreplaceable contributions of black people. Referencing a scene from Ren and Stimpy (by illustrator John Kricfalusi) or borrowing a background from painter Andrew Wyeth transforms my relationship to familiar works and mirrors customs of capturing without acknowledgement that are so pervasive within the history of widely lauded image making. I’m not implying that those I borrow from do this directly, but those I’ve borrowed from thus far are generally people who’ve directly benefited from histories of appropriation. Taking without thinking is a long-lived tradition that I enjoy playing with.
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ELLIS: I’ve said “duality,” but maybe it’s more a representation of the multiplicity that occurs when we juggle who we are, how we feel, and how we are perceived. The inclination to clumsily reduce one another as either different or similar is inherited from a brutal and outdated philosophy. When appropriately contextualized, acknowledging difference can be crucial to the survival of the marginalized. When mishandled, acknowledgement of difference encourages assumptions that lead to projection. The stains of these projections can heavily influence our sense of self and alter the faces we wear.
BROWN: The mask, then, is an available form to be borrowed. How does it transform in your work? ELLIS: My education emphasized the importance of contributing something original. Spending so much time looking at a selection of works by those who came before me as a means for departure made no sense to me as a student. Until recently, I hadn’t considered the validity of transforming things that already existed. Information is often tailored in relationship to who is communicating and who is transcribing. Because both black and non-black histories are often broadly broadcast through a white lens, they’re distorted. I find it worthwhile to re-examine the media that informed my youth. It feels important to pile it all together and pull it apart—to understand how the narratives change as I mature, and to understand how the narratives can change when communicated by a black woman.
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More artists I associate with tumblr art blogger aesthetic
1. Hilary Pecis
2. Kiki Smith
3. Jenna Gribbon
4. David Hockney
5. Kerry James Marshall
6. Janiva Ellis
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My Favorite Artists
Haley Josephs
Janiva Ellis
Alice Neel
Lynette Yiadom-Boakye
Doriella Camu
Arcmanoro Niles
VanGoliathe
Patricia Renee Thomas
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Janiva Ellis
Yup Genie
2019
Oil on linen
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Artist Research: Tyler Williams
Tyler Williams is known for his hyper-surreal, otherworldly works.
Much of his work echoes the surreal, figurative paintings of artist Janiva Ellis, who is one of his prominent influences.
Williams was struck by the themes of the African-American experience through a surreal lens.
The themes that Williams explores are persona, tackling mental health and focusing on the changes his body has made since being diagnosed with paranoid schizophrenia, and constantly changing medications throughout the process.
Exploring his identity as a black queer person, Williams is seeking to use his medium to liberate minorities from the confines of restrictive titles – queer, straight, black, white, artist, etc.
“Emotional awareness is integral to my work.” Williams says, “when creating, I am used to focusing more on the structure of things, which can come off a bit clinical at times. But I strongly believe my work, overall, tends to be more of a balance between the two.”
His paintings transport the viewer into a world of pastel-shaded people, warped walls, and Salvador Dali–esque landscapes. This provides a sense of freedom for the artist himself.
“I just want to create more of this work as therapy for myself.”
By immersing myself in Williams’ art, I come to recognise and deeply admire his candidness and embrace of his mental well-being, evident in the authentic portrayal within his creations.
He constructs a safe space within the unfamiliar realms he creates, allowing an environment where both the audience and his art can courageously reveal vulnerabilities.
His emphasis on portraying otherworldly characters resonates with my current artistic directions, which centre around depicting unconventional entities and phenomena.
I’m also eager to explore the realm of landscapes, inspired by the success it brought to Williams’ artistic endeavors.
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Catchphrase Coping Mechanism, 2019
oil on linen, 218.44 × 177.80 cm
Janiva Ellis (b. 1987, Oakland, US)
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Janiva Ellis — Dashland Updrown, oil on linen (2019)
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I'm doing my annual black history month celebration, which is to highlight a black artist daily
I will usually try to find an image or summary of the artist, and post at least 3 of their pieces throughout the day. This pinned post will be updated daily with a link to the artist's tag:
Philemona Williamson
Troy Michie
Naudline Pierre
Jordan Casteel
Chris Ofili
Simone Leigh
Kehinde Wiley
Janiva Ellis
Belkis Ayón
David Hammons
Alison Saar
Diedrick Brackens
Kara Walker
Carrie Mae Weems
Jean-Michel Basquiat
Bill Traylor
Ming Smith
Tau Lewis
Kerry James Marshall
Doreen Garner
Charles Alston
Renée Stout
Gwendolyn Knight
Juliana Huxtable
Wangechi Mutu
Lorna Simpson
Glenn Ligon
Mosie Romney
Betye Saar
#art!#black art#black artist#black history month#'24#pinned post#will be keeping this pinned for the first week of march
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