#San Francisco Arts Commission

[ceruleanseacreations]

A recent sticker commission I got to do. 💙✍🏼

Blastoise in some 49er gear! 🏈 💥

Just in time for football season 🏈

[fromanartistsheart2]

[bigramos009]

@ramirez_187 -“hunnids” still hella slaps. The album tradgey of a clown is dope too just heard it today 🤙🏽 if u like rappers from #sanfrancisco go listen to that & playas manuel .

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1 of my favorite oil paintings i did in college. The girl looks hella real. COMMISSION OPEN. First come first serve. Prints available of this piece for $25 + shipping.

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Custom oil paintings starting at $500.

Custom water color paintings starting $100. Dm me A$AP.

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#ramirez #giants #oilpainting #sanfranciscogiants #prints #theeyeschicotheyneverlie #mlb #girlswithglasses #northerncalifornia #norcal #anime #manga #hunnids #afro #naturalhair #girlswithafros #curls #glassesgurlsss #artforsale #commissionsopen #bayarea #oilpaintingportrait #oilpaint #cutegirls #paint #painter #blackgirls #blackwomen

[purplealmonds]

My entry for the banner art contest for the Technoblade Discord server, inspired by a parenting story Technodad shared on Reddit.

More ramblings about process below the cut!

I didn't have time to document much of my process, so I'll be dropping bits of trivia as they come to me.

The contest announcement dropped 08/08, and for a few days I thought I was gonna skip out on it because I couldn't think of a decent idea. But then inspiration struck when I rewatched Tonko House's The Dam Keeper short. I also recalled Technodad's sweet parenting story, so I decided to mash the two ideas together for my entry.

Most of the time spent on this piece was on the 3D modeling in SketchUp! I started modeling on 08/11, and had several false starts before settling on the final build on 08/18. Technodad mentioned in his story that his family lived in a condo in San Francisco, so I referenced the more iconic architecture of the location's residential areas. He probably lives in more modern housing, but I'm a sucker for the old-fashioned aesthetic. Artistic-liberty!

The theme of the banner art contest was "autumn", so I roughly blocked in the location of two trees which I would paint in autumnal colors. The street lamps were recycled from another banner contest I entered around 2020 for the CrankGameplays server themed after "spring" - I think it's fitting that it's reused in another seasonal-themed contest. Everything else was modeled from scratch!

I wish I documented more of my painting process, but all of the painting was done in a span of 1.5 days while I was recovering from a bug. Normally I'd take at least a week to finesse things, but I was in a rush. I needed to submit my entry before the deadline so there was ample time for upvotes, and I also had a commission I needed to wrap up before next month. I get restless when I have more than one project on my plate, especially when both are time-sensitive!

[alexanderwales]

I love when a city has a Big Dumb Thing in it.

The quintessential Big Dumb Thing is the St. Louis Arch, which was built to commemorate westward expansion and is almost exclusively there for tourists, but also gives an otherwise kind of mid city a little bit of identity. I have to imagine that as soon as it was built, people started talking about it, which is one of the things I like. When practical considerations dominate how cities are built, it's great to have someone's creative vision writ large on the horizon, even if it's not the most beautiful thing ever constructed.

To qualify as a Big Dumb Thing, the structure in question needs to have no practical purpose for being built how it was, or at least minimal purpose. Most of its shape should be aesthetic, though as buildings involve engineering, I'm willing to give a lot of leeway. Most often, they'll be towers, because those stick out, and you get more bang for your buck with a tower.

Not all landmarks are Big Dumb Things. There are plenty of bridges and buildings that are pretty but functional, and the functionality comes first, because they were built with that function in mind. So the Golden Gate Bridge? Not, in my parlance, a Big Dumb Thing, even if it's nice to go up and look at, and dominates the popular understanding of San Francisco's identity.

But San Francisco also has Coit Tower, which was built because someone wanted it to exist and had the money to make that happen. This very much gets at the heart of why most Big Dumb Things are built, and if not for the Golden Gate Bridge, I think it would have found a more prominent place in the city's cultural identity.

I would like to hear about your local Big Dumb Thing. Something that someone built mostly because they thought that it would be cool to have around, either built by a benefactor or commissioned or just a building made into art. Might be a monument, might be a tower, might be a building, it just needs to be Big and also Dumb (affectionate).

And also include a picture, if you can.

[searchingforserendipity25]

felix knightly, julian's much-mentioned friend felix, comes to the station, and he's this dashing and effete and supremely successful older human man. he wears excellent fabrics and dedicates his life to constructing beautiful fictions.

he calls julian darling and sweetheart all the time. he speaks often of how they met - something about old hardcover books and competitive bidding in a san francisco auction house for history and literature lovers.

so it went: a long chat that turned to a long night haunting bars, showing this bright young thing the best old spots in the city, where real bands play real songs, history clings to the walls and a holoprogrammer could see nearly into the past, the future, the heart of things.

we walked the bridge with dawn on our shoulders, spent the night without losing reasons to keep talking together, and i knew this was a very special young man i had just befriended, he says.

and julian bashir, chief medical officer, war-tried and brave, looks at him through his lashes, a little bit twenty and awe-struck at being liked still.

felix speaks often about how so much of the reliable realism in his holonovels depends on having his own clever doctor to give him accurate medical information. how his gifts of custom-made programs are nothing, barely anything in comparison to the pleasure of making sweet julian enjoy himself in his intervals between wonderful adventures and admirable medical work.

he is flighty and shameless and self-satisfied and he never fails to make julian flush and brighten - something flickering open around his eyes.

he kisses the back of his hands, and plays with his hair. as if it easy and natural; as if he should be allowed always to lay a hand on julian's shoulder, and smile down at him with a conspiratorial look.

it would be easier, perhaps, if it were more sordid. but they tease each other endlessly, argue like old friends, there is history between them and not only old infatuation.

to watch him is to see an image repeated. there is the twist of the wrist doctor bashir does, the way he raises his chin and picks a glass with elegance and flirts relentlessly, as he himself had been flirted with until he relented.

it is clear enough that knightly has been a guiding figure to him, a teacher in some fashion in the arts of playing the gentleman.

a mildly chiding word from him in a specific tone, and julian straightens his back and pays attentions, rethinks his position, eases back the strain in his shoulders, lets himself be challenged, seduced into a proper debate. so perhaps he was the one who taught him that, too; to argue without spite, with wit, brash but not bull-headed.

it is clear enough julian bashir trusts him fully with his fantasies, and does not fear any mockery.

it is clear he is a weak man, a man of vice, an hedonist with no sense of responsibility, who cannot stand to live outside his programs. he drinks prodigiously and gambles recklessly, enjoys the sort of mind-whirling substances the federation permits only in careful dosages -

he is not the one to mention how it was that a medical student came to be well-versed in treating withdrawals, in dealing with hateful words said in dire states. doctor bashir himself, of course, would never breach patient confidentiality. but one may guess; one may assume.

his presence is temporary, he will go away to do research on another singular and distant place, he'll leave his friend behind for the hundredth time and send back a consolation game whenever he remembers he exists at all.

anyone can see it, in the doctor's eyes. he is has been wounded many times, he has been trained well to be expect to be liked but not wanted long.

in unrelated news, garak of garak's clothiers has had to cite complications to explain the delay of his present and forthcoming commissions. several of his needles and sewing machines have taken unexpected tumbles against the floor, and a remarkable amount of his fabric has appeared shredded to rags, almost as if a vole or beast of some sort had laid furious claws on them.

well, so it goes: life is not an holonovel. in real life, sometimes accidents can't be avoided, and mistakes have consequences.

someone ought to remind felix knightly of that, perhaps.

[zoezoegr]

I'm now selling prints of the Chris Isaak inspired piece here!!

"Here we go round 'n' round State your case and then sit down Tell me why you want to go I don't love you anymore"

Round n Round

[manngart]

Sorry Art Request Peeps!!!

I haven't been working on art requests the last couple of days, I've been working on fan art prints that I am planning to sell for a convention

Sooooo anyways if you are planning on attending Fan Expo in San Francisco, I'll be selling these prints! The physical versions will have no watermarks and come in 11x17 and 8.5x11 sizes!

Anyways I'll be back to working on art requests/free commissions asap

[herbirdglitter]

Genuinely not sure what to say when people try and make all talk about my plans for the future.

Telling people the truth, that none of my plans for the future are remotely plausible anymore due to a chronic condition drastically worsening and that i no longer have any realistic options feels like it’d bring down the mood.

I mean what does one say?

“Who me? Yes I’m planning on a career in personal pain management.”

“Im planning on selling the blood from my two-chambered uterus on the black market. Yeah they won’t take it out in case I want kids so I figured I might as well monetize it.”

“My doctor has actually recommended I go to Stanford so I’m thinking of doing that. Yeah it’s very exciting. And I only have a couple of AA’s. I didn’t even finish college. Pretty impressive if you ask me. Yeah no I actually went there as a kid. I guess you could say I’m a prodigy. I had an IV so I guess you could say I was part of the league.”

“I’m planning on a career in modeling in the before pictures in gym advertisements.”

“Im actually making an interactive tabletop book of my foot pics. My parents aren’t happy but I’ve already gotten quite a few preorders so I’m going ahead with it.”

“Gold digger. There must be something left in those San Francisco rivers.”

“Im an asmr live streamer. See I bend and it makes a nice crackling sound which people really seem to enjoy.”

“Im drawing furry porn. I haven’t gotten any commissions yet and people keep saying I need to stop focusing on the fur and stop using stick figures but I think persistence is key to any creative art. I remain hopeful.”

[militantinremission]

The Difference between The Black Agenda & The Reparations Movement

Reparations Commissions are popping up across the Country, but none of them come close to addressing the true spirit of Reparations. There are several reasons for this:

Neither Democrats nor Republicans in Congress have a real interest in discussing Reparations; let alone dispensing anything tangible.

Minorities involved in these Reparations Projects have either tried to include their demographic into the discussion, or they have been against it.

Infighting amongst members of the ADOS, FBA, Freemen, & Indigenous Community have weakened the overall message of Reparations. The Masses don't realize that they are All THE SAME LINEAGE GROUP. This division weakens Our collective argument, but has allowed some to eat well over the past few Yrs.

Organizations like The NAACP, The Urban League, The National Action Network, NCOBRA, NAARC, & other like minded Groups have promoted a Trans Atlantic Reparations Agenda that ignores CARICOM. In effect, it 'Centers' Black Immigrants (including Afro Latinos) in the Black American Experience. Most arrived at least 10Yrs after Jim Crow ended- how do they qualify for American Reparations?

The recent kerfuffle over San Francisco NAACP President Rev. Amos Brown's rejection of that City's Reparations Proposal spotlights the problem w/ letting Our (so called) 'Established Leaders' drive the Reparations Bus. They drove the Bus into Our current situation, why should We expect anything different from them? Many of these individuals chose Corporate Donations over Black Community Development. They arent 'Leaders', they're Corporate Lobbyists. These are the Same People that let HR- 40 rot on the 'Social Action vine' for over 30Yrs; If they REALLY wanted Reparations...

Another issue, are the individuals & Organizations narrating 'The Black Agenda' into the Reparations Argument. They are separate & distinct. The White Noise of their rhetoric has confused The Masses, which weakens the magnitude of Our Fight. For the sake of clarity, I want to point out the difference between The Black Agenda & The Reparations Movement.

The Black Agenda, is an All inclusive Program for Black & Afrikan Americans, regardless of their Country of Origin. This includes Africans, Caribbeans, Afro Latinos, & Afro Asians. All of Us share in the current experience of being Black in America. It is an experience that is unique to Us, & is also what unites Us.

The Black Agenda is about Equity. America loves to promote 'Equality', but equal measure doesn't guarantee that Everyone will somehow end up on equal ground. We have been collectively marginalized in America, so it's only fair that they level the playing field. 'Rising Tide' Programs, like those offered by The Democratic Party are on the right track, but NONE take into account the fact that Black America needs an extra scoop of whatever they propose.

The Black Agenda deals w/ the issues of Community Development: Residential & Commercial/ Business Property Ownership, Job Development, Training & Employment Opportunities, Health Care & Mental Health Solutions, School Reform, After School Programs, Youth Empowerment, Visual & Performing Arts Programs, Daycare & Pre- K Programs, along w/ the necessary Community Boards needed to present these & other Community related issues to Local & State Agencies. The goal, is to improve the overall Quality of Life in Black Communities- up to the level of Every Other Community.

The Reparations Movement, is a specific call for American Society to pay their long overdue debt to American Descendants of Chattel Slavery. This Movement is about Indemnification. While Black America collectively deserves legislation, American Descendants Of Slavery deserve much more. The problem w/ EVERY Reparations Program offered so far, is they All ignore the fact that Reparations is a debt owed. They All read like Politicians are giving Blackfolk a hand out. These Programs also fall short on what is really owed.

A lot of numbers have been thrown around over the years, but I have consistently said that Final Reparations numbers will depend on WHO is held liable. If the U.S. Government alone is held liable, Reparations will probably be in the $18 Trillion- $22 Trillion range. If Corporations & Individual families are included, that number could reach $64 Trillion. That should give a clue to the extent of Exploitation, Theft, Terrorism & Oppression that Black America endured over the last 246Yrs- 400Yrs. American History is a chronicle of Anti- Black sentiment. Reparations Naysayers point out the impossibility of dispensing Trillions of Dollars, but a Multigenerational Reparations Program is an easy solution.

The Republican Party's outright refusal of, & The Democratic Party's attempt to graft Feminist & LGBTQ... rhetoric to Critical Race Theory (CRT), are attempts by both Parties to keep Mainstream America away from Our Nation's cruel & bloody past. They obviously fear divulging this history, because it will quell the Argument 'Against', as it strengthens the National Argument 'For' Reparations. The Immigrant Argument of 'I wasnt Here' becomes embarrassing, when We consider 2 facts:

It was Black American Labor that built America up & made it attractive (i.e. The Land of Milk & Honey) to Europeans, Asians, Latinos, Caribbeans, & Afrikans looking to start a New Life.

Black America is responsible for motivating ALL of the Immigration Initatives over the last 150Yrs; especially those since 1965.

It's only fitting for Immigrants living their American Dream (at another's expense) to pay tribute to the people who made that dream possible. I like the analogy of 'Inheriting an Old House'. The New Occupant didn't cause the wear & tear on the house, but that doesn't change the fact that they will have to invest the Time, Work, & Money needed to restore & maintain it. THAT, is the price of Occupancy.

Another thing to consider, is the fact that most Black Americans are descendants of Indigenous Americans or American Indians (Coppertoned Aborigines); not to be confused w/ 'Native Americans', who migrated from Siberia. Less than 10% of Transatlantic Slaves landed in North America. Our Ancestors were Prisoners Of War, that were forced into Indentured Servitude, & later Chattel Slavery on their Own Land. Census Records reveal the effort to hide Our lineage.

Starting w/ the 1790 Census, Indigenous indentured servants were reclassified as Negro & Colored. By the 1900 Census, Indigenous People were being punished for identifying as 'Indian'. They were forced to identify as Negro, Colored, or Mulatto. By the 1970 Census, We were designated 'Black'; & on the 1990 Census, We were labeled 'Afrikan American'... Out Of Afrika Theory is not only Culturally false, it now appears to be a ploy to get Us off of Our Land. We're looking to Afrika, while the Blood & Bones of Our Ancestors fertilize This Land. Our success in agriculture isn't an accident- We were Here for millennia!... I guess that adds an extra wrinkle to the Reparations Discussion.

It's Time for Us to link the moving parts of Our Lineage into Black Voltron, so We can get on w/ The Work. -Just Saying

[illustraction]

WALT DISNEY MOVIES by Ben Harman (2020-2024) - AMP: ALTERNATIVE MOVIE POSTERS (Part 1/10)

Long gone is the era where movie posters were designed and printed to make the moviegoer go wow with stunning artwork made by a skilled illustrator / designer.

That era ended in the late 80's-early 90's with the advent of photoshop and the standardization of production, creating images that would "fit" the needs of every country through "globalization", i.e. the denying of each nation and culture's singularities.

Thankfully salvation arrived in the late 2000's with independent movie theaters such as Alamo Drafthouse and their merchandising  arm, Mondo, who commissioned vibrant new creators / designers / Artists to create limited edition prints for the classic movies being screened.

In just 3 years by 2011, Mondo became a powerhouse releasing hundreds of prints (limited from 75 to 200 copies only) which sold out instantly (literally in less than 30 seconds!!!) on their website. Their example was followed by other theaters (Castro in San Francisco...) and Galleries (Bottleneck, Spoke Art, Mad Duck, DarkHall Mansion...) launching not only a truly Artistic movement called AMP, Alternative Movie Posters but also a new generation of incredibly talented creators / illustrators which THIS 10 PART BLOG is devoted to.

We start with most of the incredble limited eidtion prints create dby Ben Harman from his Disney series. he also did a Pixar series (Click on each image for details).

Director: Clyde Geronimi, Wolfgang Reitherman Actors: N/A

ALL OUR AMP / Limited edition prints ARE HERE

If you like this entry, check the other 9 parts of this week’s Blog as well as our Blog Archives

All our NEW POSTERS are here All our ON SALE posters are here

The posters above courtesy of ILLUSTRACTION GALLERY

[mybeingthere]

Mark Adams was born in Fort Plain, New York in 1925 and died in San Francisco in 2006. He attended the Hans Hofmann School of Fine Arts in New York City in 1945 after studying for two years at Syracuse University. He spent the next few years traveling between New York and California before he settled in the San Francisco Bay Area in 1952. Adams married fellow artist Beth Van Hoesen in 1953, and completed a four-month apprenticeship in Aubusson tapestry with the acclaimed Jean Lurcart in Saint-Cere, France in 1955.

Mark Adams is best remembered for his versatility as an artist, possessing talent in a diverse array of artistic media including tapestry, stained glass, oil painting, mosaic, drawing, watercolor, and printmaking. Early in his artistic career he focused on tapestry and stained glass. By 1962 Adams had two solo exhibitions of his tapestries at the de Young Museum and the San Francisco Museum of Modern Art. He completed tapestry commissions for various institutions, including the San Francisco International Airport. Adams also took an interest in stained glass, which he considered an extension of his work with tapestry and his enthusiasm for liturgical art.

By 1975, Adams grew frustrated with the limitations of his craft and the lack of complete control he had over the actual fabrication of his work. Drawn to the idea of small, intimate, and personal works that he could manage from beginning to end, he began a new venture in watercolour. Adams soon realized he could incorporate his techniques of flat planes of color as he had in tapestry and stained glass by using a wash to create his desired spatial effects, along with continuing his ideas of transparency and luminosity. He favored the quotidian subjects that exemplified his life, depicting them in such a way as to evoke a sense of nostalgia. Adams eventually learned to deemphasize his precise technique as a means to communicate his excitement for the subject he was portraying.

[hermit-corpse]

Behold, my San Francisco magic gay ship! Art commission done by 柏明

[justforbooks]

Richard Serra, who has died aged 85, was a remarkable cultural figure – a sculptor who belonged to the generation of American minimalists, was associated with process art and made experimental films, yet evoked something of an earlier, more heroic age. The critic Robert Hughes described him as “the last abstract expressionist”.

Although this statement stretches the point, Serra’s interest in the processes of sculpture led him to some extravagant gestural acts that belie the severity of his grand public commissions. Weight and Measure, made in the early 1990s for what is now Tate Britain, exemplified his austere side, with its massive steel forms designed to counter the building’s overbearing classicism. However, some of his other works, such as the twisting, “torqued” structures installed at the Guggenheim in Bilbao in 2005, are positively baroque.

Curled around an existing sculpture, Snake, that was commissioned for the museum’s opening in 1997, these steel works, dominated by ellipses and spirals, articulate spaces in which the gallery visitor can wander. They are monumental enough to take on Frank Gehry’s grandiose architecture, but, with their patinated surfaces and curved forms, also have an intimate, sensual quality. Above all, Serra’s sculptures create a remarkable interaction with the public and a strong experience of gradual discovery – hence the installation’s title, The Matter of Time.

His works have proved popular with curators, but are not confined to museums. They have appeared in settings as diverse as the Tuileries garden in Paris, the Federal Plaza in New York, and the Qatari desert, attracting responses from intense admiration to a public inquiry. One of his sculptures, Fulcrum, was put up in 1987 at Broadgate outside Liverpool Street station in London. It manages to combine monumentality with fragility, made of weathered steel plates that appear to support each other precariously.

He was born in San Francisco into a family that provided a foundation for his later career as a sculptor in metal. His father, Tony, who was from Majorca, was a pipe-fitter in a naval shipyard. His mother, Gladys (nee Fineberg), who was the daughter of Jewish immigrants from Odessa, used to introduce her son as “Richard, the artist” and was, later, touchingly enthusiastic when he began to make his way in New York. Serra himself laboured in steel mills during his time as a student and subsequently, in 1979, made a compelling film, Steelmill/Stahlwerk, about German workers in the industry.

Serra began his studies in 1957 at the University of California in Berkeley, graduating from the institution’s Santa Barbara campus with a degree in English literature. He followed this in 1961 with a three-year course in painting at Yale University, New Haven – a period in which he also worked as a teaching assistant and as a proof-reader for Joseph Albers’s book Interaction of Color (1963). At Yale he encountered such luminaries as Philip Guston, Robert Rauschenberg, Ad Reinhardt and Frank Stella, before winning a fellowship that took him to Europe in 1964.

In Paris, Serra was profoundly impressed by the sculpture of Constantin Brâncuși, but in Florence the following year he continued to paint, producing coloured grids in timed conditions controlled by a stopwatch. It was only with his first exhibition, at the Galleria La Salita in Rome in 1966, that he made a definitive move away from painting, filling cages with live and stuffed animals.

After moving to New York in the same year, Serra initially survived by setting himself up as a furniture remover, together with his friends, the composers Philip Glass and Steve Reich. Serra’s artistic development at this time was rapid, moving from experiments with rubber, fibreglass and neon tubing to the metal sculpture for which he became renowned. He soon began his long-term association with the Leo Castelli Gallery in New York, in whose Warehouse annex he was photographed in 1969 throwing molten lead at the wall with a ladle.

In the same year Serra refined this procedure by splashing the metal against a small steel plate stuck into the corner of Jasper Johns’s studio. The “castings” produced when the lead cooled down were rough, expressive forms, but this project also inspired Serra to create more impersonal pieces, in which metal sheets were wedged into the angles of rooms, leaned against each other or pinned to the wall by lead pipes. His emphasis on objective phenomena – mass, gravity and other physical forces – can also be seen in his remarkable experimental films.

In Hand Catching Lead (1968), the hand is in fact the artist’s but it is shown disembodied, trying to grasp rather than cast pieces of falling lead, which it drops or misses altogether. The repetition of this fundamentally pointless act gives the film a serial quality, akin to the celluloid process itself.

Serra’s engagement with the cutting edge also led him to work with the land artists Robert Smithson and Nancy Holt. In 1970 he assisted them with Spiral Jetty at the Great Salt Lake in Utah and, after Smithson’s death in 1973, Serra helped to complete Amarillo Ramp in an artificial lake in Texas. His own site-specific sculptures included Spin Out: For Bob Smithson (1972-73), in the park-like surroundings of the Kröller-Müller Museum at Otterlo in the Netherlands. Here the three converging steel plates interacted with each other and their environment, exemplifying Serra’s aim that “the entire space becomes a manifestation of sculpture”.

The 1970s was a difficult decade in Serra’s life. In 1971 a worker was killed in an accident during the installation of one of Serra’s sculptures outside the Walker Art Center in Minneapolis. His five-year marriage to the artist Nancy Graves ended in 1970, and his mother’s suicide in 1977 was followed two years later by the death of his father. However, in that decade he also met his future wife, the art historian Clara Weyergraf, with whom he collaborated on Steelmill/Stahlwerk. Clara was also to play a vital role in shaping his sculpture, as well as giving her name to Clara-Clara, a powerful, curvilinear work that was installed in the Tuileries garden in 1983. The history of this piece exemplifies Serra’s problems in making site-specific art, since it was originally intended to feature in a show at the Pompidou Centre, but at a late stage was deemed to be too heavy.

Clara-Clara’s travails were minor in comparison to the controversies surrounding Tilted Arc, a sculpture 36 metres long, set up at the Federal Plaza in Manhattan in 1981. Condemned for being intrusive, a magnet for graffiti artists and even a security risk, it was eventually removed in 1989, four years after a public hearing in which a majority of witnesses had advocated its preservation.

Despite this setback, Serra’s career continued to flourish. He had two retrospectives, in 1986 and 2007, at the Museum of Modern Art in New York, which also devoted a permanent room to his monumental work Equal (2015), as well as major exhibitions at home and abroad. He showed frequently with his gallery, Gagosian, in London, New York and Paris, most recently in 2021.

In 2001 he received a Golden Lion for lifetime achievement at the Venice Biennale, in 2015 the Légion d’honneur in France and, three years later, the J Paul Getty Medal.

During his latter years, Serra became heavily involved with public projects in Qatar, above all the four steel plates, rising to over 14 metres and spanning more than a kilometre, erected west of Doha in 2014. Known as East-West/West-East, the work engages spectacularly with its surroundings, the gypsum plateaux of the Brouq nature reserve in the Dukhan desert. Serra himself described it as “the most fulfilling thing I’ve ever done”.

He is survived by Clara.

🔔 Richard Serra, artist, born 2 November 1938; died 26 March 2024

Daily inspiration. Discover more photos at Just for Books…?

[nancydrewwouldnever]

Aaron Douglas, Into Bondage, 1936, oil/canvas (National Gallery of Art, Washington D.C.)

In 1936, Douglas was commissioned to create a series of murals for the Texas Centennial Exposition in Dallas. Installed in the elegant entrance lobby of the Hall of Negro Life, his four paintings charted the journey of African Americans from slavery to the present. Considered a leader of the Harlem Renaissance, the cultural phenomenon that promoted African and African American culture as a source of pride and inspiration, Douglas was an inspiring choice for the project.

The Hall of Negro Life, which opened on Juneteenth (June 19), a holiday celebrating the end of slavery, was visited by more than 400,000 fairgoers over the course of the five months that the Exposition was open to the public. This commemoration of abolition, and the mural cycle in particular, served as a critical acknowledgment of African American contribution to state and federal progress. Unfortunately, of the four original paintings only two, Into Bondage and Aspiration (Fine Arts Museums of San Francisco), remain.

[toaverse]

Disney modern AU: Inside Out

Riley and the human!emotions live in different states. Riley lives in San Francisco, while the emotions live in Minneapolis.

The emotions live in the same flat with each their different apartment, some living together.

Fear and Anxiety are siblings, Fear being 9 years older.

Disgust has a daughter named Envy from a short relationship, raising her alone while Envy's father isn't in the picture.

Sadness and Embarrassment are dating and have been living together for a few months.

Bing Bong lives in the flat as well, and works as a clown for children's birthday parties.

Joy, Sadness, Anger, Disgust and Fear know each other from high school.

Fear, Anger, Anxiety and Embarrassment are all in therapy or counseling for their respective issues.

Joy works as an elementary school teacher, Sadness is a councilor, Anger is a construction worker, Disgust is a fashion designer for a small clothing store, Fear is safety inspector, Anxiety is unemployed, Ennui makes art commissions, Embarrassment is an administrator, and Envy is in elementary school.