#my art writing

[cosmicanger]

Winter of Discontent

by Ancient Clay

Robert Ryman, Untitled, c. 1963, Oil on stretched sized linen canvas, 77 3/4 x 77 1/2 inches (197.5 x 196.8 cm)

In contemplating the exhibition ‘Manet/Degas,' I find a particular fondness for the distinctive purple walls employed, an appreciation further heightened by the nuanced array of tonal purples. My predilection for colored walls over the conventional white canvas for artistic presentations is grounded in a belief that while certain works may necessitate a white backdrop, the broader spectrum of art benefits from a colorful setting. Implicit biases have historically shaped art display norms, with affluent white patrons in Europe and America dictating the prevalence of white walls. The assertion that colored walls distract from the artwork is, in my view, a questionable rationale, suggesting that if a monochromatic backdrop proves distracting, perhaps the work itself lacks intrinsic engagement.

Black and white photography, I argue, flourishes against a backdrop of grey walls, surpassing the traditional white canvas. Notably, Black artists and curators often integrate colored or decorated walls into their exhibitions, a departure from the practices of their white counterparts. The resistance to colored walls in non-Black exhibitions seems rooted in the conservatism of a predominantly white demographic. While an exception can be made for certain exhibitions, such as those featuring Robert Ryman or achromes by Manzoni, the resistance to colored walls may also stem from a lack of familiarity and vision on the part of non-Black curators.

Addressing this lacuna, the incorporation of more Black curators, possessing a discerning eye and visionary acumen, could potentially alleviate the perceived challenges in selecting appropriate shades, tints, and tones for colored walls. It is noteworthy that resistance to this trend often emanates from the entrenched preferences of majority white individuals, whereas Black artists consistently demonstrate a superior grasp of color dynamics within their works.

This discourse prompts reflection on the misconception surrounding Greco-Roman statues, falsely presumed to be inherently marble-white rather than originally painted with vibrant hues that have since faded. Additionally, it underscores the divergence between artists who must consciously study color theory and those who organically navigate the realm of color within their cultural milieu.

Transitioning to the broader context of art criticism, I lament the current state of art writing, perceiving a decline marked by the marginalization of genuine whistleblowers and trailblazers. The resistance to embracing critical perspectives, particularly those espoused by Black individuals, is emblematic of a systemic bias. The art world, predominantly dominated by white cis men, remains resistant to Black criticality that seeks to propel discourse forward, often diluting its fervor when institutionalized.

Amidst a world grappling with interconnected genocides, I find myself positioned as a perceived "problem" within the art community for addressing anti-Blackness at its root rather than on a superficial level. The conversation is now being co-opted by those who, having weathered minimal losses, opportunistically seek to redirect the discourse while erasing the most vocal advocates between 2014-2023. This insidious shift, coupled with the selective memory of those who decry the absence of action, raises questions about the authenticity of their newfound concern.

The call for riots, emanating from quarters insulated from the harsh realities faced by marginalized communities, is met with skepticism. The inability to crowdfund material support for Black individuals and the absence of sustained systems for striking and material aid render such calls impractical. The historical success of movements like the Montgomery bus boycott, characterized by robust support systems, stands in stark contrast to contemporary slogans lacking substantive actions.

Moreover, the art world's apathy towards cancelations of exhibitions that address anti-Blackness and settler colonial violence underscores the industry's inertia in effecting meaningful change. The myopic focus on petit bourgeoisie and bourgeois strikers, at the expense of those on the margins, perpetuates a skewed narrative that fails to address the root issues. As I finish my applications for the year and day job responsibilities persist, I am compelled to navigate this landscape with a critical eye, ever mindful of the pressing global issues that demand our collective attention.

[arson-jellyfish69]

AI disturbance overlays for those who don't have Ibis paint premium. found them on tiktok

[almondpiglet]

ppl were drawing mikus from all over so heres habesha miku and her lil twin sibs rin and len!!

[smallestflowtree]

PSA for fanfic writers

[kilgarraara]

"I guess I never really faced my fears before"

[yeehawpim]

a comic about fix-it fanfics

[wishfulsketching]

I have finally finished season 2 of Arcane and can now enjoy your art without fear!!! They should be happy together 🥺

I take it "they" means zaundads because that is what I've been drawing the most BUT, lets be honest, applies to like 98% of the characters in the show.

They should've been a big happy familyyyy

[soul-from-another-era]

[noodles-and-tea]

Icons, truly

[aliasalias]

That day I woke up crying

Inspired by this article, which caught in my throat for a good while.

[artsymeeshee]

The magic 8-ball

[cosmicanger]

Neoliberalism in the arts

Indeed, the prevailing political landscape often reveals a pervasive misalignment with neoliberal principles, as the majority tends to lean towards a more center-leaning liberal stance adorned with a veneer of radical chic attire. Paradoxically, these individuals often falter in their pursuit of genuine reformism or incrementalism, despite purportedly championing these causes with fervor. While acknowledging the complexity inherent in assessing the merits of reformism and incrementalism, it becomes apparent that a significant portion of this demographic struggles to manifest tangible progress in these domains.

Consider, for instance, the domain of the arts, a microcosm reflective of broader societal trends. Were the arts authentically concerned about issues such as the plight of Palestine or the interlinked genocides, a paradigm shift would necessitate a cessation of artistic endeavors predominantly spearheaded by white creators. Ideally, art exhibitions would witness a notable demographic recalibration, with a substantial majority comprising Black individuals and nonblack Palestinians. Regrettably, the present reality contradicts this envisaged transformation, as the current exhibition landscape remains disproportionately dominated by white artists.

An illustrative example underscores this dissonance. The arts community ostensibly espouses a commitment to progressive ideals, yet concurrently, the inaugural retrospective of the first Palestinian artist is met with cancellation. This disconcerting juxtaposition unfolds against a backdrop where the proverbial microphone is extended generously to careerist virtue signalers, perpetuating a discourse that ostensibly champions inclusivity. However, the prevailing exhibition circuit in major cultural hubs such as New York City, Los Angeles, Berlin, Paris, among others, continues to be predominantly populated by the creative output of white settlers.

Moreover, the disconnection between proclaimed ideals and tangible action extends to the realm of public health consciousness. Notably absent from the daily practices of white artists and art workers is a consistent adoption of respiratory protective measures, exemplified by the scarcity of N95 masks or their superior counterparts. This oversight is emblematic of a broader societal reluctance to engage with precautionary health measures, potentially indicative of a lackadaisical attitude towards collective well-being.

In conclusion, a critical examination of contemporary sociopolitical and cultural spheres reveals a disconcerting incongruity between professed ideologies and substantive action. The arts, as an illustrative microcosm, underscores the urgency for a genuine commitment to principles of equity and inclusivity, transcending mere virtue signaling. Addressing these dissonances mandates a concerted effort towards transformative change, both within the arts community and society at large.

[punkitt-is-here]

transgender online

[smoosie]

(Which arm, Viktor, huh ? Which one ??)

They were not a couple so, Jayce (who had a very bad day and just wanted to hug it out) proceeded to freak out, backed out of the lab and never mentioned it again but, Astral Viktor, that mf ? He'd be delighted to remind Jayce of that moment in time, of that missed call and watch him die from embarrassment and resentment over himself

(I'm glad they've never beaten the gay allegations and never will)

[sabertoothwalrus]

tips for getting people to like your ocs

*disclaimer: this is based on what’s worked for me, aka an artist that likes to make comics/storyboards. so this advice is directed at people who do that

you can do things like this:

Which is fun! Character sheets like this are great, especially for personal reference! But frankly, I don’t think most people engage with this (at least I personally don’t). You could have the coolest character in the world, but it will be harder for most people to feel invested when they’re presented so neutrally like this.

My main piece of advice is: get better at writing.

That might sound harsh when said like that, but let me explain what I mean! (Not trying to imply you’re bad at writing either!)

What I tend to do is just throw characters into situations with as little handholding as I can. Give enough context that readers can follow along, but don’t feel like they’re being explained to.

what can you learn about the characters through their designs alone? (age, personality, economic status, occupation, etc)

what can you learn about the characters’ relationship though their interactions alone? (are they close? familial? romantic? is there hostility? are they tense/relaxed?)

what are the characters currently doing? what were they doing previously (how long have they been talking)? what are they going to do next? can you convey this without dialogue?

how do they feel about what they are doing? are they content? focused? over/understimulated? would they rather be doing something else?

where are they? does it matter? would establishing a setting in at least one panel clarify the scene? is there anything in the enviroment that could tell some of the story?

what time of day is it? what time of year is it? what is the weather like?

Now, with all this in mind, I'm going to give you another example. I'm going to use completely brand new characters for the sake of the experiment, so you won't have any bias (aka I can’t use Protagonist from above, since you already know all about him).

Did this get more of an emotional response from you than the first example? Why do you think so? Who are these characters? How do they know each other? What else can you infer about them? What happened? Who is "she"?

Now, you don't have to actually answer all those questions. But think about them! You can tell people a whole lot about your characters without ever showing them a list of their likes and dislikes.

Obviously, comics aren't the only way to get people invested in your original characters! But regardless, easily digestible formats will grab people's attention faster than huge blocks of text, and comics are a lot less work than doing wholeass storyboards.

Now go and share your ocs with the world!!!

[dr-rato]

THE FEELS Inspired by this scene in the Journal, which has not left my mind since i first read it:

Specifically, this part!