#society 6 artwork

[lovelyyellowdress]

Vancouver Children

[2ds-titties]

Hello dear friend,

I’m Noha from Gaza, Mother of martyr and wife of martyr .

17 people of My family was forcibly displaced from their homes to the southern Gaza Strip, and they now live in samall tent , The occupation completely destroyed our house and our business and we no longer have anything that we used to own.

MY mother suffers from joint pain and back cartilage pain. Also, she had surgery before the war to remove a tumor in the intestine 💔!!️ and she needs to continue her treatment.

As for my middle brother, Darwish,He has a family of 10 people, he is paralyzed in his right leg, he suffers from severe leg pain.  Two months before the war, he had surgery in Egypt to implant a joint in his leg, and he was supposed to return to Egypt to continue his treatment, but the war prevented him from doing so, so he urgently needs to go to Egypt to continue his treatment.

As for me, I lost my small and beautiful family in the 2014 war, which consists of my husband and my only child, whom I gave birth to after 7 years of deadly waiting and a very long and expensive treatment journey. He was only two and a half years old. I lost him and did not hug him enough to forget the agony of waiting for him to come. I also suffered injuries, which resulted in several operations on my right leg and other parts of my body, the effects of which I still suffer to this day. So, I don't want to experience what it's like to lose someone I love again. It's a very painful feeling. Please save my family.

Life here is unbearable, especially tent life is very difficult, and the situation is getting worse every day.

I urge you to support us to save our lives, Your support is our only hope for survival after losing everything.

We hope you will continue to support us by donating or sharing to help save and rebuild our lives. Every contribution matters, much appreciated

Many thanks to everyone who supported us.

[toiletpapercosmos]

[camrellstudios]

We make our own digital scans of artworks to sell on society 6 - and up until now the scanner has handled our 8 x 8 in canvases beautifully. But the current 11 x 14 in canvas does not fit. Which means scanning in two parts and then combining the two images - which are like over 18,000 pixels wide.

So made the scans - and now trying to find a program (that isn’t photoshop cause I don’t want to pay adobe creative cloud prices) to combine these two. Sigh. If you have any recommendations - would love help.

[colorsinurlife]

🌈ART ON TUMBLR🌤️

🚀linktr.ee/imaginalai💫

"Leopold" (0001)

On sale at Society6

[s-soulwriter]

Writing ideas

Some writing ideas if you don´t know what to write about.

1. "Time-Traveler's Journal": Explore a story where a journal enables time travel, and its pages reveal secrets of the past and future to those who possess it.

2. "Virtual Reality Realities": Delve into a world where virtual reality simulations become a part of daily life, exploring the consequences and the blurred lines between real and virtual.

3. "The Library of Lost Stories": Imagine a magical library that collects forgotten stories, and follow a group of characters as they uncover tales that should never have been lost.

4. "Quantum Love Letters": Dive into a romance where love letters transcend time and space, connecting two souls across multiple dimensions.

5. "The Sentient City": Uncover a city with a mind of its own, where buildings communicate and influence events, and the urban landscape becomes a living, breathing entity.

6. "The Memory Exchange": In a society where memories can be traded, follow a protagonist on a journey to recover their stolen past and the secrets hidden within.

7. "The Elemental Heir": Explore a world where people are born with the power to control one of the elements and join a young heir in discovering their elemental abilities.

8. "The Clockwork Companions": Step into a steampunk realm where clockwork creatures serve as loyal companions, raising questions about the nature of artificial intelligence and friendship.

9. "The Echo Chamber": In a near-future setting, a mysterious technology creates an echo chamber where truths and lies blend, forcing the characters to question their reality.

10. "The Seer's Sketchbook": Follow a seer who can predict the future through their artwork, uncovering the unfolding destiny of the world one sketch at a time.

[rjzimmerman]

Frontier myth vilified the California grizzly. Science tells a new story. (Washington Post)

The grizzly, a subspecies of brown bear, has long held a place in mainstream American myth as a dangerous, even bloodthirsty creature. Its scientific name, Ursus arctos horribilis, means “the horrible bear.” But that image is being challenged by a new set of studies that combine modern biochemical analysis, historical research and Indigenous knowledge to bring the story of the California grizzly from fiction to fact.

In January, a team of experts led by University of California at Santa Barbara ecologist Alexis Mychajliw published a paper in the Proceedings of the Royal Society B about the diet of the California grizzly bear and how that influenced its extinction. The results challenge virtually every aspect of the bear’s established story.

“Pretty much everything that I thought I knew about these animals turned out to be wrong,” said Peter Alagona, an ecologist and historian at UCSB and co-author of the study.

Much of the grizzly bear’s long-standing narrative comes from stories, artwork and early photographs depicting California grizzlies as huge in size and aggressive in nature. Many of these reports, which found wide readership in newspapers elsewhere in the West and in the cities back East, were written by what Alagona calls the Californian influencers of their time.

“They were trying to get rich and famous by marketing themselves as these icons of the fading frontier,” Alagona said. “A lot of the historical sources that we have about grizzlies are actually not about grizzlies. They’re about this weird Victorian 19th-century celebrity culture.”

The team of ecologists, historians and archivists compared the image of California grizzlies from these frontier reports to harder data in the form of bear bones from museum collections all over the state.

The frontier myth had painted the California bears as larger than grizzlies elsewhere in the country, but the bone analysis revealed that they were the same size and weight, about 6 feet long and 440 pounds for the average adult.

In an even larger blow to the popular story of the vicious grizzly, the bones showed that before 1542, when the first Europeans arrived, the bears were only getting about 10 percent of their diet from preying on land animals. They were primarily herbivores, surviving on a varied diet of acorns, roots, berries, fish and occasionally larger prey such as deer.

As European-style farming and ranching began to dominate the landscape, grizzlies became more like the stories those frontier influencers were telling about them. The percentage of meat in their diet rose to about 25 percent, probably in large part because of the relative ease of catching a fenced-in cow or sheep compared to a wild elk.

Colonialism forced so many changes on the California landscape so quickly, affecting every species that the bears ate and interacted with, that the exact cause of this change will be difficult to ever fully understand.

Still, grizzlies were never as vicious or purely predatory as the stories made them out to be. The narrative of the huge killer bear instead fed a larger settler story of a landscape — and a people — that could not coexist with the settlers themselves. And that story became a disaster for more than just bears.

Although we will never have exact numbers, experts agree that hundreds of thousands of Indigenous people were living in what is now California before White settlers arrived. One frequently cited estimate puts the population at 340,000.

By 1900, that number had been slashed by more than 95 percent to around 16,000 surviving tribal members throughout the state. Eliminating the bear and the vast majority of California’s Indigenous people can be seen as parts of the same concerted effort to replace one landscape — and one set of stories — with another.

“The annihilation of the California grizzly bear was part of a much larger campaign of annihilation,” Alagona said. “I think it’s clear that what happened in California meets the legal definition of a genocide. But in a way, it was even more than that, because these were not just attempts to eliminate groups of people. These were attempts to destroy an entire world.”

[anim-ttrpgs]

"FORIVA: The Angel Game," a Eureka: Investigative Urban Fantasy Adventure Module

(Promotional art by @chaospyromancy, one of our team artists.)

"FORIVA: The Angel Game" has been sitting on our patreon in an unedited state for over six months now, but as of this patreon update, after three weeks of editing, we can finally call it finished. (Well, except for the artwork, but that just gives you more to look forward to in future patreon releases!)

Besides the absolutely massive changelog for the Eureka: Investigative Urban Fantasy rulebook, this is our big draw for this month’s monthly patreon release.

Somewhere, a mother stares wordlessly at her hospitalized son who doesn’t recognize her, and wonders why this is happening to her family. Somewhere, a private detective smiles as his client offers a generous reward for someone–anyone–to blame for what was done to his children. Somewhere, a young girl tears down the advertisements that were covering up the missing poster of her friend. 

The year is 1999, and society is equal parts optimistic and apprehensive about the new millennium. Fears of the Y2K bug are circulating, Bill Clinton is still in office, and the popularity of video arcades is on the decline.

A rash of hospitalizations and disappearances has struck in Shreveport, Louisiana*, with all of the victims so far being teenagers and children. Each case might at first seem unconnected, save for their close proximity in time to one another sending ripples throughout the community. Local news has been covering the story for days now, capitalizing on the fear and uncertainty of concerned parents, something that might seem like a distant problem to each investigator, until it strikes someone they know….

This is a fully fledged horror-mystery adventure module for use with Eureka: Investigative Urban Fantasy, expected time run 3-6 dread-filled sessions, and you can get it now for only $5 on our patreon. And speaking of the A,N.I.M. patreon, there’s no better time to sign up, since we just released a big update to the beta rulebook, we just launched the Gorgon Initiative! Long story short, the playable gorgon monster type is a Kickstarter stretch goal we didn’t hit, but if we can reach 50 total patreon subscribers before the end of June, we’re going to be adding it to the book anyway! At the time of writing this, we’re at 41/50! You could make the difference, and get all this new Eureka content to boot!

[gem-femmes]

How to Understand an Artwork: A Brief Guide

I've recently read a book by a French author that promised to teach the reader how to understand a painting.

Art is my special interest. I keep up with contemporary art, attend art fairs etc. I've been to major and minor museums, galleries and churches in Europe and the US. But I feel that there's always room for improvement when it comes to understanding art.

The Physical Impossibility of Death in the Mind of Someone Living (1991) by Damien Hirst

I went through this heavy tome full of the author's own convoluted interpretations of artworks. The book taught me nothing about how to interpret and understand a painting on my own. But it did inspire me to create my own guidelines for reading works of art.

🦋 Why Bother Understanding Art?

Artworks are rich in meaning, symbolism, and emotion. Learning how to read them can enhance your appreciation and understanding of art and, consequently, life. This includes your own life.

The Embarkation for Cythera (1717) by Jean-Antoine Watteau

I find art an incredible place to seek answers to life's questions. I'll show you how you can do this too.

Additionally, this guide contains some of my favorite artworks, old and contemporary.

🦋 1. Observe the Artwork Closely

First Impression: Start by taking in the artwork as a whole. What is your immediate emotional response? What catches your eye first?

Details: Examine the piece in detail. Notice the colors, lines, shapes, textures, and composition. Pay attention to the focal point - where your eye is naturally drawn.

🦋 2. Identify the Subject Matter

Figurative vs. Abstract: Determine if the artwork is representational (depicting recognizable objects or scenes) or abstract (focusing on shapes, colors, and forms without representing something specific).

Iconography: Look for symbols, figures, or objects that might carry specific meanings. For example, a skull might symbolize mortality, while a dove often represents peace.

Lake George (1922–1922) by Georgia O'Keeffe

🦋 3. Consider the Composition

Balance and Symmetry: Notice if the composition is balanced or symmetrical. How do these elements affect the mood or message of the artwork?

Perspective and Space: Observe the use of space. Is there a clear foreground, middle ground, and background? Does the perspective create a sense of depth or flatness?

🦋 4. Analyze the Use of Color

Color Palette: Identify the dominant colors. Are they warm or cool, bright or muted?

Color Symbolism: Consider the emotional or symbolic meanings of colors. For instance, red can signify passion or danger, while blue might evoke calmness or melancholy.

🦋 5. Explore the Technique and Medium

Brushstrokes and Texture: Look at how the artist applied the paint or medium. Are the brushstrokes smooth or rough? What effect does the texture have on the artwork’s feel?

Medium: Consider the medium used: oil, watercolor, pencil, sculpture, etc. How does the medium influence the artwork’s appearance and impact?

🦋 6. Contextualize the Artwork

Artist's Background: Research the artist’s life, style, and the historical period in which the artwork was created. Understanding the artist’s intent and the era can provide valuable insights.

Cultural and Historical Context: Consider the cultural, social, or political context of the time. How might these factors have influenced the artwork?

The Parakeet and the Mermaid (1952) by Henri Matisse

🦋 7. Interpret the Meaning

Narrative: If the artwork tells a story, try to piece it together. What is happening in the scene? What might have happened before or after the moment depicted?

Themes and Messages: Reflect on the themes or messages the artwork conveys. Is it making a statement about society, human nature, or a personal experience?

🦋 8. Engage with Your Personal Response

Emotional Reaction: Pay attention to your emotional response. Art can evoke a range of feelings, from joy to discomfort. Your reaction is a key part of the interpretation.

Subjective Interpretation: Remember that interpretation can be personal. Your background, experiences, and emotions can influence how you read an artwork. There’s no single “correct” interpretation.

I Want My Time With You (2018) by Tracey Emin

🦋 9. Ask Questions

What does this artwork remind you of?

Why did the artist choose this subject or style?

How does this artwork make you feel, and why?

🦋 10. Discuss with Others

The most useful tip I have for you: Share your thoughts and interpretations with others. Discussing different perspectives can deepen your understanding and appreciation of the artwork.

Reading an artwork is both an intellectual and emotional exercise. It’s about connecting with the piece and the artist, finding meaning, and appreciating the craft.

The more you practice, the more fluent you’ll become in the language of art.

[wanderingsimsfinds]

Introducing Wall Art 16 Collection

There are 30 presets

§15 - Moves up/down the wall - 3 poly

Original mesh by AikeaGuinea, edited by Moi

Artwork from Society 6

DOWNLOAD (SFS) (MediaFire)

[otrtbs]

hi! could you explain a little bit what you studied and if you did any apprenticeship before you got a job ? a little summary to how you got there ? i’m so curious (and i admire you a lot)

hiya!! sure!!

so back in high school i actually started volunteering at my local art museum when i was 16 (up until i graduated at 18). they had a program specifically designed for teens to volunteer at the museum (i gave guided tours, and helped plan events at the museum, and worked with kids 3-12 in a drop-in studio every saturday where they could make art of their own after looking in the gallery) <- not a lot of museums do this, but you can call and ask if they need volunteer docents for the weekends !! they’ll train you!!

then i majored in art history in undergrad (making sure to focus my courses in modern and contemporary art towards the end of my studies bc that’s what i wanted to do! also i took a LOT of french classes. as in i only needed a few credits to have a minor but the last class was so hard i dropped it) to give yourself a leg up, i recommend studying a language (italian, french, spanish, german) most jobs in ARH require at least a minimal reading knowledge of another language.

while i was in school, i got a job at my university’s art museum as a gallery assistant! (<- fancy way of saying i walked around the galleries and told people not to touch the paintings and answered their questions if they asked and made sure no one was trying to steal the art)

during the summer, i got a summer internship at an art gallery in the biggest city close to my house (bc i moved back home w my parents in the summertime. uni housing was crazy expensive) and that was the *most* instrumental. i learned how to write wall texts, how to install artworks, i made studio visits to artists, updated the gallery website, handled artist contracts, you name it! it was great experience!!

i also got involved in art history/fine arts clubs at my university! i was on the fine arts council at my uni which represented the art and art history department to the student senate and the university at large. and the art historical society.

then i got my master’s degree in history of art theory and display, joined the art historical society at that university, got a degree and entered my FLOP ERA OF THE CENTURY

and by that i mean, i was 6 months unemployed and moved back home w my parents flop era. no one would hire me ,, no one would even give me a call back to tell me they didn’t wanna hire me ,,, and then one day someone did !! rahhh!!!! and i got some of my research approved 4 publishing and now im here!!!! (i say this not to discourage you but to let you know that the job market for art history ppl is tough,, it has always been tough,, but if you love it, it’s never a waste to pursue!)

i would do a few things differently if i had a second go at it, just to get a leg up so here’s some advice that im giving but i DIDNT DO myself:

1) try to minor in something to give you a leg up! a language is good, marketing is good, public relations… something to make you stand out!

2) try to get things published as an undergrad or a grad student! get your research out there if you can (way easier said than done ik ik) have some things you can list under your publications tab on your CV

3) if you find yourself in a 6+ month jobless, flop era period like me, volunteer somewhere at a museum or gallery if you are able. i was bitter as fuck that i had a masters degree and would be working at a museum for free when i needed money so i didn’t do it ,, but when someone finally calls back and you get an interview and they ask what you’ve been up to recently ,,, telling them you spend your time volunteering in museum spaces and working in your desired environment looks so much better than saying “i’ve been job searching” i promise !! (<- also just recognizing the extreme privilege i had to just stay at home and look for jobs in my desired field instead of immediately having to get a job somewhere. but im not gonna lie to you. i put out applications at olive garden and einstein’s bagels and they both rejected me. so. i was scrambling bc my student loans were due and i had zero dollars 2 my name 🧍‍♀️)

okay i rambled on for entirely tooooooo long. but i hope this was helpful somewhat !!! 💗💗

[arcadekitten]

I just read the new comic, and WOW. Corona may have one of the prettiest character designs that I have ever seen!! :o And I have so many questions!! Is it alright if I ask them?

1. What is the ‘star witch’ society structure like? Because I saw one of your other replies regarding Corona that said she actually doesn’t have any real authority over Stella, but because of the judgment and twisted beliefs of the other star witches. They all seem to have expectations and a shared mindset about ‘rulers’ and ‘subjects’. Can you expand on those beliefs and why they think that?

2.Really though… how powerful is Stella compared to the other star witches? I think that she’s the most powerful Noisrevian (?) so far, but how strong is the extent of her magic compared with, say, Corona?

3. Can star witches look any way they want to, or does the aptitude of their power impact their appearance? For example, Stella has a much more ‘simplistic looking’ appearance than Corona, who has a far more ‘majestic’ and ‘otherworldly’ build. This could signify their differences in power, magic, surroundings… or just a personal preference. Which one is it, exactly?

4. Why exactly is Stella seen… erm, ‘differently’ compared to the other star witches? I know it’s partially because she sees her people as ‘friends’ rather than ‘subjects’, but is there something else to it? Is it because she’s genuinely kind and caring, or because she is mostly content with the way things are, or…something else?

5. Can you elaborate more on the ‘star people’ in the story? Like… what are their motivations, culture, mindsets… and why do they settle on other planets in the first place? They’re stars, right? Why do they feel the need to settle on other planets? Is each star just like… thrown onto a random planet by some magical, celestial force and are born there, or do they grow up in like… supernovas and stardust, basically? Are they celestial deities, or mystical creatures… or something else?

6. How do Stella and Corona know each other, anyways? Were they friends whose relationship have soured, former master and pupil, one-sided besties/crush, or just straight up exes? And why does Corona seem to like and care about Stella while the latter seems to want nothing to do with her? Is she scared of Corona? Is there some ‘shared history’ there or what? It would be super interesting if there was!

7. Corona seems to be repulsed at the idea of a ‘star witch’ dating a ‘subject’. And Stella even agrees with her, albeit out of fear more than a shared mindset. Is there some sort of ‘taboo’ of the act of liking, dating, or even marrying a ‘subject?’ It doesn’t seem that star witches are banned from romantic relationships with anyone (since Corona seems to be QUITE interested in Stella…) but why is it so bad for a ‘star’ and their ‘subject’ to be with each other? Because even Stella seems to be mildly reproachful of the idea, as she frankly denied her feelings for Lambchop, saying that ‘it would be inappropriate and weird for someone of her position’ in a very stuttering and flustered tone. How else would she in such denial about her feelings for Lambchop?

…And that’s it! Thank you so much for reading my (horribly long) questions and I really hope that we can learn more about the Star Race! Once again, thank you very much for all of your wonderful games and artwork and I hope you have a great day! (Or night… idk lol) <3

Y'know what I think I'm good to do a little lore dump *rubs my devious little hands together*

I'll try to answer to the best of my ability!!

Star Witch society is a bit weird. They don't live in families(there's no parents or siblings, they all just come from stars), and there isn't any sort of "Grand Witch" that oversees things either. They're almost like solitary animals, and while they don't see each other very often--when they do, there's often always an air of passive-aggressiveness and competition. Despite being so independent, they're tethered together by society, tradition, and this almost social-competition they seem to unthinkingly participate in. (I'll get to some related stuff in another one of your questions) ===

I'd say Stella is pretty powerful. In fact, I'd even say her and Corona are on pretty equal levels. The difference between them is that Corona is more flaunting of their power whereas Stella is not. ===

I think their appearances lean more on personal preference, but also that they're not completely in control of their appearances. Like I think Corona can change size if she wishes but I don't think she could completely turn herself into someone new--at least not "naturally". ===

Believe it or not most Star Witches ARE kind and caring--to their subjects. Not so much to each other. It's like you said above, the reason that Stella is viewed so weirdly is because of how little power she has taken on her planet and because she views her "subjects" as being her "friends". (I'll expand more on this in answer 5.) ===

Star Witches are born from stars and sent to crash into planets. Star Witches goals are to take over a planet and create a utopia. It's not really known why they do this, it seems to just be in their nature. And because of this, Star Witches always seem be in an unspoken competition with one another to see who can create "the best" utopias and are often very judgemental of the way others choose to do things. Using Corona as an example (because she was essentially made to be!), Corona is your example of a classic Star Witch. They have already taken over an entire planet. They are essentially a point of religion, with churches and altars dedicated to them. The planet has an abundance of the things needed to live. Corona has personally done things like cure babies of illnesses while holding them in her own hands (before getting to work on ridding illnesses entirely.) People like Lambchop wouldn't even get the chance to exist on her planet because she'd rid of them instantly. If being a Star Witch is like playing a video game: Stella is playing Animal Crossing. Corona and other typical Star Witches are playing The Sims, Zoo/Rollercoaster Tycoon, or like...even Spore sometimes LOL. ===

It's interesting to me that many people seem to pick up on romantic subtext between Corona and Stella because it is actually quite the opposite! Corona is weirded out by Stella and finds her to be headed down a path of embarrassment and shame. When Corona teases Stella about "do you have a crush on me?" It's simply meant to be that--a tease. She's essentially bullying Stella in that moment. Corona doesn't like Stella. Corona wants Stella to conform. In fact, Star Witches hardly get into romantic relationships at all! And when they do, it's always with each other. Two Star Witches getting together is seen as a big cosmic event, and is essentially the same as getting married. I don't think there's much of a dating stage. The real reason Stella and Corona know each other is because Star Witches all kinda keep tabs on each other (though Stella herself tries to stay out of it). Stella and Corona are essentially just acquaintances--however, there is an added connection in that Corona was Stella's "batter". So, a bit of extra lore: When Star Witches land on planets, it's because another Star Witch essentially has a magical baseball bat they use to swing a star into a planet so the Star Witch can start their utopia. Corona was the person who batted the baseball that was Stella's shooting star into her(Stella's) planet. ===

The reason a Star Witch dating their "subjects" is taboo is because their subjects are not viewed as being people to them. Corona, for example, can recognize the people on her own planet as being alive, and they truly do want to make them happy and have them live peaceful and pleasant lives. But Corona doesn't view them as people equal to her. Star Witches essentially view their subjects almost as collectives. Maybe they pick and choose a few favorites every now and again but to Star Witches, their subjects are essentially video game NPCs, dolls you play pretend with, book characters, sometimes even pets(and that one's being generous), etc etc. You know when you play a tycoon game and you get notifications like "Your park guests are complaining there's not enough dining spaces!", it's a lot like that. They don't often see individuals. But Stella is different in that she views everyone in SnD as being her friend. She still might have a bit to learn about friendship, but she truly does feel as though these people are her friends and she wants to befriend them. To other Star Witches, this is really weird. It's like someone telling you that their toy is their friend in 100% sincerity, as if the toy is actually a person. Stella is aware that other Star Witches don't see things the way she does but tries not to let it get to her. (Keyword being try) She wants to enjoy the friends she has. However, despite wanting to be everyone's friend, she is still aware of the ways in which she has more power over them and for that reason finds it a step too far to get romantically involved. She's supposed to be a hero to them, she's supposed to make their lives happier, and dare she says she's supposed to be a friend to them! But she's not supposed to date them. Even if deep down she wants to, she knows she's not supposed to. It's TOO selfish, and that's not what heroes are supposed to be like, right? And on top of that, she knows how it would make other Star Witches view her. Stella wouldn't find it gross for herself, because she sees someone like Lambchop as being her friend. She doesn't see them as different from each other. But other Star Witches consider them to be worlds apart, and for that reason find it gross and shameful. If they view her as a bit strange and dare I say "cringe" now, they might completely outcast her if they found out she was to be romantically engaging with a subject. And while Stella tries not to let it get to her...again, the keyword is try. === WOOOO that was a lot!! But I hope it answered any questions you might have (as well as some others in my inbox LOL) and I hope I got everything! Sorry for the long read, but thanks for being invested in my silly little guys!!

[t-jfh]

László Moholy-Nagy (Hungarian, 1895-1946)

Untitled, 1939

Fujicolor Crystal Archive print, 27.9 x 35.6cm

László Moholy-Nagy (Hungarian, 1895-1946)

Untitled, 1937-1946

Fujicolor Crystal Archive print, 27.9 x 35.6cm

László Moholy-Nagy (Hungarian, 1895-1946)

Untitled, 1936-46

Fujicolor Crystal Archive print, 27.9 x 35.6 cm

László Moholy-Nagy (Hungarian, 1895-1946)

Photogram with Eiffel Tower and Peg Top, 1928

Silver gelatin photograph, 38.7 x 29.9cm

László Moholy-Nagy (Hungarian, 1895-1946)

Photogram No. II, 1929

Silver gelatin photograph, 95.5 x 68.5cm

László Moholy-Nagy (Hungarian, 1895-1946)

LIS, 1922

Oil on canvas, 131 x 100cm

László Moholy-Nagy (Hungarian, 1895-1946)

K XVII, 1923

Oil on canvas, 95 x 75cm

László Moholy-Nagy (Hungarian, 1895-1946)

A 19, 1927

Oil on canvas, 80 x 96cm

László Moholy-Nagy (Hungarian, 1895-1946)

CH BEATA I, 1939

Oil on canvas, 119 x 120cm

László Moholy-Nagy (Hungarian, 1895-1946)

CH SPACE 6, 1941

Oil on canvas, 119 x 119cm

László Moholy-Nagy Retrospective exhibition at Schirn Kunsthalle, Frankfurt

8th October 2009 - 7th February 2010

Artworks © Hattula Moholy-Nagy for the Estate of László Moholy-Nagy © VG Bild-Kunst, Bonn 2009 / Artists Rights Society (ARS), New York

ART BLART_ ART AND CULTURAL MEMORY ARCHIVE

Curated blog and article by Dr. Marcus Bunyan:

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▪️YouTube silent video >> László Moholy-Nagy Ein Lichtspiel Schwarz Weiss Grau (Light Play: Black, White, Grey) [1930 / 6mins.+34secs.]:

Ein Lichtspiel Schwarz Weiss Grau (Light Play Black White Grey) is perhaps Lázló Moholy-Nagy's best-known film work. It features his Light-Space Modulator, also known as a lighting fixture for an electric stage.

Light-Space Modulator is a key work in the history of kinetic art and even new media art, and therefore one of the most important works of art of its time.

Initially conceived by Moholy-Nagy in the early 1920s and built between 1928 and 1930, its completion required the involvement of a number of collaborators.

It was intended to be the centrepiece of the Contemporary Room at the Provinzialmuseum in Hanover, planned (but never realised) by Moholy-Nagy and Alexander Corner, the museum's director.

Light-Space Modulator was exhibited in 1930 at an exhibition in Paris on the work of the German Werkbund. From the point of view of the object, it forms a complex and beautiful set of metal, plastic and glass elements, many of them movable by the action of an electric motor, surrounded by a series of coloured lights.

Moholy-Nagy used it to produce light shows that he then photographed or filmed, as in the case of the film shown here. Although in black and white, the film manages to capture the kinetic glow of the sculpture.

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▪️YouTube video >> László Moholy-Nagy: Proto-Conceptual Artist [2019 / 5mins.+36secs.]:

Coinciding with the Bauhaus centenary, Hattula Moholy-Nagy and Daniel Hug, the daughter and grandson of László Moholy-Nagy, consider the lasting impact of the artist’s work today. Hauser & Wirth’s exhibition in London dedicated to Moholy-Nagy examines his influence as a proto-conceptualist, whose work interrogated the role of the art object and the artist in society, anticipating questions posed by subsequent generations of artists.

László Moholy-Nagy is on view at Hauser & Wirth London from 22 May – 7 September 2019.

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▪️ YouTube video >> Moholy-Nagy: Future Present exhibition overview at the Guggenheim [2016 / 3mins+14secs.]:

Curator Karol P. B. Vail provides a brief introduction to Moholy-Nagy: Future Present, a comprehensive retrospective of the work of László Moholy-Nagy (1895–1946), on view at the Solomon R. Guggenheim Museum, New York, May 27–September 7, 2016. To learn more visit https://www.guggenheim.org/moholy.

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[cantsayidont]

August 1989. The first chapter of Tim Truman's three-issue HAWKWORLD miniseries wastes no time in presenting its thesis statement. On the planet Thanagar, a young aristocrat Katar Hol, just out of military academy and not yet Hawkman, joins his world's paramilitary police force, the Wingmen, and quickly learns what the Wingmen really do: brutal raids into the slums of Downside, Thanagar's overcrowded ghetto — ostensibly to prevent insurrection and root out caches of weapons and other contraband, but really to maintain a climate of terror for an already oppressed population of conquered beings from many worlds. As Katar is already beginning to suspect here, his cynical commander, Byth (the one speaking, above), is actually running guns and drugs to Downside, and takes advantage of these raids to rid himself of rivals and no-longer-useful accomplices, lining his own pockets while perpetuating the social inequity and exploitation on which Thanagarian society depends.

Many elements of this miniseries are drawn from the Gardner Fox Hawkman stories of the Silver Age: Byth was the the villain in the first Silver Age Hawkman story in THE BRAVE AND THE BOLD #34, a statue of Kalmoran was seen briefly in BRAVE AND THE BOLD #43, and Illoral was a world the Hawks visited in HAWKMAN #6 in 1965. Truman (who originally intended HAWKWORLD to be a direct prequel to the Fox/Kubert stories) frames those elements in a new context, giving them much greater thematic weight.

HAWKWORLD sold well, thanks in no small part to the magnificently realized artwork, by Truman and Argentinian artist Quique Alcatena (with superb color by Sam Parsons), but it drew some criticism for the darkness of the story and its ugly portrayal of a militarized Thanagar. The reality is that Thanagar had been presented as a fascist dictatorship for about a decade by this point, something that the previous version of Katar Hol had eventually accepted and even endorsed so long as it didn't directly threaten Earth. What Truman did was to remove the pretense that Thanagar hadn't been that way to begin with, and thus reassess Katar's relationship with that brutal imperial state — whose resemblance to our world was in no way coincidental. The story (which puts Katar through the wringer in every respect) ends more or less where BRAVE AND THE BOLD #34 begins, so the full ramifications of Truman's reframing of Hawkman's origin would play out in the first 26 issues of the ongoing HAWKWORLD series by John Ostrander and Graham Nolan between 1990 and 1992.

[seyaryminamoto]

Fic-to-Art #37: Jin and Tiang

If you're wondering about last month's artwork... it's not out and about because it was kind of unfinished :'D hence why you haven't seen it at all. But once I get the last details in (who told me to do more ensemble pieces, really...?) I'll make sure to post it!

Instead, have a glimpse of two characters I've never drawn before! That was the prompt this time, choosing something either uncommon or that I had never really drawn at all, and Jin and Tiang got the win! Tiang's design is very much something I settled on very recently, so if anyone didn't picture him that way, I totally get it x'D but as an OC, all sorts of interpretations are valid, I'd say. As for Jin, I hoped she'd look properly elegant without fully setting aside her roots. Her hairpiece isn't too big and ornamented, her hairstyle is mostly the one we knew her for in the show, but her clothes are high-end now due to her new status in society.

... Or, uh, you could say that's not reeeeeally her status anymore, let alone his, but let's call this a picture of carelessly happier times for these two, shall we? :'D

Hope you guys liked it! Will make sure to post last month's piece as soon as I can!

If you'd like to be part of the creative process behind these pieces, a $1 pledge is enough to make you eligible for proposing poll options and voting in them monthly, along with reading Gladiator snippets 6 days before the next chapter releases!

[colorsinurlife]

🌈ART ON TUMBLR🌤️

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"Man with Yellow Roses" (0001)

On sale at Society6