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Art and AI

Author: Frans Hals

https://commons.wikimedia.org/wiki/File:Frans_Hals_-_Regents_of_the_Old_Men%27s_Almshouse_-_WGA11182.jpg

4 additions to document , most recent 2 months ago

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May-15-24 Portrait of a Washerwoman for the Union Army, around Richmond, VA, with a flag pinned to dress
May-15-24 Jean-Michel Basquiat, Untitled (ELMAR), 1982. Courtesy of Phillips.
May-15-24 Joan Mitchell, Noon (1969). Courtesy of Sotheby’s.
May-15-24 Tar Beach 2

DMU Timestamp: May 09, 2024 04:21

Added May 15, 2024 at 11:40am by Paul Allison
Title: Portrait of a Washerwoman for the Union Army, around Richmond, VA, with a flag pinned to dress

Portrait of a Washerwoman for the Union Army, around Richmond, VA, with a flag pinned to dress

2 Votes

Unidentified-Washerwoman-Who-Worked-for-Union-Army
Ambrotype photograph of an unidentified washerwoman for the Union Army, circa 1865, Richmond, Virginia.
Source: Photographic History Collection, Division of Information Technology and Communications, National Museum of American History, Smithsonian Institution.

At the website for National Public Radio, Shannon Thomas Perich offers an interpretation of this image:

The flag (on the woman) especially raises questions as it is called out by the coloring. Why is a woman who is disenfranchised because of her skin color and her gender wearing the flag, often a symbol of freedom? Is that what it meant for her? If so, how did she describe freedom for herself and the nation? Is she wearing the flag by choice? Did she purchase this image? Did she own it? If not, then who did?

…This photograph was not made casually or by accident. Before she even sat for the camera, her dress was clean and pressed, and her hair coiffed. The pinning of the flag, and its coloring and the pink tint on her cheeks, are deliberate actions. The woman holds herself steady, with pride, perhaps assisted by a hidden head brace, and by her arm on the draped table. She holds our gaze with her eyes, which do not reflect happiness or relaxation, but seem to signal a bit of trepidation.

The enitre article from Perich, titled A Flag Of Freedom?, is here.

DMU Timestamp: May 09, 2024 04:21

Added May 15, 2024 at 12:05pm by Paul Allison
Title: Jean-Michel Basquiat, Untitled (ELMAR), 1982. Courtesy of Phillips.

Jean-Michel Basquiat, Untitled (ELMAR), 1982. Courtesy of Phillips.

DMU Timestamp: May 09, 2024 04:21

Added May 15, 2024 at 5:51pm by Paul Allison
Title: Joan Mitchell, Noon (1969). Courtesy of Sotheby’s.

Joan Mitchell, Noon (1969). Courtesy of Sotheby’s.

DMU Timestamp: May 09, 2024 04:21

Added May 15, 2024 at 6:19pm by Paul Allison
Title: Tar Beach 2

Art: Tar Beach 2

» Faith Ringgold (American, b. 1930)

Tar Beach 2

Tar Beach 2
Artist / Origin: Faith Ringgold (American, b. 1930)
Region: North America
Date: 1990
Period: 1900 CE – 2010 CE
Material: Silkscreen on silk
Medium: Textiles and Fiber Arts
Dimensions: H: 66 in. (167.6 cm.), W: 67 in. (170.2 cm.)
Location: Philadelphia Museum of Art, Philadelphia, PA
Credit: Courtesy of the artist

Tar Beach 2 is what Faith Ringgold refers to as a story quilt.

Inspired by African and African American storytelling traditions, the work combines narrative imagery with written text that gives permanence to what might be considered the oral component of the story. Here, Ringgold tells the tale of Cassie Louise Lightfoot, a little girl growing up in Harlem in the 1940s. The scene is one of domestic leisure set on a New York City rooftop. Referred to in the vernacular of the day as “tar beach,” the roof was a place where city dwellers could find relief from oppressive summer heat and the stresses of everyday life.

Ringgold’s protagonist lies on a mattress beside her younger brother, Bebe, looking up at the starry sky. Four adults sit at a nearby table where they chat and play cards. Other signs of domestic life abound on the rooftop—newly washed clothing and linens hang out to dry and a variety of beverages and home-cooked dishes are spread out over a flowered tablecloth. Underneath this table is a basket filled to the top with either food or fabric, and scattered around the edges of the roof are potted plants. The scene appears like a serene oasis in the midst of the crowded city that surrounds it. In the upper section, there is a surreal depiction of Cassie’s father standing on a rooftop and Cassie and Bebe flying through the air above the George Washington Bridge. The story’s text appears in blocks around them.

The story of Tar Beach 2 draws on Ringgold’s own memories of growing up in Harlem and spending time with family and friends on the roof. It is not, however, purely autobiographical. For Ringgold, Cassie’s ability to fly is a kind of metaphor for individual potential and the imagination’s ability to open up a world of new possibilities. In the 1960s and ’70s, Ringgold had started her art career making overtly political paintings that dealt with issues of racial and gender equality. In a much more subtle way, Tar Beach 2 continues to address those themes through its content as well as its materials and technique.

Tar Beach 2 is one of an edition of twenty-four silk screens on silk, which Ringgold made while in residence at Philadelphia’s Fabric Workshop in 1990. It is a variation on an earlier work called Tar Beach (Guggenheim Collection, NY) that the artist made in 1988 as part of the larger Woman on a Bridge series. The original Tar Beach consisted of a central scene painted on canvas bordered by fabric that had been painted, printed, quilted, and stitched together. By making textile a central part of these and other works, Ringgold challenged the art world’s long-held biases toward “high arts” (e.g., painting and sculpture) made by white men with larger-than-life personas, bringing to the fore artistic practices previously considered domestic crafts that were made mostly by women, whose identities were largely unknown and whose talents were largely unrecognized.

DMU Timestamp: May 09, 2024 04:21





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