Wednesday, October 30, 2013

Week 9: Inspiration & Repost

Kerry James Marshall

About Kerry James Marshall

Kerry James Marshall was born in 1955 in Birmingham, Alabama, and was educated at the Otis Art Institute in Los Angeles, from which he received a BFA, and an honorary doctorate (1999). The subject matter of his paintings, installations, and public projects is often drawn from African-American popular culture, and is rooted in the geography of his upbringing: “You can’t be born in Birmingham, Alabama, in 1955 and grow up in South Central [Los Angeles] near the Black Panthers headquarters, and not feel like you’ve got some kind of social responsibility. You can’t move to Watts in 1963 and not speak about it. That determined a lot of where my work was going to go,” says Marshall. In his "Souvenir" series of paintings and sculptures, he pays tribute to the civil rights movement with mammoth printing stamps featuring bold slogans of the era (“Black Power!”) and paintings of middle-class living rooms, where ordinary African-American citizens have become angels tending to a domestic order populated by the ghosts of Martin Luther King, Jr., John F. Kennedy, Robert Kennedy, and other heroes of the 1960s. In "RYTHM MASTR," Marshall creates a comic book for the twenty-first century, pitting ancient African sculptures come to life against a cyberspace elite that risks losing touch with traditional culture. Marshall’s work is based on a broad range of art-historical references, from Renaissance painting to black folk art, from El Greco to Charles White. A striking aspect of Marshall’s paintings is the emphatically black skin tone of his figures—a development the artist says emerged from an investigation into the invisibility of blacks in America and the unnecessarily negative connotations associated with darkness. Marshall believes, “You still have to earn your audience’s attention every time you make something.” The sheer beauty of his work speaks to an art that is simultaneously formally rigorous and socially engaged. Marshall lives in Chicago.

Wednesday, October 23, 2013

Week 8: Repost

Glenn Ligon

About Glenn Ligon

Glenn Ligon was born in the Bronx, New York, in 1960. Ligon’s paintings and sculptures examine cultural and social identity through found sources—literature, Afrocentric coloring books, photographs—to reveal the ways in which the history of slavery, the civil rights movement, and sexual politics inform our understanding of American society. Ligon appropriates texts from a variety of literary writers including Walt Whitman, Zora Neal Hurston, Gertrude Stein, James Baldwin, and Ralph Ellison, as well from more popular sources such as the comedian Richard Pryor. In Ligon's paintings, the instability of his medium—oil crayon used with letter stencils—transforms the texts he quotes, making them abstract, difficult to read, and layered in meaning, much like the subject matter that he appropriates. In other works that feature silkscreen, neon, and photography, Ligon threads his own image and autobiography into symbols that speak to collective experiences. “It’s not about me,” he says. “It’s about we.” Glenn Ligon received a BA from Wesleyan University (1982) and attended the Whitney Museum Independent Study Program (1985). He has received numerous awards, including the United States Artists Fellowship (2010); Joyce Alexander Wein Artist Prize from the Studio Museum in Harlem (2009); Skowhegan Medal for Painting (2006); John Simon Guggenheim Memorial Foundation Fellowship (2003); Joan Mitchell Foundation Grant (1998); and Visual Artist Fellowships from the National Endowment for the Arts (1989, 1991). His works are in the public collections of the Los Angeles County Museum of Art; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Philadelphia Museum of Art; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum; Tate Modern; Walker Art Center; and the Whitney Museum of American Art, New York, among others. Glenn Ligon lives and works in New York City.

Week 8: Inspiration








This week's inspiration is just a collection three pictures that I feel help to narrow down my project to the essence of what it is. The role of what past slavery has played to the dying of our youth from violence to one another. These are the types of images I pull from when I start to think about creating different pieces.

Week 8: Progress



This week I worked more on the "Looney Geographics" cover and the second one was the end result. The color choice yellow was made to look more like the actual National Geographics magazine. Also asking the question could blake have been the founders of such an intelligent civilization? That answer would plainly be yes, but that Looney Toons character could never produce anything of worth.

Wednesday, October 16, 2013

Week 7: Inspiration and Repost

http://www.youtube.com/watch?v=gH4ivOyO0PQ

This is video is further inspiration for my project. Just a more visual look at what the reality is for blacks in America even still today. Somethings still hold true to what media has tried to portray us as. Te cartoon can speak for itself.

Week 7: Progress






My progress for this week is called "Looney Geographics." I came across the magazine National Geographic in 2009 about their being proof that for a period of time the Pharaohs were actually black. Now this rubbed me the wrong way because in Egypt the Pharaohs have always been apart of Africa they have always been black. It is a disgrace to think other wise which contributes a lot to why most young people don't know African history. Our history has been hidden for so long that we don't even really know who we are as people of African descent. Now what we do know is what many children's cartoons like the Looney toons have taught us is that black people were nothing more than big lipped ignorant people. From these cartoons black generations have been taught that they are lay and that the only thing Africa was was just a black whole of sorts. So what I wanted to do was combine the two as both a comic source and academic source for the evidence that further perpetuates the plight of black youth.

Wednesday, October 9, 2013

Week 6: Repost

Mark Bradford

About Mark Bradford

Mark Bradford was born in Los Angeles, California, in 1961. He received a BFA (1995) and MFA (1997) from the California Institute of the Arts in Valencia. Bradford transforms materials scavenged from the street into wall-size collages and installations that respond to the impromptu networks—underground economies, migrant communities, or popular appropriation of abandoned public space—that emerge within a city. Drawing from the diverse cultural and geographic makeup of his southern Californian community, Bradford’s work is as informed by his personal background as a third-generation merchant there as it is by the tradition of abstract painting developed worldwide in the twentieth century. Bradford’s videos and map-like, multilayered paper collages refer not only to the organization of streets and buildings in downtown Los Angeles, but also to images of crowds, ranging from civil rights demonstrations of the 1960s to contemporary protests concerning immigration issues. Mark Bradford has received many awards, including the Bucksbaum Award (2006); the Louis Comfort Tiffany Foundation Award (2003); and the Joan Mitchell Foundation Award (2002). He has been included in major exhibitions at Los Angeles County Museum of Art (2006); Whitney Museum of American Art, New York (2003); REDCAT, Los Angeles (2004); and the Studio Museum in Harlem, New York (2001). He has participated in the twenty-seventh Bienal de São Paulo (2006); the Whitney Biennial (2006); and "inSite: Art Practices in the Public Domain," San Diego, California, and Tijuana, Mexico (2005). Bradford lives and works in Los Angeles.

Week 6: Inspiration

Black Venus

Game Recognize Game

Merchant Portraits
These pieces are done by Mark Bradford. He is a painter and he does a lot of collage work. What is very interesting to me is that his work represents community or the things that make up a community, whether it be culture or business. The idea is bringing those different elements of community in to create a conversation. My take would be what would your community say given the objects that are placed within it? Also with what thoughts would we interpret these communities, would they be negative or positive? Sometimes we given the types of things we see in the community we may judge them wrongly or hold certain positions about them which may not be the case. But what I like about his collage work is that he stays true to what does reside in such communities.

Week 6: Progress



This the Illustrator version of "This Cage That I'm In". I wanted to make this scene much darker, to give the viewer the feeling of isolation. I wanted to also portray the character as one who is emotionally broken due to his circumstances. He grabs onto the bars, but he cannot break free, therefore you have the cage. But this can also be a mental thing as well because their are many young blacks who have been trapped mentally by their surroundings. What is to be understood is that these bars are not by this person's own doing. He has been put into this situation due to other problems that could shape a person's life for the worst.

Wednesday, October 2, 2013

Week 5: Repost


Trenton Doyle Hancock

About Trenton Doyle Hancock

Trenton Doyle Hancock was born in 1974 in Oklahoma City, Oklahoma. Raised in Paris, Texas, Hancock earned his BFA from Texas A&M University, Commerce, and his MFA from the Tyler School of Art at Temple University, Philadelphia. Hancock’s prints, drawings, and collaged-felt paintings work together to tell the story of the Mounds—a group of mythical creatures that are the tragic protagonists of the artist’s unfolding narrative. Each new work by Hancock is a contribution to the saga of the Mounds, portraying the birth, life, death, afterlife, and even dream states of these half-animal, half-plant creatures. Influenced by the history of painting, especially Abstract Expressionism, Hancock transforms traditionally formal decisions—such as the use of color, language, and pattern—into opportunities to create new characters, develop sub-plots, and convey symbolic meaning. Hancock’s paintings often rework Biblical stories that the artist learned as a child from his family and local church community. Balancing moral dilemmas with wit and a musical sense of language and color, Hancock’s works create a painterly space of psychological dimensions. Trenton Doyle Hancock was featured in the 2000 and 2002 Whitney Biennial exhibitions, one of the youngest artists in history to participate in this prestigious survey. His work has been the subject of one-person exhibitions at Contemporary Arts Museum, Houston; Modern Art Museum of Fort Worth; and Museum of Contemporary Art, North Miami. The recipient of numerous awards, Hancock lives and works in Houston, where he was a 2002 Core Artist in Residence at the Glassell School of Art of the Museum of Fine Arts, Houston.

Week 5: Inspiration

The Bad Promise
With The Money I Have Left

The Shame Game
This weeks Inspiration is by Trenton Dole Hancock. He is a mixed media artist who has a vast imagination. I chose him specifically because I like the way he uses black and white to bring out as much detail as he can in his artwork. Also what draws me to his work is his imagination, which still translates simple messages in creative ways. Sometimes you don't have to be overly literal in art to convey a message sometimes the best form is being abstract to capture the emotion your trying to convey. Especially with pieces like a bad promise which has an obvious empty hand, but also has holes in it as well. I am working on making my technique better with black and white. Stronger pictures becaus emy art has the carry the full weight of my subject matter.

Week 5: Progress


For progress this week, I revisited the sketch "Staring Down A Future." My goal was to combine Illustrator and charcoal together to see what the result would be. The idea was to make the picture more powerful and also maintain of the grit that charcoal has. So I kept the pattern of the charcoal in the background and added a filter to soften it. I like how the tears came out in the subject because the whole point was to convey the sense of distress a situation like this would bring. This occurrence happen in my community more times that I can count.  So how would one react if they had to face a situation on a daily?