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johanssonprojects · 1 year

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Enjoy your family today New work from Madeline Donahue will be on view @untitledartfair Miami Nov 29 - Dec 3 @johansson_projects booth A59 #madelinedonahue #johanssonprojects #womenartists #momart #miamiartweek #untitledartfair (at Untitled Art) https://www.instagram.com/p/ClWYmiRLnOR/?igshid=NGJjMDIxMWI=

#madelinedonahue #johanssonprojects #womenartists #momart #miamiartweek #untitledartfair

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skyecoaiart · 3 months

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Mother love

More images at - https://www.skyecotrio.com/projects-6

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aaronhillsworld · 1 year

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Mom @cherylgirl7 take on Baldwin. & that quote is SO true. 💯🤔 #momart #momartist #lovemom #quarantineart #pandemicart #pandemicartist #quarantineartist #blackart #blackartist #artistmom #covidart #mompreneur #go https://www.instagram.com/p/Co7WItpOKqV/?igshid=NGJjMDIxMWI=

#momart #momartist #lovemom #quarantineart #pandemicart #pandemicartist #quarantineartist #blackart #blackartist #artistmom #covidart #mompreneur #go

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sariodenola · 2 years

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Sario De Nola, Untitled, 2021, acrylic on wood, 40″x40″, Matera

#sariodenola #urbanart #sassidimatera #momart #abstractart #postgraffiti #matera #sassi

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pikasus-artenews · 1 year

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INNEN UND AUSSEN. SABINO DE NICHILO e DARIO MOLINARO Un pittore e uno scultore dialogano all’interno di una suggestiva grotta nei Sassi di Matera

#art #Momart Matera #Pikasus #Pikasus Arte News

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arthistoriansdiary · 22 days

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Everyone I Have Ever Slept With 1963–1995

Tracey Emin, Everyone I Have Ever Slept With 1963–1995 (1995). Fabric, embroidery.

In the constellation of contemporary art, Tracey Emin's provocative oeuvre serves as a beacon of personal and feminist exploration. Among her many works, Everyone I Have Ever Slept With 1963–1995 (also known as The Tent) stands out as a landmark in the journey of autobiographical and feminist art. This post delves into Emin's iconic piece through the lens of art history and a woman's perspective, unravelling the layers of intimacy, identity, and rebellion.

Introduction to The Tent: First unveiled in 1995 at the Minky Manky exhibition at the South London Gallery, Everyone I Have Ever Slept With 1963–1995 is a small tent appliquéd with the names of everyone with whom Emin had shared a bed until that point in her life. The list includes lovers, family members, and friends, encapsulating a range of intimate encounters beyond the sexual connotation the title might suggest.

Form and Structure: The tent, a humble and transient shelter, is transformed into a vessel of profound personal narrative. Its domestic, almost fragile nature contrasts with the boldness of the revelations within. The inside of the tent is a sanctum, each name meticulously handcrafted, inviting viewers into a private emotional landscape. The choice of a tent as the medium challenges traditional art forms, aligning with feminist art practices that embrace everyday objects to convey complex narratives.

Textual Interplay: The interplay between text and textile within the tent creates a rich tapestry of stories. Each name, carefully stitched, is both a confession and a declaration, marking a departure from impersonal art forms. This interweaving of textuality and materiality foregrounds the feminist emphasis on the personal as political, challenging societal norms around privacy, sexuality, and emotional expression.

Autobiography and Identity: Emin's work is unabashedly autobiographical, a hallmark of feminist art that seeks to reclaim the female narrative from the margins. The Tent serves not just as a recounting of personal history but as a reclamation of agency over one's body and relationships. It reflects a broader feminist discourse on the ownership of female identity and sexuality, pushing back against patriarchal structures that seek to define and confine women's experiences.

Collective Experience: While intensely personal, Emin's tent also gestures towards the collective. By including not only sexual partners but also relatives and friends, the work broadens the conception of intimacy. It suggests a shared human experience, resonating with feminist principles of solidarity and the breaking down of public/private dichotomies. Emin's inclusivity invites reflections on the interconnectedness of relationships, both fleeting and enduring, in shaping one's identity.

Reception and Legacy: Upon its debut, Everyone I Have Ever Slept With 1963–1995 garnered attention and controversy, emblematic of Emin's career. Some critics dismissed it as narcissistic exhibitionism, while others hailed it as a breakthrough in feminist art. Its destruction in the 2004 Momart warehouse fire only amplified its mythos, preserving its status as a touchstone for discussions around feminist art and personal narrative.

Stitching Connections: What's Your Story? Inspired by Tracey Emin's journey of intimacy and connection, I invite you to reflect: If you were to create a piece symbolizing your personal connections, what form would it take? Share your ideas and the stories behind them, as we explore the art of living through the lens of our shared and individual experiences.

#TraceyEmin #FeministArt #ContemporaryArt #ArtHistory #PersonalNarratives #ArtisticExpression #IntimacyInArt #WomenInArt #ArtBlog #CreativeConnections

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minadi-mga2023mi5015 · 3 months

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David Annesley - Research

David Annesley is a British sculptor born in 1936 and he was educated in England, Zimbabwe and Australia. He worked as a pilot in the Royal Air Force (RAF) National Service from 1956-1958. Later, he began studying painting at St Martin's School of Art, London and transferred to the sculpture department since he found it more captivating, and until 1962, he was taught by the abstract sculptor Sir Anthony Caro. Annesley worked as his studio assistant with fellow student Michael Bolus. After graduating, he had teaching posts at Croydon School of Art, the Central School of Art and Design and St Martin's between 1963 and 1995.

His sculptures were chosen for the Young Contemporaries exhibitions in 1961 and 1962 and Annesley received early recognition for his colour sculptures at The New Generation: 1965 show at the Whitechapel Gallery, London. The exhibition showcased a new generation of sculptors who had been taught by Frank Martin and Anthony Caro at St Martin’s School of Art in London in the early sixties.

The new approach was defined by the placement of sculptures directly on the ground, allowing them to occupy the same floor-space as the viewer; the use of new materials such as fibreglass, aluminium and plastic, which allowed the artists to transcend art historical associations with materials; and the use of bright colours, often with the addition of a ‘skin’ of coloured paint to further reduce attention to the specific material of the work.

His first solo exhibition came in 1966 at the Waddington Galleries (now Waddington Custot) London, and was soon followed by a show at the Poindexter Gallery, New York. Annesley had two further solo exhibitions at Waddington Galleries in 1968 and 1970, before his 'Swing Low' (1964), 'Loquat' (1965) and 'Untitled' (1968–9) sculptures became part of the Tate collection in 1971 as part of the Alastair McAlpine Gift. In 1999 other sculptures in these editions were exhibited at Waddington Galleries in the group show Colour Sculptures: Britain in the Sixties. Annesley went on to exhibit again with Waddington Custot in 2017, and in 2020 with a show of new work.

Godroon, Untitled, Loquat are recreations of 3 of his refurbished sculptures that were lost in the Momart fire.

Over the years, Annesley's work has been displayed in prestigious collections worldwide, such as the Museum of Modern Art in New York, the Nagoya City Art Museum in Japan and the National Museums of Northern Ireland. He was elected Fellow of the Royal Society of British Sculptors in 1995.

Annesley’s open-form, metal sculptures drew upon his own physical experience flying as an RAF pilot. They convey a sense of weightlessness and expand into and envelop the surrounding space outlined by their linear forms. Their dynamic compositions instil a sense of movement, further animated by titles such as ‘Loquat’ and ‘Godroon’, words and phrases chosen by Annesley for their sounds rather than for their anecdotal or literary content. In 1964, Annesley was introduced by Caro to the American Color Field painter, Kenneth Noland, with whom he stayed in 1966 and 1968 in Bennington, Vermont. This artistic friendship was significant in bridging the traditionally separate mediums of sculpture and painting, and encouraged Annesley’s exploration of colour relationships in his sculptures.

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malenalopezmaggi · 10 months

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Momart, 2017

Malena Lopez-Maggi

Archival inkjet print

8 x 8 inches

Bath water, 2017

Malena Lopez-Maggi

Archival inkjet print

12 x 16 inches

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odw-bikemike · 1 year

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Momart und Gesundheitsbrunnen 🚵🏻 (hier: Odenwald) https://www.instagram.com/p/Cp3JlPNtg5h/?igshid=NGJjMDIxMWI=

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alyandajstyle · 2 years

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Aly on Hijulez’s Instagram | 14 October 2018

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Hijulez ‘MOMART hoodie,’ sold out [hijulez.com]

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Follow me on Instagram!

#fashion #aly michalka #aly and aj #hijulez #social media #2018 #october 2018 #tops #sweatshirt

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chiusadentrose · 2 years

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Di che zona di Roma sei? Lo conosci il Momart?

SI lo conosco, abito lì vicino ahaha ci sono stata qualche volta ma diciamo che non mi fa impazzire. Come mai?

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lamilanomagazine · 2 years

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Padova, MoMArt: in piazza le creazioni dell'arte in carcere

Padova, MoMArt: in piazza le creazioni dell'Arte in carcere. Domenica 1 maggio in piazza Capitaniato torna MoMArt, l’appuntamento della prima domenica del mese con la tradizionale vetrina dell’arte a Padova. Un ritorno, dopo il lungo stop dovuto all’emergenza sanitaria, segnato da una novità: la rinascita dell’associazione con il progetto “MoMArt per Il Sociale”: divertimento e passione, arte e cultura, insieme, come occasione di riscatto sociale, di incontro, come percorso di arteterapia. Obiettivo della galleria a cielo aperto è promuovere l’arte urbana instaurando un contatto diretto con il pubblico e quest’anno con un impegno in più: una finestra dedicata alle creazioni dei laboratori di pittura e scultura attivati al carcere Due Palazzi. Saranno, infatti, esposti in mostra una quindicina tra sculture e quadri frutto dell'arte in carcere. "Si tratta di un edizione veramente speciale dell'appuntamento con Momart in Piazza Capitaniato - afferma l'Assessore al Commercio del Comune di Padova - perché sposerà la tradizionale vocazione culturale e commerciale con un'attenzione importante anche ai temi sociali. Per questo abbiamo direttamente sostenuto come assessorato i progetti che proprio domenica verranno presentati, con l'idea di rendere le nostre piazze vive ma anche di fare si che queste manifestazioni siano realmente occasioni per fare rete e sviluppare la nostra comunità." Il progetto Ecco il progetto nel dettaglio: “Arte in carcere”. Il progetto si è articolato in un Laboratorio di Scultura e uno di Pittura. Quello di Scultura, nato nel 2018 col nome di “ScolpiAmo”, e tenuto dagli insegnanti Claudia Chiggio e Roberto Tonon, ha visto la partecipazione di cinque detenuti che avevano dimostrato abilità artistiche e ottime qualità di condotta. I risultati sono stati ampiamente sopra le aspettative, tanto che due opere sono state richieste come dono personale a papa Francesco. Altri sei detenuti hanno quindi partecipato al Laboratorio di Pittura, tenuto dall’artista Alessandra Andreose in collaborazione con la psicologa del penitenziario dottoressa Orazi. Anche in questo caso l’insegnamento degli elementi di base del disegno, dell’utilizzo dei colori e così via, sono divenuti per i detenuti strumenti per recuperare un’immagine positiva di loro stessi e aprirsi a nuovi studi, come ha fatto uno di essi iniziando a frequentare il Liceo Artistico in carcere. Un’altra artista del MoMart, Emanuela Colbertaldo, ha quindi attuato un percorso simile conducendo, come volontaria all’interno del Due Palazzi, un Laboratorio di Acquerello teso a creare un clima di serenità pure in una struttura di contenzione. “Arteterapia”. Il MoMArt presenterà per la prima volta questa speciale branca artistica grazie alla proposta della sua promotrice Cristina Zucchi che, in uno spazio apposito, terrà una dimostrazione di arteterapia, illustrandone le caratteristiche e coinvolgendo il pubblico attraverso sperimentazioni dirette sia singole che di gruppo. “Libro parlato”. Un altro socio del MoMArt, Gianfranco Morello, presenterà invece l’iniziativa collaterale “Senti chi parla”, ovvero l’associazione di una settantina di volontari che, mettendo a disposizione la propria voce e il proprio tempo, leggono e registrano opere letterarie, realizzando audiolibri che vengono distribuiti gratuitamente alle associazioni che si occupano di disabilità visive. MoMArt è un evento promosso dall'omonima associazione ed è patrocinato dal Comune di Padova e realizzato in collaborazione con l’assessorato al Commercio e Attività produttive. Read the full article

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dramiula · 2 years

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