All You Need is Love By Sipros for The Bushwick Collective (Photo By Gail)
I can’t believe that Pride Month is coming to a close already, when it should really be celebrated all year! Wah! You still have time to celebrate Pride with many activities, including the Parade, planned for today, June 26th. Get all the details at This Link!
This Mural, which went up on June 15th, 2022, was located on First Avenue near 16th Street on the front window of the Stuyvesant Town Leasing Office, but was taken down in early August.
Paying attention all the time is an interesting way to go through the day, but you never know what you might find lurking inside of a derelict Fire Alarm Box. This painted plaster cast of a smiling face and fists is the work of street artist Gregos, who really gets around. You can see additional examples of Gregos‘ artworks, which were also spotted by me in downtown Manhattan, at This Link!
Photographed on the Southwest Corner of 18th Street and 6th Avenue (Across the Street from the Container Store) in Manhattan. (Note: The Artwork has since been removed)
In Aïda Muluneh’s photograph All In One (2016), a single figure embodies multiplicity through the addition of extra hands of different hues. Muluneh’s use of colorful makeup is inspired by body art from across Africa and allows her to physically construct a character out of her model. After living around the world, Muluneh (b. 1974) returned to her homeland of Ethiopia, where she founded the Addis Foto Fest, the first international festival in Africa. Though she was born in Ethiopia, she has sometimes felt like a outsider due to many years spent elsewhere. Her photographs, such as this one, bear the influence of that complicated experience, and are drawn from her series The World is 9, which is named after a saying of her Grandmother’s: “The World is nine; it is never complete and it’s never perfect.” With this series, the artist also recognizes the capacity of photography to convey the multiplicity inherent in any individual.
Photographed as part of the Exhibit Being: New Photography, Up Through August 19th, 2018 at the Museum of Modern Art, NYC.
The frightening central figure in this painting by Francis Picabia is taken from a Surrealist photograph by the young photographer Erwin Blumenfeld. The source image in The Adoration of The Calf (1941-42), which was reproduced in the Paris press in 1938, features the head of a dead calf posed atop a classical torso draped with fabric, and possibly refers to Hitler. To Blumenfeld’s composition, Picabia added a series of dramatically lit, expressionistically painted hands, many of which are splayed open in gestures of entreaty. They seem to emerge from the bottom of the canvas, suggesting the presence of bodies just out of sight. Although Picabia was a resolutely apolitical artist, it is difficult not to read this painting, and its cynical vision of the worship of false idols, as an engagement with contemporary politics.
Photographed in the Museum of Modern Art in NYC as part of the Exhibit Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction.