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Simpson uses the figure to examine the ways in which gender and culture shape the interactions, relationships and experiences of our lives in contemporary America.

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Lorna Simpson received her BFA in Photography from the School of Visual Arts, New York, and her MFA from the University of California, San Diego. When Lorna Simpson emerged from the graduate program at San Diego in 1985, she was already considered a pioneer of conceptual photography. Feeling a strong need to re-examine and re-define photographic practice for contemporary relevance, Simpson was producing work that engaged the conceptual vocabulary of the time by creating exquisitely crafted documents that are as clean and spare as the closed, cyclic systems of meaning they produce. Her initial body of work alone helped to incite a significant shift in the view of the photographic art's transience and malleability.

Lorna Simpson first became well-known in the mid-1980s for her large- scale photograph-and-text works that confront and challenge narrow, conventional views of gender, identity, culture, history and memory. With unidentified figures as a visual point of departure, Simpson uses the figure to examine the ways in which gender and culture shape the interactions, relationships and experiences of our lives in contemporary America. In the mid-1990s, she began creating large multi-panel photographs printed on felt that depict the sites of public - yet unseen - sexual encounters. Over time she turned to film and video works in which individuals engage in enigmatic conversations that seem to address the mysteries of both identity and desire. Throughout her body of work, Simpson questions memory and representation, whether in her moving juxtaposition of text and image, in her haunting video projection Cloudscape and its echo in the felt work Cloud, or in her large-scale video installation Momentum which recreates a childhood dance performance. Using the camera as a catalyst, Simpson constructs work comprising text and image, parts to wholes, which comment on the documentary nature of found or staged images. In Simpson's latest works, characteristic ambivalence is presented with hazy ink washes to present isolated figures amidst nebulous spaces- a return to and departure from her earlier unidentified figures in a deepened exploration of contemporary culture.

Her works have been exhibited at and are in the collections of the Museum of Modern Art, New York; the Museum of Contemporary Art, Chicago; the Walker Art Center, Minneapolis; Whitney Museum of American Art, New York; Los Angeles Museum of Contemporary Art, Los Angeles; and Haus der Kunst; Munich amongst others. Important international exhibitions have included the Hugo Boss Prize at the Guggenheim Museum, New York, Documenta XI in Kassel, Germany, and the 56th Venice Biennale, Venice, Italy. She was awarded the J. Paul Getty Medal in 2019. Lorna Simpson is represented by Hauser & Wirth.

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Lorna Simpson is represented by Hauser & Wirth.

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Lorna Simpson received her BFA in Photography from the School of Visual Arts, New York, and her MFA from the University of California, San Diego. When Lorna Simpson emerged from the graduate program at San Diego in 1985, she was already considered a pioneer of conceptual photography.

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New York based artist who uses science fiction and fantasy to re-imagine the world in multiple dimensions.

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Saya Woolfalk (Japan, 1979) is a New York based artist who uses science fiction and fantasy to re-imagine the world in multiple dimensions. With the multi year projects No Place, The Empathics, and ChimaTEK, Woolfalk has created the world of the Empathics, a fictional race of women who are able to alter their genetic make-up and fuse with plants. With each body of work, Woolfalk continues to build the narrative of these women's lives, and questions the utopian possibilities of cultural hybridity.

She has exhibited at museums, galleries, and alternative spaces throughout Asia, Europe and the United States including solo exhibitions at the Montclair Art Museum, Montclair, NJ (2012); the Chrysler Museum of Art, Norfolk, VA (2014); the Asian Art Museum of San Francisco (2014); SCAD Museum, Savannah, GA (2016); Everson Museum of Art, Syracuse, NY (2016); Sheldon Museum of Art, Lincoln, NE (2016); the Mead Museum of Art, Amherst, MA (2017) and group shows at the Studio Museum in Harlem; MoMA PS1, Long Island City, NY; the Warhol Museum, Pittsburgh, PA., the Museum of Contemporary Art, Chicago, among many others.

Works by the artist are in the collections of major institutions including, among others, the Whitney Museum of American Art; the Mead Art Museum, the Weatherspoon Art Museum; the Newark Museum; the Chrysler Museum of Art; and the Seattle Art Museum where her major multi-media installation, commissioned and acquired by the Museum, is on extended view. Solo exhibitions of works by Saya Woolfalk are also currently on view at the Nelson-Atkins Museum, Kansas City, MO (through September 1, 2019) and the Kohler Art Center, Sheboygan, WI (through August 18, 2019).

Woolfalk is the recipient of numerous honors, awards, and commissions. She has delivered numerous public lectures at museums and universities throughout the United States including a recent TED X Talk. She is represented by Leslie Tonkonow Artworks + Projects, New York and teaches in MFA program at Yale School of Art as well as in the BFA and MFA programs at Parsons: The New School for Design

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Saya Woolfalk (Japan, 1979) is a New York based artist who uses science fiction and fantasy to re-imagine the world in multiple dimensions. With the multi year projects No Place, The Empathics, and ChimaTEK, Woolfalk has created the world of the Empathics, a fictional race of women who are able to alter their genetic make-up and fuse with plants.

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1. Frida Kahlo is a Mexican painter who is considered one of the most important feminist artists of the 20th century. Her work often depicted the female experience and the female body, and was heavily influenced by her own experiences of physical and emotional pain.

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Mexican artist Frida Kahlo is remembered for her self-portraits, pain and passion, and bold, vibrant colors. She is celebrated in Mexico for her attention to Mexican and indigenous culture and by feminists for her depiction of the female experience and form.

Kahlo, who suffered from polio as a child, nearly died in a bus accident as a teenager. She suffered multiple fractures of her spine, collarbone and ribs, a shattered pelvis, broken foot and a dislocated shoulder. She began to focus heavily on painting while recovering in a body cast. In her lifetime, she had 30 operations.

Life experience is a common theme in Kahlo's approximately 200 paintings, sketches and drawings. Her physical and emotional pain are depicted starkly on canvases, as is her turbulent relationship with her husband, fellow artist Diego Rivera, who she married twice. Of her 143 paintings, 55 are self-portraits.

The devastation to her body from the bus accident is shown in stark detail in The Broken Column. Kahlo is depicted nearly naked, split down the middle, with her spine presented as a broken decorative column. Her skin is dotted with nails. She is also fitted with a surgical brace.

Kahlo's first self-portrait was Self-Portrait in a Velvet Dress in 1926. It was painted in the style of 19th Century Mexican portrait painters who themselves were greatly influenced by the European Renaissance masters. She also sometimes drew from the Mexican painters in her use of a background of tied-back drapes. Self-Portrait - Time Flies (1929), Portrait of a Woman in White (1930) and Self-Portrait Dedicated to Leon Trotsky (1937) all bear this background.

I paint self-portraits because I am so often alone, because I am the person I know best." - Frida Kahlo

In her second-self portrait, "Time Flies," Kahlo uses a folk style and vibrant colors. She wears peasant clothing, and the red, white and green in the painting are the colors of the Mexican flag.

During her life, self portrait is a subject that Frida Kahlo always returns to, as artists have always returned to their beloved themes - Rembrandt his Self Portrait, Vincent van Gogh his Sunflowers, and Claude Monet his Water Lilies.

Frida and Diego: Love and Pain

Kahlo and Rivera had a tumultuous relationship, marked by multiple affairs on both sides. Self-Portrait With Cropped Hair (1940), Kahlo is depicted in a man's suit, holding a pair of scissors, with her fallen hair around the chair in which she sits. This represents the times she would cut the hair Rivera loved when he had affairs.

The 1937 painting Memory, the Heart, shows Kahlo's pain over her husband's affair with her younger sister Christina. A large broken heart at her feet shows the intensity of Kahlo's anguish. Frida Kahlo and Diego Rivera divorced in 1939, but reunited a year later and remarried. The Two Fridas (1939) depicts Kahlo twice, shortly after the divorce. One Frida wears a costume from the Tehuana region of Mexico, representing the Frida that Diego loved. The other Frida wears a European dress as the woman who Diego betrayed and rejected. Later, she is back in Tehuana dress in Self-Portrait as a Tehuana (1943) and Self Portrait (1948).

Pre-Columbian artifacts were common both in the Kahlo/Rivera home (Diego collected sculptures and idols, and Frida collected Jewelry) and in Kahlo's paintings. She wore jewelry from this period in Self-Portrait - Time Flies (1926), Self-Portrait With Monkey (1938) and Self-Portrait With Braid (1941), among others. Other Pre-Columbian artifacts are found in The Four Inhabitants of Mexico City (1938), Girl With Death Mask (1938) and Self-Portrait With Small Monkeys (1945).

My painting carries with it the message of pain." - Frida Kahlo

Surreal or Realist?

Frida Kahlo participated in the "International Exhibition of Surrealism" in 1940 at the Galeria de Arte, Mexicano. There, she exhibited her two largest paintings: The Two Fridas and The Wounded Table (1940). Surrealist Andrew Breton considered Kahlo a surrealistic, a label Kahlo rejected, saying she just painted her reality. However, In 1945, when Don Jose Domingo Lavin asked Frida Kahlo to read the book Moses and Monotheism by Sigmund Freud - whose psychoanalysis works Surrealism is based on - and paint her understanding and interpretation of this book. Frida Kahlo painted Moses, and this painting was recognized as second prize at the annual art exhibition in the Palacio de Bellas Artes.

Kahlo did not sell many paintings in her lifetime, although she painted occasional portraits on commission. She had only one solo exhibition in Mexico in her lifetime, in 1953, just a year before her death at the age of 47.

Today, her works sell for very high prices. In May 2006, Frida Kahlo self-portrait, Roots, was sold for $5.62 million at a Sotheby's auction in New York, sets a record as the most expensive Latin American work ever purchased at auction, and also makes Frida Kahlo one of the highest-selling woman in art.

Widely known for her Marxist leanings, Frida, along with Marxism Revolutionary Che Guevara and a small band of contemporary figures, has become a countercultural symbol of the 20th century, and created a legacy in art history that continues to inspire the imagination and mind. Born in 1907, dead at 47, Frida Kahlo achieved celebrity even in her brief lifetime that extended far beyond Mexico's borders, although nothing like the cult status that would eventually make her the mother of the selfie, her indelible image recognizable everywhere.

At the Frida Kahlo Museum in Mexico City, her personal belongings are on display throughout the house, as if she still lived there. Kahlo was born and grew up in this building, whose cobalt walls gave way to the nickname of the Blue House. She lived there with her husband for some years, and she died there. The facility is the most popular museum in the Coyoacan neighborhood and among the most visited in Mexico City.

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Frida Kahlo: 100 Paintings Analysis, Biography, Quotes, & Art

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Mexican artist Frida Kahlo is remembered for her self-portraits, pain and passion, and bold, vibrant colors. She is celebrated in Mexico for her attention to Mexican and indigenous culture and by feminists for her depiction of the female experience and form. Kahlo, who suffered from polio as a child, nearly died in a bus accident as a teenager.

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Kehinde Wiley is an American painter known for his large-scale, highly stylized portraits of African American men and women. He often paints his subjects in the style of traditional European portraiture, but sets them in contemporary urban environments and poses them in heroic and powerful positions.

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Los Angeles native and New York based visual artist, Kehinde Wiley has firmly situated himself within art history's portrait painting tradition. As a contemporary descendent of a long line of portraitists, including Reynolds, Gainsborough, Titian, Ingres, among others, Wiley, engages the signs and visual rhetoric of the heroic, powerful, majestic and the sublime in his representation of urban, Black and Brown men found throughout the world.

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Los Angeles native and New York based visual artist, Kehinde Wiley has firmly situated himself within art history's portrait painting tradition. As a contemporary descendent of a long line of portraitists, including Reynolds, Gainsborough, Titian, Ingres, among others, Wiley, engages the signs and visual rhetoric of the heroic, powerful, majestic and the sublime in his representation of urban, Black and Brown men found throughout the world.

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Yiadom-Boakye works with oil paint on canvas or coarse linen. Ideas for her paintings are prompted by a variety of observations – a colour, a composition, a gesture or particular direction of the light. She uses found images, memories, literature and the history of painting as sources for her work. Each painting is an exploration of a different mood, movement and pose, worked out on the surface of the canvas.

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Lynette Yiadom-Boakye is best-known for her large-scale, figurative oil paintings. Here we introduce the artist and her work ...

The artist

Lynette Yiadom-Boakye was born in London in 1977. She initially learned to paint by working from life. But she changed her approach to painting at an early stage, while studying at Falmouth School of Art, on the Cornish coast. Yiadom-Boakye realised she was less interested in making portraits of people and more in the act of painting itself.

I learned how to paint from looking at painting and I continue to learn from looking at painting. In that sense, history serves as a resource. But the bigger draw for me is the power that painting can wield across time.
Lynette Yiadom-Boakye

Her process

Yiadom-Boakye works with oil paint on canvas or coarse linen. Ideas for her paintings are prompted by a variety of observations - a colour, a composition, a gesture or particular direction of the light. She uses found images, memories, literature and the history of painting as sources for her work. Each painting is an exploration of a different mood, movement and pose, worked out on the surface of the canvas.

I work from scrapbooks, I work from images I collect, I work from life a little bit, I seek out the imagery I need. I take photos. All of that is then composed on the canvas.
Lynette Yiadom-Boakye

Figures

Yiadom-Boakye paints individual figures and groups of people. However, the people she paints are not real. She paints them using her imagination, as well as found images from scrapbooks and magazines.

Yiadom-Boakye's fictitious figures live in private worlds. Though they might smile or glance in our direction, they are concerned with their own business. Both familiar and mysterious, they invite viewers to project their own interpretations, and raise important questions of identity and representation.

Timelessness

The figures in Yiadom-Boakye's paintings have a timeless quality. They are deliberately difficult to place. She rarely includes anything that hints at the style, fashion or culture of a specific period. Her figures are mostly portrayed without shoes, for instance, and few objects tie them to a particular era. This uncertainty is important to the way Yiadom-Boakye works, and requires the viewer to use their curiosity, invention and imagination to interpret the artist's paintings.

My relationship to time is perhaps that of anyone who's never felt particularly fixed anywhere.
Lynette Yiadom-Boakye

Blackness

Almost all of the figures in Yiadom-Boakye's paintings are black. Writer and critic Hilton Als has written that Yiadom-Boakye is 'interested in black society, not as it was affected or shaped by the white world, but as it exist[s] unto itself'. As the artist describes;

Blackness has never been other to me. Therefore, I've never felt the need to explain its presence in the work anymore than I've felt the need to explain my presence in the world, however often I'm asked. I've never liked being told who I am, how I should speak, what to think and how to think it. I've never needed telling. I get that from my family. Across generations, we've always known who we are. To be measured relative to something that actually has nothing to do with you or your experience, some self-appointed superior, the ghost of who you ought to be ... none of this has ever made any sense and yet somehow you live with it, live in it. But the idea of infinity, of a life and a world of infinite possibilities, where anything is possible for you, unconstrained by the nightmare fantasies of others, to have the presence of mind to walk as wildly as you will, that's what I think about most, that is the direction I've always wanted to move in. Following my own nose and doing as I damned well please has always seemed to me to be the most radical thing I could do. It isn't so much about placing black people in the canon as it is about saying that we've always been here, we've always existed, self-sufficient, outside of nightmares and imaginations, pre and post "discovery", and in no way defined or limited by who sees us.

Writing

I write about the things I can't paint and paint the things I can't write about.
Lynette Yiadom-Boakye

Writing is central to Lynette Yiadom-Boakye's practice. She is both a painter and a writer of prose and poetry. For her, the two forms of creativity are separate but intertwined.

Similarly, she gives her paintings poetic titles. She describes these as 'an extra brush-mark'. They are integral to each work but are not an explanation or description. They are springboards for our imagination.

Music

Music plays an important part in the artist's practice and she has described how the music she listens to has impacted her paintings.

I always think of my painting influences as really going hand in hand with musical influences. That has to do with what I listened to in my formative years - that's why Prince always comes up. But then, when I started to listen to jazz, it marked my thinking about rhythm. Miles Davis, John Coltrane and Bill Evans. Passages in sound that move unexpectedly. Or the tones in the voice of Nick Drake. At a very particular point during art school I listened to him every day.
Lynette Yiadom-Boakye

Listen to a selection of tracks the artist has shared

See Lynette Yiadom-Boakye: Fly in League with the Night at Tate Britain 18 November 2020 - 9 May 2021

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an introduction to lynette yiadom-boakye

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An Introduction to Lynette Yiadom-Boakye - List | Tate

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Lynette Yiadom-Boakye is best-known for her large-scale, figurative oil paintings. Here we introduce the artist and her work ... Lynette Yiadom-Boakye was born in London in 1977. She initially learned to paint by working from life. But she changed her approach to painting at an early stage, while studying at Falmouth School of Art, on the Cornish coast.

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Edgar Arceneaux investigates historical patterns through drawings, installations, and multimedia events. Part of a longer series investigating Los Angeles based artists.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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From paintings and videos to his comic strip featuring African sculptures, Kerry James Marshall’s work unites influences from Renaissance painting and African-American traditions to question the authority of history and “reclaim the image of Blackness.”

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From paintings and videos to his comic strip featuring African sculptures, Kerry James Marshall's work unites influences from Renaissance painting and African-American traditions to question the authority of history and "reclaim the image of blackness."

More information

"Either I'm working with a set of conventions that have already been established," he says, "or I'm working against a set of conventions that have already been established."

This segment is filmed in Chicago, where the artist lives, teaches and works. We gain glimpses into the domestic interiors of Marshall's immediate family-interiors which find their way into the artist's paintings, prints, and most recent sculptural and video installations.

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The subject matter of Kerry James Marshall 's paintings, installations, and public projects is often drawn from African-American popular culture, and is rooted in the geography of his upbringing. 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. The sheer beauty of his work speaks to an art that is simultaneously formally rigorous and socially engaged.

"We only move into the 21st century on the foundation of things that have been established long, long ago."

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Kerry James Marshall

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How can an artist alter a viewer's impression of history?

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Interview

Kerry James Marshall talks about the inspiration for his 1994 painting "Many Mansions," acquired by the Art Institute of Chicago for its permanent collection.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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Named “one of the most creative people in business” by Fast Company, and “one of the most influential designers working today” by Graphic Design USA, Debbie Millman is also an illustrator, author, educator, curator, and host of the podcast Design Matters.

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Debbie Millman is a writer, designer, educator, artist, brand consultant and host of the podcast Design Matters.

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Golan Levin, an artist and engineer, uses modern tools -- robotics, new software, cognitive research -- to make artworks that surprise and delight. Watch as sounds become shapes, bodies create paintings, and a curious eye looks back at the curious viewer.

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Golan Levin: Art that looks back at you | TED Talk

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Golan Levin, an artist and engineer, uses modern tools -- robotics, new software, cognitive research -- to make artworks that surprise and delight. Watch as sounds become shapes, bodies create paintings, and a curious eye looks back at the curious viewer.

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Paula Scher is one of the most influential graphic designers in the world. Described as the “master conjurer of the instantly familiar,” Scher straddles the line between pop culture and fine art in her work. Iconic, smart, and accessible, her images have entered into the American vernacular.

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Paula Scher is one of the most influential graphic designers in the world. Described as the "master conjurer of the instantly familiar," Scher straddles the line between pop culture and fine art in her work. Iconic, smart, and accessible, her images have entered into the American vernacular.

Scher has been a partner in the New York office of Pentagram since 1991. She began her career as an art director in the 1970s and early 80s, when her eclectic approach to typography became highly influential. In the mid-1990s her landmark identity for The Public Theater fused high and low into a wholly new symbology for cultural institutions, and her recent architectural collaborations have re-imagined the urban landscape as a dynamic environment of dimensional graphic design. Her graphic identities for Citibank and Tiffany & Co. have become case studies for the contemporary regeneration of American brands.

Scher has developed identity and branding systems, promotional materials, environmental graphics, packaging and publication designs for a broad range of clients that includes, among others, Bloomberg, Microsoft, Adobe, Bausch + Lomb, Coca-Cola, Shake Shack, Perry Ellis, the Walt Disney Company, the Museum of Modern Art, the Sundance Institute, the High Line, Jazz at Lincoln Center, the Metropolitan Opera, the New York City Ballet, the New York Philharmonic, the New Jersey Performing Arts Center, the New 42nd Street, the New York Botanical Garden, the United States Holocaust Memorial Museum, the Philadelphia Museum of Art, the Robin Hood Foundation, and the New York City Department of Parks and Recreation. In 1996 Scher's widely imitated identity for The Public Theater won the coveted Beacon Award for integrated corporate design strategy. She has served on the board of directors of The Public Theater, and is a frequent design contributor to The New York Times, GQ and other publications. She served on the Public Design Commission of the City of New York from 2006 to 2015.

During the course of her career Scher has been the recipient of hundreds of industry honors and awards. In 1998 she was named to the Art Directors Club Hall of Fame, and in 2000 she received the Chrysler Award for Innovation in Design. She has served on the national board of the American Institute of Graphic Arts (AIGA) and was president of its New York Chapter from 1998 to 2000. In 2001 she was awarded the profession's highest honor, the AIGA Medal, in recognition of her distinguished achievements and contributions to the field, and in 2006 she was awarded the Type Directors Club Medal, the first woman to receive the prize. In 2012 she was honored with the Philadelphia Museum of Art's Design Collab Award, in 2013 she received the National Design Award for Communication Design, presented by the Cooper-Hewitt, Smithsonian Design Museum, in 2019 she was named a SEGD Fellow, in 2021 she was honored with the title Royal Designer for Industry (RDI), and in 2022 she received the D&AD Special President's Award. Scher has been a member of the Alliance Graphique Internationale (AGI) since 1993 and served as its president from 2009 to 2012.

Her work has been exhibited all over the world and is represented in the permanent collections of the Museum of Modern Art and the Cooper-Hewitt National Design Museum in New York, the Library of Congress in Washington, D.C., the Philadelphia Museum of Art, the Denver Art Museum, the Victoria and Albert Museum, London, the Museum für Gestaltung Zürich, and the Bibliothèque nationale de France and the Centre Georges Pompidou in Paris.

Scher holds a BFA from the Tyler School of Art and honorary doctorates from the Corcoran College of Art and Design, the Maryland Institute College of Art, Moore College of Art and Design, and Columbus College of Art and Design. Her teaching career includes over two decades at the School of Visual Arts, along with positions at the Cooper Union, Yale University and the Tyler School of Art. She is the author of Make It Bigger (2002), MAPS (2011) and 25 Years at the Public: A Love Story (2020), all published by Princeton Architectural Press, and the subject of Paula Scher: Works (2017), edited by Tony Brook and Adrian Shaughnessy and published by Unit Editions. Scher is featured in "Abstract: The Art of Design," the Netflix documentary series about leading figures in design and architecture.

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Paula Scher is one of the most influential graphic designers in the world. Described as the "master conjurer of the instantly familiar," Scher straddles the lin...

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Jessica Walsh is an American designer, art director, illustrator and educator. She was a partner of the design studio Sagmeister & Walsh, and the founder of the creative agency &Walsh. She has taught at the School of Visual Arts.

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Though much of her art veers away from naturalism toward abstraction, she was one of Walt Disney’s favorite artists; he personally responded to her use of color, naïve graphics, and the storytelling aspect in her pictures, especially the underlying emotions palpable in much of her art.

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Biography

One of Walt Disney's favorite artists, Mary Blair learned her craft at The Chouinard Art Institute in Los Angeles in the mid-1930s. She joined The Walt Disney Company in 1940 where she created concept paintings for projects related to Fantasia (1940), Dumbo (1941), and The Lady and the Tramp (1955).

Along with her husband, Lee Blair, who also worked for Walt Disney, she accompanied Disney and several of his artists on a South American tour in 1941. Upon their return, Blair created concept art that ended up being used for films inspired by the trip, including Saludos Amigos (1942) and The Three Caballeros (1944). She developed a distinct look to her concept art by using vivid colors from gouache and tempera to create swirling, highly imaginative images that influenced many of Disney's feature films of the 1940s and 1950s. Her unique designs led Walt Disney to assign her work on the films Song of the South (1948), The Adventures of Ichabod and Mr. Toad (1949), Cinderella (1950), Alice in Wonderland (1951), and Peter Pan (1953).

Blair left Disney in 1953 to concentrate on illustrating children's books and raising a family. She painted images for a series of Little Golden Books, of which her most popular was titled I Can Fly, illustrated by Blair with text by Ruth Krauss. Although, in 1963 Walt Disney convinced Blair to work on Disney's contribution to the 1964 World's Fair in New York. Her concept art on this project would be her final major designs for Disney. The "It's a Small World" ride proved extremely popular at the World's Fair, and was later adapted for use in Disneyland and Disney World.
Visit artist's website
Illustrations by Mary Blair

Additional Resources

Bibliography

Blair, Mary and Ruth Krauss. I Can Fly. Simon and Schuster, 1951.

Canemaker, John. The Art and Flair of Mary Blair. New York: Disney Press, September 1, 2003.

Canemaker, John. Magic Color Flair: The World of Mary Blair. San Francisco: Walt Disney Family Foundation Press, May 6, 2014.

Guglielmo, Amy and Jacqueline Tourville. Pocket Full of Colors: The Magical World of Mary Blair, Disney Artist Extraordinaire. New York: Atheneum Books for Young Readers, August 29, 2017.

Krauss, Ruth, et al. A Mary Blair Treasury of Golden Books. New York: Golden Books, 2012.

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One of Walt Disney's favorite artists, Mary Blair learned her craft at The Chouinard Art Institute in Los Angeles in the mid-1930s. She joined The Walt Disney Company in 1940 where she created concept paintings for projects related to Fantasia (1940), Dumbo (1941), and The Lady and the Tramp (1955).

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Bex Glendining (she/they) is a biracial queer, UK based illustrator, comic artist and colourist. Bex has worked as a cover artist, colourist and interior artist on projects such as Seen: Edmonia Lewis, Penultimate Quest, Rolled & Told, Lupina, Buffy the Vampire Slayer and When Life Gives You Mangoes.

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Candice Messado is a Jamaican born Illustrator, Color Designer and Background Painter who currently lives in Atlanta, Georgia.  She has worked for studios like Warner Bros. Animation, Netflix Animation and Disney TV Animation!

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He/him, they/them. Black, trans, trying their best. b. 1992

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Folklaurel | Illustration, Fine Art, & Apparel

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Evan Monteiro is an Illustrator from Providence, RI. Majored in Illustration at RCAD. Currently a Splash Artist at Riot Games.

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hello! i'm planning to apply for the illustration internship at riot sometime, & having seen that you've made it - could I please ask a few questions? what is it like, working on splashes? what kind of experience do you need to get noticed, or is a good portfolio enough to land a spot? i have no art education of any kind, but I'm planning to work hard, time willing, to reach the required standard (& I have four years left so hopefully I'll stand a chance by then.) thanks so much for your time!

Hey! Your stuff's pretty cool! Definitely keep it up. Working on splashes is pretty difficult honestly. Its fun and very rewarding, but time consuming and exhausting. Its a job I love waking up to every morning, but towards the end of a splash's production I find myself feeling pretty drained. The early parts are my favorite parts for sure. When its about image making not problem resolution and refinement. It might just be that I prefer shorter form illustrations though!For someone with no art education though, you're doing pretty fine! Just be open to learning as much as you can and dont use "style" as an excuse. Thats the biggest thing that hampers young artists from improving. Remember that a style is just the rules you choose to break! You've gotta learn and understand the rules before you can purposefully break them in your favor. For an internship, experience isnt valued as much as capability. Show that you are capable and you will get noticed. Focus on that. Spend a lot of time on that.

Also, paint from life at every moment you can! League art is stylized, sure, but it still uses the core tenants of illustration and life drawing.I highly recommend you read these three books cover to cover: Creative Illustration by Andrew Loomis, Framed Ink by Marcos Mateu and Color and Light by James Gurney. They are gold mines of information. Be an artist over a gamer. Understanding gaming culture and it's industry is cool and important, but being good at the thing you want to do is much, much better for you in the long run. Good luck! Hope to see you in the industry one day.

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hello! i'm planning to apply for the illustration internship at riot sometime, & having seen that you've made it - could I please ask a few questions? what is it like, working on splashes? what kind of experience do you need to get noticed, or is a good portfolio enough to land a spot?

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Mark Rothko was an American Abstract artist of the mid-20th century. Although Rothko was a very well-educated and academic man who spoke four languages, his artistic skills were largely innate, as he had next to no training in painting or drawing.

Nonetheless, he knew great fame and critical acclaim as a member of the first major American artistic movement recognized by the art world, abstract expressionists.

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Mark Rothko's Seagram Murals: Great Art Explained

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Max is a Photoshop artist whose main goal is to tell stories through his photos. His style involves light painting, colourful smoke, digital technology, mostly in an urban setting. He also shares which elements he used to create each picture, which might inspire the viewer to try out something like this on their own.

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American modernist artist. She was known for her paintings of enlarged flowers, New York skyscrapers, and New Mexico landscapes. O'Keeffe has been called the "Mother of American modernism"

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How to see more and care less: The art of Georgia O'Keeffe - Iseult Gillespie

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Celebrated American photographer best known for her engaging and dramatic celebrity portraits. Adept at capturing her subject’s personality and inner life, her images reflect intimate or staged moments that reveal the playful and expressive aspects of her sitters

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Annie Leibovitz is a celebrated American photographer best known for her engaging and dramatic celebrity portraits. View Annie Leibovitz's 813 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. See available photographs, prints and multiples, and design for sale and learn about the artist.

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Cindy Sherman has probed the construction of identity, playing with the visual and cultural codes of art, celebrity, gender, and photography.

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Drone photography

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DOWNLOAD PDF
Michael Light is a San Francisco-based photographer focused on the environment and how contemporary American culture relates to it. He has exhibited globally, and his work has been collected by the San Francisco Museum of Modern Art, The Getty Research Institute, The Los Angeles County Museum of Art, The New York Public Library, and the Victoria & Albert Museum in London, among many others.

For the last eighteen years, Light has aerially photographed over settled and unsettled areas of American space, pursuing themes of mapping, vertigo, human impact on the land, and various aspects of geologic time and the sublime. A private pilot and Guggenheim Fellow in photography, he is currently working on an extended aerial survey of the arid Western states. Radius Books published the first of a multi-volume series of this work, Bingham Mine/Garfield Stack, in 2009. The second, LA Day/LA Night, was released in 2011. The third, Lake Las Vegas/Black Mountain, was published in 2015. The fourth, Lake Lahontan/Lake Bonneville, was released in September 2019.

Light is also known for his internationally acclaimed archival works. His first, FULL MOON (1999), used lunar geological survey imagery made by the Apollo astronauts to show the moon both as a sublime desert and an embattled point of first human contact. 100 SUNS (2003), focused on the politics and landscape meanings of military photographs of U.S. Atmospheric nuclear detonations from 1945 to 1962.

BORN: Florida 1963

EDUCATION:
MFA, Photography, San Francisco Art Institute 1993
BA, American Studies, Amherst College 1986

SELECTED PUBLIC COLLECTIONS:
San Francisco Museum of Modern Art, CA
Achenbach Collection, Fine Arts Museums, San Francisco, CA
San Jose Museum of Art, CA
Getty Research Institute, Los Angeles, CA
Los Angeles County Museum of Art, CA
Autry Center of the American West, Los Angeles, CA
UCLA Young Research Library, CA
Santa Barbara Museum of Art, CA
Museum of Photographic Arts, San Diego, CA
Nevada Museum of Art, NV
Denver Art Museum, CO
Brooklyn Museum, NY
American Museum of Natural History, NY (Permanent Exhibition)
Milwaukee Art Museum, WI
New York Public Library, NY
Center For Creative Photography, Tucson, AZ
Victoria & Albert Museum, London
Hasselblad Center, Gothenburg, Sweden
Musee de l'Elysee, Switzerland
Huis Marseille Foundation for Photography, Amsterdam
Australia Centre for the Moving Image, Melbourne

SELECTED AWARDS:
2015 PDN Photo Annual Book Winner, New York
2007 Artadia Award, Fund for Art and Dialogue, New York
2007 John Simon Memorial Foundation Guggenheim Fellow; Photography
2004 "100 SUNS: Honorable Mention Best Edited Historical Book," ICP Golden Light Awards, New York
2001 "FULL MOON: Special Commendation, 2000 Kraszna-Krausz Photography Book Awards,"London

PUBLICATIONS:
2019 Lake Lahontan/Lake Bonneville; Radius Books, Santa Fe, NM
2015 Lake Las Vegas/Black Mountain; Radius Books, Santa Fe, NM
2011 LA Day/LA Night; Radius Books, Santa Fe, NM
2009 Bingham Mine/Garfield Stack; Radius Books, Santa Fe, NM
2008 SOME DRY SPACE: An Inhabited West; Nevada Museum of Art, Reno, NV
2003 100 SUNS, American, British, French, German, Swedish and Italian editions
1999 FULL MOONAmerican, British, French, German, Swedish, Spanish and Japanese editions
1993 RANCH, Twelvetrees Press/Twin Palms Publishers, Santa Fe, NM

SELECTED SOLO EXHIBITIONS
2022 "Lake Lahontan/Lake Bonneville," Craig Krull Gallery, Santa Monica, CA
2019 " Michael Light: Gardiner's Island and Amagansett," The Drawing Room, East Hampton, NY
2019 " Michael Light: Full Moon," Danziger Gallery, New York, NY
2019 " GLOW: Michael Light's Views of L.A.," Los Angeles Public Library
2019 " Great Basin Autoglyphs and Pleistoseas," Hosfelt Gallery, San Francisco, CA
2018 " Michael Light: Sidereal Rift," San Francisco Airport Terminal Three, San Francisco
2017 " Planetary Landscape," Palo Alto Art Center, Palo Alto, CA
2016 " Sidereal Rift," Craig Krull Gallery, Santa Monica
2013 " Some Dry Space," James Danziger Gallery, New York
2012 " Private Frontiers," Hosfelt Gallery, San Francisco, CA
2012 " Two Sublimes, Idaho" Craig Krull Gallery, Santa Monica
2011 " Some Dry Space: An Inhabited West," Blue Sky Gallery, Portland, OR
2010 " Architecture of Subtraction," Bolinas Museum, Bolinas, CA
2010 " InterMountain," Craig Krull Gallery, Santa Monica
2009 " 100 Suns," Yours Gallery Foundation, Warsaw, Poland
2009 " New Work," Hosfelt Gallery, San Francisco
2008 " Some Dry Space: An Inhabited West," Nevada Museum of Art, Reno
2008 " Bookworks and Photographs," Galerie Michael Wiesehoefer, Cologne
2008 " 100 Suns," Fleming Museum, University of Vermont, Burlington
2008 "100 Suns," Knoxville Museum of Art, Tennessee
2007 " Edge Of The West," Galerie Luc Bellier, Paris
2007 " Los Angeles 07.27.05," Craig Krull Gallery, Santa Monica
2007 " Bookworks," Hosfelt Gallery, New York
2007 " Near Planet," Hosfelt Gallery, San Francisco
2006 " 100 Suns," Hosfelt Gallery, New York
2006 " Full Moon," Hasselblad Center, Goteborg, Sweden
2005 " Hover," Hosfelt Gallery, San Francisco
2005 " Arid Flows: Los Angeles and Its Deserts," Natural History Museum of LA County, CA
2005 " 100 Suns: For Robert, Ernest & Edward's Berkeley, 1945-1962", University of California, Berkeley
2004 " 100 Suns," Casino Luxembourg, Luxembourg
2004 "Silence and the Big Blast," Wood Street Galleries, Pittsburgh
2004 " 100 Suns," Auditorium Arte, Rome
2004 "100 Suns," Frehrking + Wiesehofer Gallery, Cologne
2004 "Some Dry Space," Craig Krull Gallery, Santa Monica
2003 " 100 Suns," Hosfelt Gallery, San Francisco
2001 Metropolitan Transit Authority/Arts For Transit, Grand Central Station, New York
2000 " Full Moon," Museum of Contemporary Art, Sydney
2000 " Full Moon" American Museum of Natural History, New York
1999 " Full Moon," Hayward Gallery, London
1999 " Full Moon," Huis Marseille/Foundation for Photography, Amsterdam
1999 " Full Moon," San Francisco Museum of Modern Art
1995 "Blue Fall," Chrysler Museum, Norfolk, VA
1995 "Ranch & Oblivion," Robert Koch Gallery, San Francisco

SELECTED EXHIBITIONS:
2021 "Curious Visions: Toward Abstraction in Photography," Denver Art Museum, CO
2021 " Landscapes of Extraction: The Art of Mining in the American West," Phoenix Art Museum, AZ
2020 " Fotobokfestival Oslo 2020," Oslo, Norway
2020 " Civilization, Photography, Now," Auckland Art Gallery/Toi o Tamaki, New Zealand
2019 " The Stories They Tell: 100 Years of Photography," Museum of Photographic Arts, San Diego, CA
2019 " The Observable Universe: Visualizing the Cosmos in Art," Santa Barbara Museum of Art, CA
2019 " The Moon," Geelong Gallery, Geelong/Melbourne, Australia
2019 "Survols: Aerial Photography of Cities," Talinn, Estonia
2019 " Moon," FOMU Foto Museum, Antwerp, Holland
2019 " Moonlight," Hasselblad Foundation, Sweden
2019 " The Final Frontier," Stephen Bulger Gallery, Toronto, CA
2019 " Dear Leader," Candela Gallery, Richmond, VA
2019 " Vantage Points: Bartos, Diergarten, Light," The Drawing Room, East Hampton, NY
2019 " Civilization: The Way We Live Now," Center for Contemporary Art, Beijing
2018 " MONUMENTality," Getty Research Institute, Los Angeles
2018 " Survols: Aerial Photography of Cities," CAUE 92 Gallery, Nanterre, France
2018 " Civilization: The Way We Live Now," National Museum of Modern & Contemporary Art, Seoul Korea
2018 " Anthropocenic: Art About The Natural World In The Human Era," Bates College Museum of Art, Maine
2018 " Cosmic Wonders: The Moon, The Stars and The Space Between," Bolinas Museum, CA
2018 " High: Photography From Above," Atlas Gallery, London
2018 " Class Reunion: Works from the Wilhelm Schurmann Collection," Museum of Modern Art/MUMOK, Vienna
2018 " Frankenstein's Birthday Party," Hosfelt Gallery, San Francisco, CA
2018 " The Nuclear Landscape," Nevada Museum of Art, Reno, NV
2016 "Boundless: A California Invitational," Museum of Photographic Arts, San Diego, CA
2016 " Indestructible Wonder," San Jose Museum of Art, San Jose, CA
2016 " Wild West: Plains to the Pacific," Legion of Honor, San Francisco, CA
2016 "Aerial Imagery in Print, 1860 to Today," Museum of Modern Art, New York, NY
2016 " Explode Everyday: An Inquiry into the Phenomena of Wonder," MassMOCA, North Adams, MA
2016 " California and the West," San Francisco Museum of Modern Art, CA
2016 " Into the Night: Contemporary Art and the Nocturne Tradition," Tucson Museum of Art, Tucson, AZ
2015 " Camera Atomica," Art Gallery of Ontario, Ontario, Canada
2015 " TAHOE: A Visual History," Nevada Museum of Art, Reno, NV\
2015 " Night Begins the Day: Rethinking Space, Time, and Beauty," Contemporary Jewish Museum, San Francisco
2014 " They Used to Call it the Moon," BALTIC Centre for Contemporary Art, Gateshead, UK
2014 " Road Trip: Photography of the American West," LACMA/Musee des Beaux Arts de Bordeaux, France
2014 " Driving L.A.," Craig Krull Gallery, Santa Monica, CA
2014 " Creation and Erasure: Art of the Bingham Canyon Mine," Utah Museum of Fine Arts, Salt Lake City, UT
2013 "Cosmopolitan," Harn Museum of Art, Gainesville, FL
2013 " In All Cases: A Collection Selection," Nevada Museum of Art, Reno, NV
2013 " From Above: Aerial Photography from the Center for Creative Photography," Tucson, AZ
2013 " Landmark: The Fields of Landscape Photography," Somerset House, London, United Kingdom
2013 " Overdrive: Los Angeles Constructs the Future," The J. Paul Getty Museum, Los Angeles, CA
2013 " 30x: Three Decades," Museum of Photographic Arts, San Diego, CA
2012 " Flight and the Artistic Imagination," Compton Verney House, Warwickshire, United Kingdom
2012 " Wonderland," International FotoFestival Knokke-Heist, Belgium
2011 " The Altered Landscape: Photographs of a Changing Environment," Nevada Museum of Art, Reno, NV
2011 " Aftershocks," UCR/California Museum of Photography, Riverside, CA
2011 " Skydreamers," Autry National Center, Los Angeles, CA
2010 " The More Things Change," San Francisco Museum of Modern Art, San Francisco
2010 " Developed and Undeveloped: Photographic Landscapes," De Young Museum, San Francisco
2010 " Le Festival Images," Vevey, Switzerland
2010 "Re-Imagining the West," Scottsdale Museum of Contemporary Art, AZ
2010 " State of Mind: A California Invitational," Museum of Photographic Arts, San Diego, CA
2010 " The Future Lasts Forever: An Autobiography of the Bay Area," SF Camerawork, San Francisco
2010 " The View From Here," San Francisco Museum of Modern Art, San Francisco
2009 " The Moon," Museum of Fine Arts, Houston
2009 " The Moon," Wallraf-Richartz Museum, Cologne, Germany
2009 " Lives of the Hudson," Tang Museum, Skidmore College, Saratoga Springs, NY
2008 " Atomic Afterimage," Boston University Art Gallery, Boston, MA
2008 " This Side of Paradise: Body and Landscape in Los Angeles Photographs," Huntington Library, San Marino, CA
2008 " Picturing Modernity: The Photography Collection," San Francisco Museum of Modern Art, CA
2008 " Controverses," Musee de l'Elysee, Lausanne, Switzerland
2007 " PEEP: The Kerry Stokes Collection", TarraWarra Museum of Art, Victoria, Australia
2007 " Landscape of War," San Jose Institute of Contemporary Art, San Jose, CA
2007 " Something I'll Never Really See: Contemporary Photography from the V&A," Victoria & Albert Museum, London
2007 " Re-SITE-ing the West: Contemporary Photographs from the Permanent Collection," LACMA, CA
2006 "City Limits," University Art Museum, California State University Long Beach, CA
2006 " To The Human Future: Escape From The Dark Side," Art Tower Mito, Mito, Japan
2005 " Making Things Public: Atmospheres of Democracy," ZKM Center for Art and Media, Karlsruhe, Germany
2005 " Nuclear Realities: Images of the Bomb," Nederlands Fotomuseum, Rotterdam
2005 " Techno-Sublime," Colorado University Art Museum, UC Boulder, Colorado
2005 " Les Grands Spectacles: 120 Years of Art and Mass Culture," Museum der Moderne, Salzburg, Austria
2004 " Wirklich Wahr! Realitatsversprechen von Fotografien," Ruhrlandmuseum, Essen, Germany
2004 " Kurzdavordanach," Die Photographische Sammlung, Cologne, Germany2004 "B uilding the Unthinkable," apexart, New York
2004 "The Nuclear West," Nevada Museum of Art, Reno, NV (traveling)
2003 "The New Sublime," Northlight Gallery, Arizona State University, Tempe, AZ
2002 " Deep Space: Sensation and Immersion," Australian Centre for the Moving Image, Melbourne
2001 " Devices of Wonder: From the World in a Box to Images on a Screen," Getty Museum, Los Angeles
2001 " The World From Here," Armand Hammer Museum of Art, Los Angeles
2001 "Space Odyssey," Contemporary Art Gallery, Art Tower Mito, Mito, Japan
2000 " Deep Distance," Kunsthalle Basel, Switzerland
2000 " The Desert," Fondation Cartier pour L'Art Contemporaine, Paris
1999 " Cosmos: From Romanticism to the Avant-garde," The Montreal Museum of Fine Arts

SELECTED BIBLIOGRAPHY:
2021 Zack, Jessica, "The Marks We Make: Michael Light", Alta Magazine, Spring, San Francisco
2019 Feuerheim, Brad, "2019: A Short Guide to White People & Their Photography Books, American Suburb X, December
2019 Reed, Rixon, "2019 Favorite Photobooks," Photo-Eye, December, Santa Fe
2019 Mallone, Laura, "The Traces of Human Activity in the Burning Man Void," wired.com, September 19, New York
2019 Landes, Jennifer, "Vantage Points Opens Drawing Room, East Hampton Star, May 16, New York
2017 Porges, Maria, "Michael Light at Palo Alto Art Center," Square Cylinder, August, San Francisco
2016 Kroeber, Gavin, "Suburban Futurism," Art In America, December
2016 Muller-Bohle, Andreas, "Urbanics: The Contemporary City," European Photography 98, Berlin
2016 Loftus-Farren, Zoe, "Remnants of the American Dream," Earth Island Journal, Winter
2015 Green, Tyler, "Podcast #214: Curator Ann Wolf with Artists Mike Light and Mark Klett," Modern Art Notes
2015 Baker, Kenneth, "Night Begins The Day" at Jewish Museum, San Francisco Chronicle, July 10
2014 "Podcast: Michael Light," Art Uncovered with Thomas, Canada
2014 Teicher, Jordan, "The Decadence and Environmental Destruction of American Expansionism in Nevada," SLATE.com, October 17
2014 Manaugh, Geoff, "Landscape, Redacted," BLDGBLOG.com, October
2014 TIME Special Preview: A Guide to the Best Fall Photobooks, TIME, September 8
2014 Leaver, Jon, "Urban Sublime: Visualizing the Immensity of Los Angeles," X-TRA Art Quarterly, Winter
2014 Aletti, Vince, "Michael Light: Danziger Gallery," The New Yorker, January 13
2013 Saltz, Jerry, "To Do: #2 See Michael Light: Some Dry Space," New York Magazine, December 11
2013 Green, Tyler, "Art and California's Ribbons of Road," Blouin Art Info, November 13
2013 Canedo-Gattegno, Rodrigo, "Michael Light's Erratic Terrain," Photo Booth, The New Yorker, October 21
2013 Manaugh, Geoff, "Spatial Delirium: An Interview With Michael Light," BLDGBLOG.com, V-e-n-u-e.com, The Atlantic.com, October
2013 Kilston, Lyra, "Economic Collapse . . . ," Wired.com Raw File, September 13, New York
2013 "DISASTERS/100 SUNS", EXIT Magazine, Issue 50, Madrid
2013 "LA Day/LA Night", GUP Magazine, Issue 037, Amsterdam
2013 George, Kendall, "Private Frontiers," SF Arts Quarterly, Winter, San Francisco
2012 Baker, Kenneth, "Light and Ballantyne at Hosfelt," San Francisco Chronicle, December 21, San Francisco
2012 Rothman, Aaron, "Above Lake Las Vegas," Places/DesignObserver.com, December, New York
2012 Grant, Lee, "Michael Light," Time Machine Issue Six: Atomic, July, Australia
2011 Gordinier, Jeff, "Buzzed: Photographs by Michael Light," Outside Magazine, June, Santa Fe
2011 Horne, Rebecca, "In the Airlight With Michael Light," Wall Street Journal.com, June 1, New York
2011 "LA. Day/L.A. Night," Places/DesignObserver.com, April, New York
2011 "Michael Light on His Aerials," SFMOMA Artcast, April, San Francisco
2011 "Michael Light on Full Moon," SFMOMA Artcast, April, San Francisco
2010 Weschler, Lawrence, "Michael Light in Conversation," The Believer, November 1, San Francisco
2010 Gordiner, Jeff, "Michael Light's Flight of Fancy," Details Magazine, July, New York
2010 Ollman, Leah, "Michael Light: The Earth is Reshaped," Los Angeles Times, May 7, Los Angeles
2010 Smyth, Diane, "River Deep, Mountain High," British Journal of Photography, April, London
2009 Vincent, Stephen, "Michael Light," Black and White Magazine, October, San Francisco
2009 Mobley, Chuck, "Michael Light at Hosfelt Gallery," Art on Paper, May/June, New York
2009 Cheng, Dewitt, "Michael Light: Seeing the Earth from the Air," Art Ltd, March/April, Los Angeles
2009 Ray Huston, Johnny, "Michael Light: New Work," San Francisco Bay Guardian, February 25, SF
2008 Paglen, Trevor, "BEST OF 2008/Some Dry Space/Michael Light," ArtForum, December, NY
2008 Burbridge, Benedict, "Contemporary Art and the Bomb," Photoworks, Spring/Summer Issue, Brighton, UK
2008 Leydier, Richard, "Michael Light," Art Press 343, Paris
2007 Sholis, Brian, "Critic's Picks: Michael Light," Artforum.com, June, New York
2007 Baker, Kenneth, "Light on Landscape," San Francisco Chronicle, March 11, San Francisco
2007 Ray Huston, Johnny, "Pick: Near Planet", SF Bay Guardian, January 24, San Francisco
2006 Westerbeck, Colin, "SUGAR," West Magazine, Sunday Los Angeles Times, August 27, Los Angeles
2006 Baker, R.C., "Best In Show: Apocalypse Porn," The Village Voice, May 1, New York
2006 "Goings On About Town," The New Yorker, May 1, New York
2005 Greenwald, Jeff, "Moonscapes and Mushroom Clouds: The Eye of Michael Light," Tricycle, Winter, New York
2005 Hirsch, Robert, "100 SUNS and the Nuclear Sublime: Michael Light", Afterimage, July/August, Rochester, NY
2004 "La Beaute Veneneuse des Champignons Nucleaires Americaines," Le Monde, December 26, Paris
2004 Crump, James, "To The Ends of the Earth," ArtReview, October, London
2004 Smith, Roberta, "Building the Unthinkable," New York Times, October 1
2004 Ribbat, Christoph, "Michael Light: 100 Sonnen," European Photography, Spring/Summer, Berlin
2004 Masters, Alexander, "Eternal Flames," Times Literary Supplement, June 18, London
2004 Di Forti, Massimo, "Quei Soli Destinant Ad Annientare La Terra," Il Messagero, May 26, Rome
2004 Thompson, David, "Exposure: Michael Light Profile," Eye Magazine, Issue #51 Spring, London
2004 James, Simon, "100 SUNS," Royal Photographic Society Journal, January/February, London
2004 Morrison, Philip, "Metaphorical Suns . . ." Scientific American, January, New York
2003 Thompson, David, "Terrible Sunrise," The Observer, December 21, London
2003 "Best of 2003," Publisher's Weekly, November 17, New York
2003 V. Rauchhaupt, Ulf, "Vorwarts Marsch, Unter den Atompilz!," Frankfurter Allgemeine, November 16, Germany
2003 Baker, Kenneth, "100 SUNS Puts Spotlight back on Doomsday Clock," SF Chronicle, November 1
2003 "Michael Light and Jim Sanborn," The Art Newspaper, November, London
2003 Helfand, Glen, "Critic's Picks: Michael Light," Artforum.com, November, New York
2003 "Through the Lens, the Severe Beauty of Nuclear Test Blasts," New York Times, October 21
2003 "100 SONNEN," Suddeutsche Zeitung, October 6, Germany
2003 DeLano, Sharon, "On Photography: Darkness Visible," The New Yorker, October 6, New York
2003 Mobilio, Albert, "100 SUNS: 1945-1962," BOOKFORUM, Fall Issue, New York
2003 Olsen, Marisa, "Suns of Destruction," Planet Magazine, Fall Issue, San Francisco
2003 Dyer, Geoff, "A Great Space," Modern Painters, Spring Issue, London
2001 Hochman, David, "Cabinets, Ancient & New, Full of Wonder," New York Times, December 30
2001 Dyer, Geoff, "The Desert," Bay Area Guardian, February 24, San Francisco
2001 Cosgrove, Denis, "Anti-Ecumene," Ecumene: Cultural Geographies, Volume 8, #1, London
2000 Riding, Alan, "Timeless Magic Within the Desert's Sand," New York Times, August 29
2000 Knight, Christopher, "Puzzling Landscapes Happily Lost in Space," Los Angeles Times, August 4
2000 Lane, Anthony, "The Light Side of the Moon," The New Yorker, April 10, New York
2000 "10 Best Photography Books of 1999," The Village Voice, February 8, New York
1999 Brown, Neal, "FULL MOON," Frieze, November/December, London
1999 Glendinning, Victoria, "FULL MOON: Book of the Year," The Daily Telegraph, Nov 27, London
1999 Long, Andrew, "Earth, Moon and Stars," Salon.com, November 11, New York
1999 Byfield, Ted, "FULL MOON: Not Pale Fire," Mute, September/October, London
1999 "Steps in Space," Aperture, Autumn Issue, New York
1999 "An Exhibition of Moon Photos," The Economist, September 25, London
1999 "Briefly Noted: FULL MOON by Michael Light," The New Yorker, August 23 and 30, New York
1999 Morton, Oliver, "They Could See The Stars," Times Literary Supplement, August 20, London
1999 Sanford, John, "The Long Shadow," Los Angeles Times Book Review, June 13
1999 Loke, Margarett, "How the Moon Turns Pilots Into Poets," New York Times, May 18
1998 Van Proyen, Mark, "Burning Man 1998," New Art Examiner, November, Chicago
1995 Schumacher, Donna, "Michael Light: Ranch & Oblivion," Art Papers, Sept/Oct, Atlanta
1995 "BLUE FALL," SEE: A Journal of Visual Culture, Issue 1:2, Friends of Photography, San Francisco

SELECTED CATALOGUES/BOOKS:
2022 Wild Visions: Imaging and Imagining American Wilderness, Klett, Minteer, Pyne, Yale University Press, CT
2021 Landscapes of Extraction: The Art of Mining in the American West, Fahlman et al, Phoenix Art Museum/Hirmer
2021 American Geography: Photographs of Land Use from 1840 to the Present, Sandra S. Phillips, Radius Books, Santa Fe
2020 New Geographies 11: Extraterrestrial, Nesbit & Trangos, eds., Harvard University Graduate School of Design & Actar Publishers, Cambridge and New York2019 Moon: Photographing the Moon 1840-Now, Hannibal/FOMU, Belgium
2019 Library of Light: Encounters with Artists & Designers, Jo Joelson, Lund Humphries, London
2018 Civilization: The Way We Live Now, Thames & Hudson, London
2017 Universe: Exploring the Astronomical World, Phaidon, London,
2017 Space: Prix Pictet 2017 , Te Neues, Kempen, Germany
2016 Explode Every Day: An Inquiry into the Phenomena of Wonder, MASS MoCa, Prestel, New York
2016 Boundless: A California Invitational, Museum of Photographic Arts, San Diego
2016 1%: Privilege in a Time of Global Inequality, Myles Little, Hatje Cantz, Germany
2015 Night Begins the Day: Rethinking Space, Time and Beauty, Contemporary Jewish Museum, San Francisco
2015 Both Sides of Sunset: Photographing Los Angeles, Metropolitan Books, New York
2015 Camera Atomica: Photographing the Nuclear World, John O'Brian, Black Dog Publishing, London
2014 Undermining: Land Use, Politics and Art in the Changing West, Lucy Lippard,The New Press, New York
2014 Landmark: The Fields of Landscape Photography, William Ewing, Thames and Hudson, New York
2014 Emerging Landscapes: Between Production and Representation, Deriu & Shinkle, eds. Routledge, London
2013 From Above: Aerial Photography from the Center For Creative Photography, e-book, Tucson, AZ
2011 The Altered Landscape: Photographs of a Changing Environment, Nevada Museum of Art, SkiraRizzoli, NY
2010 Photography and Flight, Cosgrove/Fox, Reaktion Books, London
2010 Lives of the Hudson, Berry/Lewis, Skidmore College Tang Museum, Prestel Publishing, New York
2009 Photo-Wisdom: Master Photographers on Their Art, Lewis Blackwell, Chronicle Books, San Francisco
2009 Aeriality: On the World From Above, William L. Fox, Counterpoint, Berkeley
2008 This Side of Paradise: Body and Landscape in Los Angeles Photographs, Huntington Library, Los Angeles
2008 Controversies: A Legal and Ethical History of Photography, Actes Sud, Arles, France
2007 Landscapes For Politics, Rebecca Solnit, University of California Press, Berkeley
2006 To The Human Future/Flight From the Dark Side, Contemporary Art Center, Art Tower Mito, Japan
2005 AfterBurn: Reflections on Burning Man, L. Gilmore/M. Van Proyen, eds, UNM Press, Albuquerque
2005 Les Grands Spectacles: 120 Years of Art & Mass Culture, Museum der Moderne, Salzburg, Austria
2005 Looking at Los Angeles, Metropolitan Books, New York
2001 Devices of Wonder: From The World In a Box to Images on A Screen, Getty Research Institute, Los Angeles
2001 Space Odyssey, Contemporary Art Center, Art Tower Mito, Japan
2000 The Desert, Fondation Cartier Pour l'Art Contemporain/Thames & Hudson, London and New York
2000 Deep Distance/Die Entfernung der Fotografie, Kunsthalle Basel #36, Basel

REPRESENTATION:
Euqinom Gallery, San Francisco
Craig Krull Gallery, Los Angeles
Danziger Gallery, New York
The Drawing Room, East Hampton

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DOWNLOAD PDF Michael Light is a San Francisco-based photographer focused on the environment and how contemporary American culture relates to it. He has exhibited globally, and his work has been collected by the San Francisco Museum of Modern Art, The Getty Research Institute, The Los Angeles County Museum of Art, The New York Public Library, and the Victoria & Albert Museum in London, among many others.

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Iranian-American artist whose work addresses the political and social issues facing women in the Middle East. She often explores the relationship between Islamic culture, gender, and power through her photographs, videos, and installations.

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1. Barbara Kruger is an American conceptual artist whose work often addresses issues of gender, power, and consumer culture. Her work often features text and images that confront societal attitudes towards women.

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Karen Katar is a Mexican/Canadian visual artist based in Montreal. She is internationally recognized for her contemporary surreal digital art and self-taught career path.

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"Scientists say that human beings are made of atoms, but a little bird told me we are made of stories." - Eduardo Galeano

Karen Katar is a Mexican/Canadian visual artist based in Montreal. She is internationally recognized for her contemporary surreal digital art and self-taught career path.

Katar wraps her feelings and struggles in works of art as self-therapy to deal and balance her emotional and mental health. Her captivating surreal juxtapositions are influenced by her awe for nature, animals and space.

Katar has work with brands such Adobe, Coca-Cola, Lego, Starbucks, IMAX, Acer and more.

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"Scientists say that human beings are made of atoms, but a little bird told me we are made of stories." - Eduardo Galeano Karen Katar is a Mexican/Canadian visual artist based in Montreal. She is internationally recognized for her contemporary surreal digital art and self-taught career path.

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1. Neville Brody: an English graphic designer, typographer and art director. He is known for his work on magazines such as The Face, Arena, and Fuse, as well as his corporate work for companies like Calvin Klein and Swatch. He is also known for his typeface designs and his influential work in digital typography.

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Neville Brody | Life and (Typographic) Work | Hue & Eye

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Neville Brody is an English graphic designer, typographer, and art director. His work is today highly recognized worldwide.

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Paul Rand was an American art director and graphic designer, best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and NeXT. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design.

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Celebrating The Life Of The Greatest Graphic Designer—Paul Rand

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Mexican painter and muralist who was also a leading member of the Mexican muralism movement. He is known for his powerful and emotive imagery that often addressed social and political issues.

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Part of the "Big Three," which also included Diego Rivera and David Alfaro Siqueiros, José Clemente Orozco was one of the leading muralists of the second half of the 20th century in Mexico.

First moving to Mexico City in 1890, Orozco encountered the printmaker José Guadalupe Posada, who became a pivotal influence on his work. He studied art at the Academia de San Carlos (1906-10) with the teacher Gerardo Murillo, known as Doctor Alt, who urged Orozco and all his students to reject European cultural domination and cultivate Mexican traits in their work.

Working in a highly expressionistic form of social realism, Orozco focused his painting on representing post-revolutionary Mexico- peasants and class struggle, the hardships of everyday life, social revolution, wars, and women in those wars. (1930) in the Art Institute's collection is a classic example of Orozco's stylistically powerful work.

In 1917 negative reactions to his art from critics and moralists convinced him to move to the United States. When he returned to Mexico in 1920, he found the muralist movement had officially started and the new government of President Álvaro Obregón eager to sponsor his work. During the next years, his work achieved monumentality unprecedented in Mexican art.

In 1927, when the Mexican government withdrew patronage and protection from Orozco and his fellow muralists and attacks came from conservatives, the artist moved to New York City, where he met American journalist Alma Reed. She became his agent and helped him exhibit widely and forge an international reputation.

In 1930 for a commission from Pomona College in Claremont, California, Orozco painted Prometheus, the first modern fresco created in the US. He completed while in San Francisco that same summer. Among subsequent commissions he received was the 1940 request from the Museum of Modern Art to create the centerpiece for their exhibition Twenty Centuries of Mexican Art. The following year, Orozco's paintings and prints were exhibited in museums throughout the United States, including in Brooklyn and Philadelphia.

In his later years, Orozco was recognized as a Mexican national hero, honored as the leader among those who raised his country's art to a position of international eminence.

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José Clemente Orozco | The Art Institute of Chicago

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Part of the "Big Three," which also included Diego Rivera and David Alfaro Siqueiros, José Clemente Orozco was one of the leading muralists of the second half of the 20th century in Mexico. First moving to Mexico City in 1890, Orozco encountered the printmaker José Guadalupe Posada, who became a pivotal influence on his work.

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leading figure of the Neo-expressionist movement. He began his career as a graffiti artist in the late 1970s and quickly gained attention for his distinctive style, which combined elements of street art, abstract expressionism, and social commentary

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Dominican artist based in New York City known for intricate works on paper and canvas, as well as large scale sculpture. Her art explores the Western canon through the elements of non-Western reading

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21’s mission is to inspire a more creative world through the works and words of con…

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With a humorous and poignant touch, Kha examines how we construct belonging and otherness through photography, inventing new models for self-portraiture with a critical eye toward the medium’s long history of absences and erasure.

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A photographer searches for ways to be seen.

In his hometown of Memphis, artist Tommy Kha dons a black garbage bag and a Batman mask before stepping in front of his camera and taking a photograph, recreating a scene from his childhood. Kha, looking straight at his camera, photographs himself playing his younger self, an Asian-American boy searching for ways to be seen in a sometimes hostile culture. The moment encapsulates Kha's unique creative vision, an uncanny mix of comic, tender, theatrical and documentary impulses.

Now based in New York City, the artist frequently mines his own biography as well as the cultural landscape of his childhood to create photographs and installations that not only reveal the vulnerabilities and contradictions of his own self and family, but also critique the nature of representation itself. From his childhood backyard to his grandfather's grave to Memphis' famed Elvis Week gatherings, this short documentary film follows Kha photographing throughout the city, as he tries to reconnect with his hometown and come to terms with fundamental questions around the self and his chosen medium. As Kha asks, "Where do I stand in the picture? What's the best way to arrive at ourselves through photography?"

More information and credits

Credits

New York Close Up Series Producer: Nick Ravich. Director & Editor: Jia Li. Cinematography: Jia Li. Sound: Carver Audain. Sound Mix: Gisela Fullà-Silvestre. Color Correction: Addison Post. Design & Graphics: Chips. Artwork Courtesy: Tommy Kha. Archival Media: Yale University Library. Thanks: Ava Chin, Emmi Dunn, Monica Horn, Alison Kuo, Ziggy Mack, Katrina McElyea, John Morgan, Nathalie Karg Gallery, Cooper Lee Perkins, Pho Binh Restaurant, Lilly Robicsek, Silver Art Projects, Luke White. © Art21, Inc. 2022. All rights reserved.

New York Close Up is supported by The Andy Warhol Foundation for the Arts; and, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by individual contributors.

Digital exhibition of New York Close Up films is made possible in part by the New York State Council on the Arts.

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Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Tommy Kha was born in 1988 in Memphis, Tennessee, and lives and works between Brooklyn, New York and Memphis. The artist received a BFA from the Memphis College of Art in 2011, and an MFA from Yale University in 2013. With a humorous and poignant touch, Kha examines how we construct belonging and otherness through photography, inventing new models for self-portraiture with a critical eye toward the medium's long history of absences and erasure.

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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From his childhood backyard to his grandfather's grave to Memphis' famed Elvis Week gatherings, this short documentary film follows Tommy Kha photographing throughout the city, as he tries to reconnect with his hometown and come to terms with fundamental questions around the self and his chosen medium.

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Flora is a fine art photographer. She uses exquisite photo manipulation to create surreal images that are thematically focused on identity, relationships, emotions and dreams.

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Visual Art, Photography, Photoshop, Photo Manipulation

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Erik Johansson (b. 1985) is a Swedish photographer and visual artist based in Prague, Czech Republic. He is known for creating surreal worlds through the combination of photographs. He primarily focuses on personal projects and exhibitions, and his approach to photography is unique in that he seeks to capture ideas rather than moments.

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Website of Swedish surreal photographer Erik Johansson.

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New York-based award-winning designer, technologist, author, and artist in new media.

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Beeple is Mike Winkelmann, a graphic designer from Charleston, SC, USA who does a variety of digital artwork including short films, Creative Commons VJ loops, everydays and VR / AR work.

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Beeple is Mike Winkelmann, a graphic designer from Charleston, SC, USA who does a variety of digital artwork including short films, Creative Commons VJ loops, everydays and VR / AR work.

After he began releasing a set of widely used Creative Commons VJ loops he has worked on concert visuals for Justin Bieber, One Direction, Katy Perry, Nicki Minaj, Eminem, Zedd, deadmau5 and many more.

One of the originators of the current "everyday" movement in 3D graphics, he has been creating a picture everyday from start to finish and posting it online for over ten years without missing a single day.

INTERVIEWS

TALKS

CLIENTS

MOTION PLUS DESIGN, LOS ANGELES, 2019
MOTION PLUS DESIGN - PARIS, 2018
OFFF, BARCELONA, 2018
FITC - TORONTO, 2018
FITC - AMSTERDAM, 2018
D2 CONFERENCE - VIENNA, 2017
SIGGRAPH - LOS ANGELES, 2017
MOTION DESIGN MEETUP - TOKYO, 2017
HALF-REZ, CHICAGO, 2016
FITC - TORONTO, 2015

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LOUIS VUITTON

MAGIC LEAP
SPACE X

FITC TORONTO 2015 (my first talk)

ARTISTS

IMAGINE DRAGONS
ZEDD

MARSHMELLO
JUSTIN BEIBER
ONE DIRECTION EMINEM
KATY PERRY
PSY
WIZ KHALIFA
NICKI MINAJ DEADMAU5
AVICII
JANET JACKSON

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ABOUT | BEEPLE | the work of mike winkelmann

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Beeple is Mike Winkelmann, a graphic designer from Charleston, SC, USA who does a variety of digital artwork including short films, Creative Commons VJ loops, everydays and VR / AR work. After he began releasing a set of widely used Creative Commons VJ loops he has worked on concert visuals for Justin Bieber, One Direction, Katy Perry, Nicki Minaj, Eminem, Zedd, deadmau5 and many more.

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Throughout his career, Ligon has pursued an incisive exploration of American history, literature, and society across bodies of work that build critically on the legacies of modern painting and conceptual art. He is best known for his landmark text-based paintings, made since the late 1980s, which draw on the influential writings and speech of 20th-century cultural figures including James Baldwin, Zora Neale Hurston, Jean Genet, and Richard Pryor.

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Gail Anderson is a New York-based designer, writer, and educator. She is a partner, with Joe Newton, at Anderson Newton Design.

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Portraits by Paul Davis (for the Society of Illustrators) and Robert Risko (for American Illustration)

Gail Anderson is a New York-based designer, writer, and educator. She is a partner, with Joe Newton, at Anderson Newton Design.

From 2002 through 2010, she served as Creative Director of Design at SpotCo, a New York City advertising agency that creates artwork for Broadway and institutional theater. From 1987 to early 2002, she worked at Rolling Stone magazine, serving as designer, deputy art director, and finally, as the magazine's senior art director. And early in her career, Gail was a designer at The Boston Globe Sunday Magazine and Vintage Books (Random House).

Anderson's work has received awards from major design organizations, including the Society of Publication Designers, the Type Directors Club, The American Institute of Graphic Arts, The Art Directors Club, Graphis, Communication Arts, and Print. In addition, it has also been included in the permanent collections of the Cooper Hewitt Design Museum, the Library of Congress, and the Milton Glaser Design Archives at the School of Visual Arts. Anderson has been featured in magazines that include Computer Arts (UK), designNET (Korea), kAk (Russia), STEP Inside Design, and Graphic Design USA.

Gail Anderson is co-author, with Steven Heller, of the upcoming The Typographic Universe, as well as New Modernist Type, New Ornamental Type, New Vintage Type, Astounding Photoshop Effects, American Typeplay, The Savage Mirror, and Graphic Wit. She is a contributor to Imprint and Uppercase magazine.

Anderson teaches in the School of Visual Arts MFA, undergraduate, and high school design programs, and has served on the advisory boards for Adobe Partners by Design and the Society of Publication Designers. She currently serves on the board for the Type Directors Club, and is a member of the Citizens' Stamp Advisory Committee for the US Postal Service.

Anderson is the recipient of the 2008 Lifetime Achievement Medal from the AIGA, the 2009 Richard Gangel art direction award from the Society of Illustrators, and has lectured about design (and her bottle cap collection) at organizations and conferences around the world.

For commissions, please contact Frank Sturges Reps

To contact Gail: gail@gailycurl.com

AIGA Medalist Profile
Imprint Blog
New York Times - Design Gets More Diverse
Design Matters

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Portraits by Paul Davis (for the Society of Illustrators) and Robert Risko (for American Illustration) Gail Anderson is a New York-based designer, writer, and educator. She is a partner, with Joe Newton, at Anderson Newton Design. From 2002 through 2010, she served as Creative Director of Design at SpotCo, a New York City advertising agency that creates artwork for Broadway and institutional theater.

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To many, Milton Glaser is the embodiment of American graphic design during the latter half of this century. His presence and impact on the profession internationally is formidable. Immensely creative and articulate, he is a modern renaissance man — one of a rare breed of intellectual designer-illustrators, who brings a depth of understanding and conceptual thinking, combined with a diverse richness of visual language, to his highly inventive and individualistic work.

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Milton Glaser (b.1929) is among the most celebrated graphic designers in the United States. He opened Milton Glaser, Inc. in 1974, and continues to produce an astounding amount of work in many fields of design to this day.

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Cao Fei was born in Guangzhou, China, in 1978. She earned a BFA from Guangzhou Academy of Fine Arts in Guangzhou, China (2001). Cao Fei’s work reflects the fluidity of a world in which cultures have mixed and diverged in rapid evolution. Her video installations and new media works explore perception and reality in places as diverse as a Chinese factory and the virtual world of “Second Life.”

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Through a blend of documentary and magical realism, Cao Fei investigates various aspects of role play.

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Trevor Paglen was born in 1974 in Camp Springs, Maryland. Trained as a geographer and photographer, Paglen makes the invisible visible by documenting the American surveillance state of the 21st century. From his vantage points at various public locations, he photographs distant military facilities, capturing extreme telephoto images of stealth drones. Turning his vision to the night sky, he traces the paths of information-gathering satellites.

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In this episode, Trevor Paglen discusses two recent photographs at Griffin Editions-a printing studio in New York City. Photographed from the inside of a helicopter, National Security Agency (2013) shows the agency's rarely-seen headquarters in Fort Mead, Maryland at a "bird's-eye" perspective.

"I generally don't like these so-called 'bird's-eye' perspectives," says Paglen, seeing its value instead as a means to suggest empowerment by the general public over institutions such as the NSA.

Inspired by J. M. W. Turner's painting, The Angel Standing in the Sun (1846), Reaper in the Sun (2013) depicts a drone aircraft flying above a military base in the Nevada desert. "In the sky, there traditionally is a promise of openness or freedom; but, the sky itself has been turned against us," says Paglen, who describes the drone as the "punctuation mark."

More information and credits

Credits

Producer: Ian Forster. Consulting Producers: Wesley Miller & Nick Ravich. Interview: Nick Ravich & Susan Sollins. Camera: Jarred Alterman & Kyle Stryker. Sound: Marcus Goudge & John Zecca. Editor: Morgan Riles. Artwork Courtesy: Trevor Paglen & Metro Pictures. Additional Footage Courtesy: Marisa Mazria Katz for Creative Time Reports. Special Thanks: Toby Bannister, David Berezin, Griffin Editions, and Mike Vorrasi. Theme Music: Peter Foley.

Art21 Exclusive is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel; and by individual contributors.

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Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Trained as a geographer and photographer, Trevor Paglen makes the invisible visible by documenting the American surveillance state of the 21st century. He photographs distant military facilities, capturing extreme telephoto images of stealth drones; and turning his vision to the night sky, he traces the paths of information-gathering satellites. Mapping the ways in which the convergence of aesthetics, industrial design, and politics influence how we see and understand the world, he shows us images that go beyond straightforward journalistic documentation, giving voice to shifting ideas of the landscape of the American West, humankind's place in the cosmos, and the surveillance state.

"It does look like we're at a shopping mall.

And I struggle with that, because the extent to which the NSA's tendrils are in our everyday lives, perhaps this perspective is at odds with that."

Discuss: Before

How do artists transcend or blend the divisions between spaces?

Permalink

How are artists answering the question: What is America today? Historical markers continue to shape the discourse of the new-normal and artists are responding with powerful works that are representative of the times. This playlist showcases how artists are responding to the dynamic nature of the United States and its parallels.

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Power & Perspective, Trevor Paglen - Art21

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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The segment surveys thirty years of untitled works in which the artist photographs herself in various scenes and guises, grouped into informally-named series such as fairy tales, centerfolds, history portraits, Hollywood/Hampton types, and clowns.

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"I didn't want to make what looked like art," Cindy Sherman says about her earliest works, explaining that "film has always kind of been more influential to me than the art world."

The segment surveys thirty years of untitled works in which the artist photographs herself in various scenes and guises, grouped into informally-named series such as fairy tales, centerfolds, history portraits, Hollywood/Hampton types, and clowns.

Sherman used a digital camera and green screen for her most recent series of society portraits, modifying each image's "background with the same kind of license that a painter would take." Sorting through test shots at the computer, Sherman leads the viewer through her iterative process.

The segment later follows her to a thrift store where, upon finding several "wacky pants" she wonders if this shopping trip "might be inspiring a whole new series."

More information

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Through the Art21 Translation Project, multilingual audiences from around the globe can contribute translations, making Art21 films more accessible worldwide.

Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means-a camera, a wig, makeup, an outfit-Sherman fashions ambiguous but memorable characters that suggest complex lives that exist outside of the frame. Leaving her works untitled, Sherman refuses to impose descriptive language on her images-relying instead on the viewer's ability to develop narratives. While rarely revealing her private intentions, Sherman's investigations have a compelling relationship to public images, from kitsch to art history to green-screen technology.

"I didn't want people to have a preconceived notion of what they're supposed to imagine this character to be."

Interview

In 2008, twenty of Cindy Sherman's History Portraits (1989-1990) were exhibited at Skarstedt Gallery in New York City. In the following interview, Sherman walks Art21 through the exhibition and discusses the ideas behind individual photographs as well as the overall series.

More from "Transformation"

54:30

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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Paul Pfeiffer was born in Honolulu, Hawaii, in 1966 but spent most of his childhood in the Philippines. Pfeiffer relocated to New York in 1990, where he attended Hunter College and the Whitney Independent Study Program. Pfeiffer’s groundbreaking work in video, sculpture, and photography uses recent computer technologies to dissect the role that mass media plays in shaping consciousness.

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Courtside at a San Antonio Spurs NBA game, Paul Pfeiffer remarks "I'm really attracted to images of amazing spectacle." Both Pfeiffer's sensibility and his technique are products of contemporary culture as he pulls video of sports events, pageants, and newscasts off television and then digitally manipulates the images to comment on the frenetic pace and dehumanizing qualities of a consumption-oriented, media-driven culture.

"There is a kind of humiliation in that process of simply becoming objects of admiration or people simply becoming consumers," he observes. In his Long Count pieces, Pfeiffer explains he worked meticulously, frame by frame, to erase the boxers from the ring until they are mere shadows.

More information and credits

Credits

Created by: Susan Sollins & Susan Dowling. Executive Producer & Curator: Susan Sollins. Series Producer: Eve-Laure Moros Ortega. Associate Producer: Migs Wright. Assistant Curator: Wesley Miller. Production Manager: Alice Bertoni & Laura Recht. Production Coordinator: Kelly Shindler & Sara Simonson. Director of Education & Outreach: Jessica Hamlin. Producer: Catherine Tatge. Editor: Joanna Kiernan. Host Segment Artist: Charles Atlas. Host: Merce Cunningham. Director of Photography: Bob Elfstrom, Dean Head, Gary Henoch, Mead Hunt, Tom Hurwitz, Ken Kobland, William Rexer, Nancy Schreiber, & Joel Shapiro. Sound: Brian Buckley, Gautum Choudhury, Doug Dunderdale, Alex Lamm, Eric Leung, Mark Mandler, Juan Rodriguez, Jerry Stein, JT Takagi, Bill Wander, & Merce Williams. Gaffer/Grip: William Arbuckle, Eric Boland, Jeff Panessa, Ken Shibata, & Andrew Wilson. Assistant Camera: Jarred Alterman, Marie Chao, Brian Hwang, Steve Nealey, Kipjaz Savoie, & Tam Yong Xing. Host Make-Up: Joanne Nöél. Production Assistant: Ronny Merdinger, Jo-ey Tang, & Jesse Whittle-Utter. Assistant Avid Editor: Geoff Gruetzmacher, Jeremy Siefer, & Lynn True. Still Photographers: Alice Bertoni & Bob Elfstrom.

Creative Consultant: Ed Sherin. Graphic Design & Animation: Open, New York. Animation, Visual Effects & Compositing: Spontaneous Combustion. On-Line Editor: Don Wyllie & Frame:Runner NYC. Composer: Peter Foley. Voice-Over Artist: Jace Alexander. Sound Editing: Margaret Crimmins, Greg Smith, & Dog Bark Sound. Sound Mix: Tony Volante & Soundtrack F/T. Animation Stand: Frank Ferrigno & Frame:Runner NYC.

Artworks courtesy of: Vija Celmins; Tim Hawkinson; Paul Pfeiffer; Martin Puryear; Ace Gallery; The Edward R. Broida Collection; MASS MoCA; McKee Gallery; Modern Art Museum of Fort Worth; & The Project, New York and Los Angeles. Archival footage courtesy of: Nancy Kelly &
TV Asahi Productions.

Special Thanks: ArtPace; The Art21 Board of Trustees; Asia Pacific Vision; Jamie Bennett; Cathy Blanchflower; Trevor Carlson; Maggie Choy; The Corcoran Gallery of Art; Cunningham Dance Foundation; Jeanne Englert; Tom James; Hiroko Kikuchi; Tim Lloyd; The Metropolitan Museum of Art; MIT List Visual Arts Center; Rashaad Newsome; Oliver Ranch; Paulson Press; Samantha Rippner; Susan Rogers; Masami Shiraishi; Tammie Tsang; Yumi Umemura; Whitney Museum of American Art; & Rebecca Wilhelms.

Interns: Sharon Ber, Elana Davidian, Eliza Geddes, Karmin Guzder, Ehren Joseph, Lisa Kalikow, Lila Kanner, Crystal Kui, Daniela Leonard, Ronny Merdinger, Parth Savla, Kristen Smith, Whitney Smith, Morgan Soloski, Jo-ey Tang, Asya Varshishky, Jesse Whittle-Utter, & Jeremy Zilar.

Public Relations: Kelly & Salerno Communications. Legal Counsel: Albert Gottesman. Bookkeeper: William Handy.

Major underwriting for Season 2 of Art in the Twenty-First Century is provided by National Endowment for the Arts, PBS, Corporation for Public Broadcasting, The Allen Foundation for the Arts, Agnes Gund and Daniel Shapiro, Bloomberg, The Jon and Mary Shirley Foundation, Nonprofit Finance Fund, JPMorgan Chase, The Andy Warhol Foundation for the Visual Arts, The Horace W. Goldsmith Foundation, New York Arts Recovery Fund, Peter Norton Family Foundation, New York Times Company Foundation, Dorothea L. Leonhart Foundation, and Elizabeth Firestone Graham Foundation.

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Translate this video

Through the Art21 Translation Project, multilingual audiences from around the globe can contribute translations, making Art21 films more accessible worldwide.

Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Paul Pfeiffer 's groundbreaking work in video, sculpture, and photography uses recent computer technologies to dissect the role that mass media plays in shaping consciousness. In a series of video works focused on professional sports-including basketball, boxing, and hockey-Pfeiffer digitally removes the bodies of the players from the games, shifting the viewer's focus to the spectators, sports equipment, or trophies won. Presented on small LCD screens and often looped, these intimate and idealized video works are meditations on faith, desire, and a contemporary culture obsessed with celebrity. Many of Pfeiffer's works invite viewers to exercise their imaginations or project their own fears and obsessions onto the art object.

Interview

Paul Pfeiffer discusses his diorama-inspired sculptures that play off of popular horror movies.

Interview

Paul Pfeiffer discusses the process behind his photographic sequence piece, "Four Horsemen of the Apocalypse."

Donate

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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“Few exhibits in Canadian history have touched off a greater immediate stir than Morrisseau’s” - Time magazine

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Kara Walker is among the most complex and prolific American artists of her generation. She has gained national and international recognition for her cut-paper silhouettes depicting historical narratives haunted by sexuality, violence, and subjugation. Walker has also used drawing, painting, text, shadow puppetry, film, and sculpture to expose the ongoing psychological injury caused by the tragic legacy of slavery. Her work leads viewers to a critical understanding of the past while also proposing an examination of contemporary racial and gender stereotypes.

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Kara Walker was born in Stockton, California, in 1969. She received a BFA from the Atlanta College of Art in 1991, and an MFA from the Rhode Island School of Design in 1994. The artist is best known for exploring the raw intersection of race, gender, and sexuality through her iconic, silhouetted figures. Walker unleashes the traditionally proper Victorian medium of the silhouette directly onto the walls of the gallery, creating a theatrical space in which her unruly cut-paper characters fornicate and inflict violence on one another.

In works like Darkytown Rebellion (2000), the artist uses overhead projectors to throw colored light onto the ceiling, walls, and floor of the exhibition space; the lights cast a shadow of the viewer's body onto the walls, where it mingles with Walker's black-paper figures and landscapes. With one foot in the historical realism of slavery and the other in the fantastical space of the romance novel, Walker's nightmarish fictions simultaneously seduce and implicate the audience.

Walker's work has been exhibited at the Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; and Whitney Museum of American Art, New York. A 1997 recipient of the MacArthur Fellowship, Walker was the United States representative to the 2002 Bienal de São Paulo. Walker currently lives in New York, where she is on the faculty of the MFA program at Columbia University.

Kara Walker & Jason Moran

53:44

Conversation Starter

Some works of art are just as much about hearing as they are about seeing.

Teaching with Contemporary Art

Art21's senior education advisor, Joe Fusaro, shares how he makes meaningful connections between his art practice and being an arts educator.

Deep Focus

Anthony Merino details the necessary overhaul of art historical traditions predicated on prejudice and exclusion.

Interview

Kara Walker discusses her 2002 exhibition at the Guggenheim Museum, Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On).

Interview

Kara Walker talks about her interpretation of Gone with the Wind, and how it inspired her first silhouette piece, Gone, An Historical Romance of Civil War As it Occurred Between the Dusky Thighs of Young Negress and Her Heart.

Artist at Work

24 Images

Artwork Survey: 2000s

4 Images

Artwork Survey: 1990s

7 Images

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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Thomas Evans, a.k.a. Detour, is an all-around creative specializing in large scale public art, interactive visuals, portraiture, immersive spaces, and creative directing. His focus is to create work where art and innovation meet.

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I am Detour is the artist site for Thomas Evans. Thomas Evans is a Denver based artist and creative that communicates his artistry through all things digital and visual.

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We love the pastel hues present in Ira’s nature-filled canvases. A classically trained artist, she is a graduate of the Kharkov Art College and the Kiev National Academy of Fine Arts. Ira’s paintings are stunning, hyper-realistic depictions of flora and fauna in a joyful palette and they never fail to brighten up any space.

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Elegant Oil Paintings Capture the Ethereal Beauty of Massive Pastel Flowers

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Like the perfect beauty of flowers? You’ll like this artist.

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Lulu Chen is an award-winning illustrator, animator, and visual development artist who loves nature and animals. She has studied children’s book illustration in San Francisco and London. She then found her passion in storytelling and animation

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Lulu Chen is an award-winning illustrator, animator, and visual development artist who loves nature and animals. She has studied children's book illustration in San Francisco and London. She then found her passion in storytelling and animation, she decided to attend Sheridan College and is going to graduate in 2023 April. She is passionate about bringing stories to life through color, light, and design.

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Lulu Chen is an award-winning illustrator, animator, and visual development artist who loves nature and animals. She has studied children's book illustration in San Francisco and London. She then found her passion in storytelling and animation, she decided to attend Sheridan College and is going to graduate in 2023 April.

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Alexis Franklin is a 26 year old videographer from Texas whose hobby is digital painting. Her works are mostly surreal and feature expressive subjects with a style very similar to oil on canvas. She works in Photoshop and Procreate.

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alexis franklin art drawing sketch doodle time lapse artist instagram alexis_art

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@alexis_art on Instagram - Download my personal brush set here: https://gumroad.com/l/pQRWm

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Kiko Rodríguez is a versatile artist and graphic designer based in Miami. He uses illustration as a primary language for reflection and meditation. In his work, he experiments by fusing traditional and digital techniques. With a clean and precise style, Kiko creates organic, dynamic and colorful pieces.

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Kiko Rodriguez - Miami Based Illustrator & Designer

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Kiko Rodríguez is a versatile illustrator and graphic designer based in Miami. In his work, he experiments by fusing traditional and digital techniques. With a clean and precise style, Kiko creates organic, dynamic and colorful pieces.

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Lynn Chen is a skilled visual development artist from China, currently residing in LA. Her main occupation is a senior 2D artist at FunPlus Games.

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Illustration, animation and game art created by Lynn Chen (Qianliu Chen).

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Ekaterina Savic is an independent illustrator of books with Russian roots. Currently, she lives in Schaffhausen, Switzerland. The main directions of Ekaterina’s work are children’s books, character design, and writing stories.

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Pawel Nolbert (you may know him as HelloColor) is a multidisciplinary visual artist. He works as an illustrator, art director and graphic designer on a commercial basis in the spheres of entertainment, advertising, as well as for numerous digital art projects.

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Pawel Nolbert specializes in creating rich visual imagery and works with brands to deliver strong visual work.

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Pearl D'Souza is an illustrator and visual artist from Goa, India. Her work reflects her passion for mental health, gender, inclusivity and representation.

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Pearl D'Souza is an illustrator and visual artist from Goa, India. Her work reflects her passion for mental health, gender, inclusivity and representation. She also has a keen eye for local design and storytelling, and is fascinated by market places. Pearl is a proud plant mom, and is often found drawing botanicals in her journals.

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Pearl D'Souza is an illustrator and visual artist. She work with themes like mental health, gender, feminism and social good.

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If you don't know artist Yayoi Kusama by her brightly-colored dresses and red hair, you will surely recognize her work. In particular, her use of dots.

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why is artist yayoi kusama obsessed with dots? - cnn video

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Why is artist Yayoi Kusama obsessed with dots? - CNN Video

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If you don't know artist Yayoi Kusama by her brightly-colored dresses and red hair, you will surely recognize her work. In particular, her use of dots.

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The Best Free Pose Reference Resources For Artists In 2026 - Wacom

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If you’re a visual artist who draws human body figures, practicing by drawing a variety of poses is crucial. We’ve collected a bunch of resources for finding free pose references online.