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Creative thinking Strategies to use when you sketch ideas

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Creative thinking Strategies to use when you sketch ideas

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7 creative thinking sketches of pets and yourself as human or animal. Show me their personality through sketches at the start of Mondays lesson.

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7 creative thinking sketches of pets and yourself as human or animal. Show me their personality through sketches at the start of Mondays lesson.

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https://www.moma.org/audio/playlist/15/373

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Zhong Biao-draw lots of references to using his work and your idea together. Mix time and culture in your creative thinking drawings. The Golden Age was rich, the Khmer Rouge decimated culture. Show through the kense of 2026

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Zhong Biao-draw lots of references to using his work and your idea together. Mix time and culture in your creative thinking drawings. The Golden Age was rich, the Khmer Rouge decimated culture. Show through the kense of 2026

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Its a tribute to my Dad, his job is dangerous but people dont know the extent of the danger he inflicts on himself. Quiet in the jungle. But to also educate the audience on post trumatic stress

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Its a tribute to my Dad, his job is dangerous but people dont know the extent of the danger he inflicts on himself. Quiet in the jungle. But to also educate the audience on post trumatic stress

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To celebrate Dad's sacrifice, moving makes him more resilience. forced to move as there is a lack of opportunity. Looking at African artists

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To celebrate Dad's sacrifice, moving makes him more resilience. forced to move as there is a lack of opportunity. Looking at African artists

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Patricia Piccinini coming of age-mixing animals and humans

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Patricia Piccinini coming of age-mixing animals and humans

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Talked about comparing her story to her Dad's story, what would happen if she was born in China hometown. Try and merge stories from past and present together. Bring in more situate and context.

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Discover the elaborate, provocative and imaginary worlds created by experimental artist Mike Kelley.

From the late 1970s to 2012, Kelley made a diverse body of work using drawing, collage, performance, found objects, and video.

Spanning Kelley's entire career, the exhibition features his breakthrough 'craft' sculptures made from textile and plush toys through to his multi-media installations such as Day Is Done.

Drawing on references from popular and underground culture, literature, and philosophy, Kelley explores how the roles we play in society are entangled with historical fact and imaginary characters from the films and images we consume.

Over a decade since his passing, Kelley's reflections on identity and memory continue to resonate.
Organised by Tate Modern in collaboration with Bourse de Commerce, Paris, K21, Kunstsammlung Nordrhein-Westfalen, Dusseldorf and Moderna Museet, Stockholm

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Discover the elaborate, provocative and imaginary worlds created by experimental artist Mike Kelley. From the late 1970s to 2012, Kelley made a diverse body of work using drawing, collage, performance, found objects, and video. Spanning Kelley's entire career, the exhibition features his breakthrough 'craft' sculptures made from textile and plush toys through to his multi-media installations such as Day Is Done.

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You could try merging photos of textures animals with human portraits? You could create textures with sculptural materials and scan into digital program and merge with faces or bodies??

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You could try merging photos of textures animals with human portraits? You could create textures with sculptural materials and scan into digital program and merge with faces or bodies??

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The Ancestors, generative portraits form germ、 bones and ancients.

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Let's be clear, it's not about the color of the skin. Even if I have to admit I have never seen in the history of painting such a wide palette of colors for the surface of the naked human body as I have seen in the paintings of Marlene Dumas. Titian, Rubens, Delacroix, they all showed that the color of the skin in painting can take a full range of blues, reds and greens. But such wonderful, washed out, transparent colors of dark red-brown, deep purple-blue and variations of charcoal on a living body, and such frightful tones of whitish green and bluish mist on a dead body or face, make Marlene Dumas an exceptional painter. But let's not judge by the color of the skin. We should look at the character of her paintings.

In an earlier series like "Black Drawings" (1991-1992), 111 small-format, ink-and-watercolor drawings, the typical 'white' viewer may not succeed in identifying anyone. Black is black? What we clearly see and have to admit is that they do not all look the same. Fair-minded, we are still deeply indebted to the whole black continent to go through such lessons, even today.

"Models" (1994) is a similar large group of 100 portraits. You can read that these are based on well-known faces from the worlds of fashion and media, but it's difficult to recognize who's who. The whole group is a true mix of all races, styles and facial expressions; even a snake's head appears to apply for the job of model. But what's more important is to look in detail at how Marlene Dumas employs all the coincidences, to let it simply happen that lips, eyebrows and hairline emerge from the fluid ink. Painting requires time - a lot of time - to look and to decide, to add a small blue line for the nearly closed eyes here, some light green there to create a mysterious glance. Over the years Dumas has developed unique painterly skills. She knows how to do a painting with what looks like just a few brushstrokes. Fingers (1999) is a demonstration of such effortlessness.

Let's be clear; it's not about sex either. Even if I have to admit I have rarely seen in the history of painting such erotic, hot girls and gestures as I have seen in the paintings of Marlene Dumas. Goya, Toulouse-Lautrec, Matisse, Picasso, they all showed that a painting can radiate a full range of seductive meanings. But such an open approach to the visual game of sexual promises makes Marlene Dumas an outstanding contemporary artist. Pornographic imagery has penetrated our societies to the core. There are possibly more images showing humans in all sorts of sexual activity than there are in actuality. Isn't that frightening? Shouldn't somebody try to make something positive out of it?

All the works Marlene Dumas has created from this immense well of pornographic images have one leitmotif in common. Her paintings leave the pornographic dead-end street behind, which only leads from one perversion - which becomes mainstream - to the next one, and, instead of depicting everything in the deadness of painstaking precision, the paintings reinvest sexually explicit imagery with an element of secrecy and promise. They return to the field of eroticism and desire.

At her exhibition "All Is Fair in Love and War" at Jack Tilton/Anna Kustera Gallery in New York in 2001, paintings like Aurora, Stella or Electra (2000-01) depicted scantily clad women behind a grid structure. Playing with the notion of window shopping for Amsterdam prostitutes, Marlene Dumas leaves it to us, the viewer, to decide who may be in prison and who's not, where love ends and war begins, and on which side of the bars we think we are standing. But the paintings are more than just a game with the viewer. They withdraw these women from anonymity and create identity and immortality within a field of complete namelessness.

Death is no respecter of persons. We say death makes us all equal, but this does not indicate that the dead lose their human dignity and grace in the eyes of the people who loved them. Mass media show us hundreds of dead from war, disaster and plague, perished by accident, by crime, by terrorist attack. We are used to their appearance in press photos and news coverage. They merely illustrate the horror. Mass media loot the dignity of the murdered and slaughtered. Doesn't someone have to restitute grace, dignity and grief?

In 1988 Gerhard Richter painted Tote (Dead), 1988, part of his cycle of works "18. Oktober 1977." Based on a photograph, it depicts the dead Ulrike Meinhof, founder of the Baader Meinhof Group, who had killed herself in prison. The original photo depicting the head of the woman who committed suicide was published in the German magazine Stern, and was also proof of the victory of the German Republic over the militant group, who wanted to destroy the state for a dream of a different society. A dream that became perverted and found its end in death. It seems that Richter's painting is able to restitute dignity to the dead person, which enables us to feel grief and to forget revenge. There is no feeling of triumph left, no jumping around on the dead body of the enemy, but instead a retrieval of humanity. Marlene Dumas painted the same motif in 2004. The painting, Stern, moves further away from photographic boundaries and suggests additionally something different. It restores the integrity of the dead and the individual beauty of the person. We start to understand that there must have been a mother, loving her daughter, or a lover, a friend, a father. This is surely the case when Marlene Dumas paints from press photos of anonymous deaths, showing immigrants from Africa drowned and washed ashore to coasts in Spain or Southern Italy. Maybe it is important to note that most of her titles do not offer much hint as to the story within her source material. "Stern" means star in English, and I don't think that the ambivalence implied in such a title is coincidental. For some revolutionary leftist groups in Germany, Ulrike Meinhof was a star.

A star, yes, but different from Marilyn Monroe; her tragic death, revealing the dark shadows of a life in the limelight and the blindness of the male gaze, is still an open account. Dead Marilyn (2008) does not show the sex symbol, but a woman shortly after her life has ended.

We should hear again what she screamed in her last film, Misfits, in the middle of nowhere, to three men hunting mustangs to sell to a dog-food factory: "You're only happy when you can see something die! Why don't you kill yourselves and be happy?!"

From the middle of the '70s onward, from when Marlene Dumas, born 1953 in Cape Town, was still in South Africa (which she left in 1978 for Amsterdam), the artist has compiled her personal archives, hundreds of media images, personal snapshots, thumbnail sketches, drawings, Polaroid photographs and notes. Nearly all her paintings and watercolors are derived from these notebooks and are based on a photographic source. All her work rotates around the human body, from the female form to sexuality, pregnancy, babies and childhood, finally bringing into focus the human face, the portrait.

Growing up in South Africa during Apartheid may have instilled some inner resistance to painting the world in black and white. Marlene Dumas's work opposes a society that simplistically divides good from bad, and it resists political or ideological systems that teach brainless love or hate schemes. We may find the results of such beliefs in paintings like The Pilgrim (2006), The Neighbour or the Look-Alike (both 2005). These portraits of people with seemingly Arabic roots could just as well depict wanted terrorists from some underground army. The pilgrim resembles Osama bin Laden, and you may be able to find look-alikes for the others in the database of any bureau of investigation or counter-terrorist center. Yet as a human being we may have to respect their integrity if we decide to try to live together on this planet and to share its resources.

Without giving a hint as to who is the offender, she paints the victims too: hanged women, Imaginary (2002-03) and blindfolded heads of men, The Blindfolded Man (2007). Duct Tape (2002-05) shows an image we may all have seen on TV and in the press before - the head of a person covered by a sack. But we do not know who these people are. We do not know if they are prisoners or victims of our army and of our war, or if they are prisoners or victims of others, of the supposed enemy.

But we have learned something in the meantime from her art, from the paintings of Marlene Dumas, through their tremendous pleading for humanity. We must find out who they are and what happened to them and who offended them. We must care about it if we wish for human values to persist.

It seems it's never too late to measure your own grave. You may think you deserve a huge mausoleum and a state funeral. But be honest: in the end you don't need much more space than all the rest of us. Maybe that is something we should consider for life, too: the need to measure the space we require ourselves, and to start making way for others.

Rainald Schumacher is an art critic and writer based in Berlin.

Marlene Dumas was born in Capetown in 1953. She lives and works in Amsterdam.

Selected solo shows: 2008: MoMA, New York/MOCA, Los Angeles/The Menil Collection, Houston; Zeno X, Antwerp, Belgium. 2007: Museum of Contemporary Art, Tokyo; Gallery Koyanagi, Tokyo. 2006: Paul Andriesse, Amsterdam. 2005: Staatliche Kunsthalle, Baden-Baden, Germany; Zwirner & Wirth, New York.

Selected group shows: 2008: "Bad Painting - Good Art," Museum Ludwig, Vienna; "The Gallery," David Zwirner, New York; "The Hands of Art," S.M.A.K., Ghent, Belgium; "Collecting Collections," MOCA, Los Angeles. 2007: "The Painting of Modern Life," Hayward Gallery, London/Castello di Rivoli, Turin, Italy; "Painting Now! Back to Figuration," Kunsthal, Rotte rdam; "A Story of the Image: Visual Art as Visual Culture," Institute of Contemporary Arts, Singapore; "The Present: The Monique Zajfen Collection," Stedelijk Museum, Amsterdam; "Global Feminism," Brooklyn Museum, New York; "Seduced: Art and Sex from Antiquity to Now," Barbican, London. 2006: "Eros in der Kunst der Moderne," Fondation Beyeler, Basel; "Six Feet Under," Kunstmuseum, Bern; "Essential Painting," National Museum of Art, Osaka; "Infinite Painting: Contemporary Painting and Global Realism," Villa Manin, Passariano di Codroipo, Italy. 2005: 52nd Venice Bienniale; "The Triumph of Painting," The Saatchi Collection, London.

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Let's be clear, it's not about the color of the skin. Even if I have to admit I have never seen in the history of painting such a wide palette of colors for the surface of the naked human bo

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George Condo - Linear Expression - Berlin – Sprüth Magers

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George CondoLinear ExpressionApril 28–August 25, 2021

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A Walk Through ‘Giacometti: Memory and Presence’ - Charlotte Magazine

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Grace Cote toured the Bechtler Museum Giacometti gallery to get a better sense on the enigmatic artist.

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A modern master turns his unflinching eye on himself

"Lucian Freud: The Self-Portraits" charts the artistic development of the renowned British figurative painter through the unique lens of self-portraiture. Best known for his portraits of his acquaintances, Lucian Freud (1922-2011) painted his subjects with compositional ingenuity, technical virtuosity, and a critical eye, and was no less rigorous when depicting himself. Freud returned to self-portraiture repeatedly over almost seven decades, creating a body of work that stands as one of the most sustained achievements of his career.

With more than 40 works on canvas, paper, and etching plate that span the 1940s to the early 21st century, this exhibition assembles a lifetime of self-portraits. They trace the evolution of Freud's technique and style: from his linear and graphic early works to the fleshier painterly style that became the hallmark of his later output. They also show a life's journey, from young boy to old man, in what was effectively an ongoing study of the process of aging and the changes it inflicted on his own physical form.

Freud's depictions of himself place him in a lineage of artists, from Dürer to Rembrandt onward, who took self-portraiture to new heights. "Lucian Freud: The Self-Portraits" is singularly enriched by being on view at the MFA, in the context of its collections containing works by many artists from whom Freud drew his inspiration.

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A modern master turns his unflinching eye on himself "Lucian Freud: The Self-Portraits" charts the artistic development of the renowned British figurative painter through the unique lens of self-portraiture. Best known for his portraits of his acquaintances, Lucian Freud (1922-2011) painted his subjects with compositional ingenuity, technical virtuosity, and a critical eye, and was no less rigorous when depicting himself.

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Ben Quilty's painting is not polite. Smeared, smudged, caked and slapped onto the picture plane with bold virtuosity, his rich impasto works challenge assumptions. Using bold and unsettling subjects, Quilty explores the problematic relationship between the personal and the cultural.

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Frank Auerbach review – 60 years of trying to paint

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An absorbing retrospective of the painter’s studies of friends, family and local streets reveals an intense quest for understanding

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Willem de Kooning. Woman I. 1950–52 | MoMA

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Willem de Kooning. Woman I. 1950–52. Oil and metallic paint on canvas. 6′ 3 7/8″ x 58″ (192.7 x 147.3 cm). Purchase. 478.1953. © 2024 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York. Painting and Sculpture

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Grotesque sculpture-anti conformity, Mums, wives etc. Soft sculptrure stretched out??

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Grotesque sculpture-anti conformity, Mums, wives etc. Soft sculptrure stretched out??

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need to talk about text from Land L and Global Politics themes and whether this can weave into coming of age

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need to talk about text from Land L and Global Politics themes and whether this can weave into coming of age

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Artist: Kim Diaz Holm

Title: Jeff

Date/Year: 2021

Medium: Indian Ink, Acrylic

Size: 10160 x 14015

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Themes: coming of age, loss of innocence, the process of growing up (teenager)

Artworks/artists of inspiration:

Inquiry questions:

How can form and texture reflect societal expectations of individuals in their teenage years?

How can distortion in form represent the realistic processes of coming of age?

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How can I use ink splashes in conjunction with detailed and stylized figures to show how chaos and order share violence?

How can I merge symmetrical and stylized figures with splattered ink to show how chaos and order share violence?

To what extent can I show violence within chaos and order through splashed messy ink over balanced and symmetrical composition?

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Vichea - 11.VA Inquiries Portfolio Template

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How can the textures of different materials convey the emotional bond between humans and pets?

In what ways can texture in sculpture communicate care, affection, and vulnerability in relationships?

How can contrasting textures express the balance between precious moments and everyday life with a pet?

How can the arrangement and tactile qualities of materials reveal personality or character of a pet?

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Social class differences existing in the one house.  Lower class perspective. Hidden existence. Thinking possibly sculpture. Wants to show contrast of two different worlds. Nanny for example living in a world where wealth exists.

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Social class differences existing in the one house.  Lower class perspective. Hidden existence. Thinking possibly sculpture. Wants to show contrast of two different worlds. Nanny for example living in a world where wealth exists.

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Carpet-showed her African guy-industry? Textile workers?

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Carpet-showed her African guy-industry? Textile workers?

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Feeling less connected to traditional Khmer heritage. Wants to reconnect with tradiiton through this work to bring this culture back.

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Feeling less connected to traditional Khmer heritage. Wants to reconnect with tradiiton through this work to bring this culture back.

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Babushka dolls idea, painting over. Will do creative thinking

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Arts HL - Tekoah Forsythe - Inquiries Portfolio 3

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how can I use texture to create a gross and disgusting feeling?

how can I use color to create a grotesque mood?

how can I manipulate the human form and colors to convey fear?

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Theme: Forced migration in pursuit of improved living conditions due to poverty

1. How can acrylic paint and layered materials express the emotional weight of leaving home in pursuit of a better living condition

2. How can textures created with plaster and mixed media represent my father’s experiences of struggle, sacrifice, and resilience

3. How can the layering of materials and textures communicate the contrast between my father’s past life and his hopes for a better future

Possible medium: Acrylics paint + mix materials

Inspiration:

- https://www.pinterest.com/pin/61783826133261378/

https://www.pinterest.com/pin/19844054604424338/

https://www.pinterest.com/pin/446489750530921899/

https://www.pinterest.com/pin/96334879528563883/

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Possible Medium: Air-dry clay sculpture/wire

Theme: Cambodia Social Class Difference

1. How can I manipulate different materials and its composition to represent the social class difference in Cambodia?

2. To what extent can I push myself to manipulate perspectives and composition to show different social classes and how they are seen in Cambodia?

3. How can I manipulate scale and form to represent the division of the social classes in Cambodia?

Artist of Inspiration

1. Ai weiwei - Animal Heads

(https://crowmuseum.org/exhibition/ai-weiwei-circle-of-animals-zodiac-heads-gold/)

2. Do Ho Suh - Public Figures

(https://asia.si.edu/about/press/releases/national-museum-of-asian-art-announces-do-ho-suh-public-figures/)

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1. How can scale show places and surroundings reflect the loss of innocence as people grow from children into teenagers?

2. How can everyday environments show the difference between being carefree as a child and facing challenges as a teenager?

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Main theme: Ethnic identity crisis

Artwork of inspirations

http://pinterest.com/pin/433682639090247080/

https://www.pinterest.com/pin/698972804706989413/

https://www.pinterest.com/pin/AXleOOi8Bl5smLljjQadb_vjKUp6PVN-GNX_yqT3Zopo6vEbuJg6fFI/

https://www.mutualart.com/Artwork/Balinese-Dancer--1997/D4AF33346EACFD40A923EE6CB200FEA7

medium: oil paint or wood carving/clay

Questions:

How can I use warm and cool colors to portray an ethnic identity crisis?

How does the use of color convey feelings of displacement in an ethnic identity crisis

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Main theme: Death

U3 theme: War and its effects

Artwork of inspiration:

The 2000-yard stare - Thomas C. Lea III --> Military theme artwork

https://blackheartschainsawart.com/honoring-our-military (-> Military honor pieces)

Grinling Gibbons (Wood carver)

Yoshitoshi Kanemaki (Sculpter)

Medium: Wood carving + Clay (+ Oil pastel ?)

Questions:

How can I manipulate line and form to represent the horror a soldier goes through?

How can I use line and texture to honor those who fought in war?

How can I utilize line and form to illustrate the trauma of being in war?

Old questions:

1. How can I communicate life through symbols of death with the use of scale and form?

2. IQ: How can I use color and space to communicate recovery from being suicidal?

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You dont have any of your recent plaster experiments in these slides?? Can you please make sure you add this before Monday please

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You dont have any of your recent plaster experiments in these slides?? Can you please make sure you add this before Monday please

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Can you please put your current unit slide show presentation on this padlet and give me editing rights? Thanks so much

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Can you please put your current unit slide show presentation on this padlet and give me editing rights? Thanks so much

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Can you please put your current unit slide show presentation on this padlet and give me editing rights? Thanks so much

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Can you please put your current unit slide show presentation on this padlet and give me editing rights? Thanks so much

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Sokna Kim | 11.VA Inquiries Portfolio Template

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How can I effectively manipulate colour and scale to show a lack of freedom in my life?

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How can I effectively manipulate colour and scale to show a lack of freedom in my life?

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Artist: Yan Pei Ming

Title: My mother

Date: 2018

Medium: Oil on Canvas

Size: 350 x 350 cm

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How can I manipulate my use of tone and a smooth texture to depict dysfunctional family dynamics?

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How can I manipulate my use of tone and a smooth texture to depict dysfunctional family dynamics?

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2. https://www.artsy.net/artist/izuchukwu-luther-akunne

3. https://www.artsy.net/artist/michaela-jean

4.https://www.artsy.net/artwork/batia-senft-a-frosty-morning

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Jean Dufy - Biography, Shows, Articles & More | Artsy

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Explore Jean Dufy’s biography, achievements, artworks, auction results, and shows on Artsy. Jean Dufy’s colorful Post-Impressionist paintings portray a vivacious

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Also look at the work of Cherry Hood or Ex de Medici

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Contemporary Art Issue - Platform, Publisher & Gallery on Contemporary Art

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Top 20 Contemporary Watercolor Artists — CAI

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Presented here are 20 contemporary artists for whom watercolor plays a significant, and in many cases essential, role in their practice.

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Jake & Dinos Chapman: ‘Etchasketchathon’ (series) | QAGOMA Collection Online

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Brothers Jake and Dinos Chapman came to prominence in the mid 1990s alongside their so-called ‘YBA’ (Young British Artist) peers Damien Hirst, Tracey Emin and Sam Taylor-Wood.

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You might like these drawings, which could inspire sculptures

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You might like these drawings, which could inspire sculptures

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'Exquisite Corpse', Jake Chapman, Dinos Chapman, 2000 | Tate

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'Exquisite Corpse', Jake Chapman, Dinos Chapman, 2000

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Representation as Violence: The Art of Kara Walker — AWARE Women artists / Femmes artistes

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Magic lanterns? Scenes of horror and guilty pleasures, more terrifying than the cruellest fairy tales. Thousands of little drawings halfway between surrealism and newspaper satire. A prestigious prize. Controversy. Bad puns. Books. Films. A retrospective. Enormous chaotic drawings with a touch of expressionism about them.…

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Anselm Kiefer

Costa Magarakis

Jane Fairhurst

Jospeh Cornell

Kat Button

Kurt Schwitters

Louise Nevelson

Peter Blake

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This Pin was discovered by Viara Pantcheva. Discover (and save!) your own Pins on Pinterest

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Juxtapoz Magazine - Ruth Asawa: A Retrospective @ The Museum of Modern Art, New York

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“I’m not so interested in the expression of something. I’m more interested in what the material can do. So that’s why I keep exploring,” said artist,…

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https://awarewomenartists.com/en/magazine/louise-bourgeois-structures-of-existence-the-cells/

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Outside Bilbao's Guggenheim stands Louise Bourgeois's most famous work: a nine-metre-tall bronze, marble and stainless-steel spider. Straddling the riverside walk so as to encourage you to walk beneath it, Maman is at once nightmarish and sublime, especially when lit up against the overcast Basque night sky. The night after I saw it, I had a bizarre dream about an army of male soldiers with very long legs, which smacked of some Freudian repression or other. Bourgeois - one of the most important "female artists" of the 20th century - would, I like to think, have approved.

The spider series was arguably Bourgeois's most iconic work. Created in the 1990s, Maman was the first installation in Tate Modern's newly built Turbine Hall. But, in Bilbao, six years after Bourgeois's death, the Guggenheim has chosen to focus on her Cells series, in the largest presentation of it to date.

If you want to get into Bourgeois's mind, the Cells are a good place to start. The 60-odd collection is challenging, even with my personal guide, Jerry Gorovoy, the artist's friend and assistant, who is here to oversee the installation. These are dioramic, standalone sculptural forms using objects from Bourgeois's childhood (plaster casts, text and drawings); as well as penises, breast-like bulges and - of course - spiders, all within the confines of cell-like structures (usually penned in by doors or steel cages). Through them, she was able to analyse and express her memory, anxiety, fear of abandonment and pain. Cells is her autobiography, her catharsis and her personal therapy. Despite working in almost every imaginable medium during her 70-year career (from the aforementioned drawing to sculpture and tapestry), Bourgeois almost always focused on the human form, whether supine, oversized, realistic or abstract. Sometimes it was the whole figure; sometimes just a foot. But all of her work was deeply personal.

Bourgeois only named these pieces Cells from 1991 onwards, which explains the inclusion of earlier work that seemed to inspire or influence the series, such as the famous The Destruction of the Father (1974), a grotesque rendering of her father's body being torn apart and devoured in Peter Greenaway fashion. Combined, the discernible themes of self, motherhood and domesticity could explain why Bourgeois has become synonymous with the feminist art movement, taking on an almost ambassadorial role. You'd be forgiven for thinking she hated men, her father included. In reality, says Gorovy, she didn't, and she actually preferred male to female company. But this is a narrative that rankled both Bourgeois and Gorovoy, a New Yorker who now, at 63, runs her foundation and oversees most of the global installations with a keen, instructive eye. "She was a strong feminist, but never called herself a 'female artist' or a 'feminist artist'," he says. "You wouldn't be able to place her gender from looking at a lot of the work. To call her a 'female artist' or a 'feminist artist' is reductive. It was simply autobiographical - she was dealing with universal emotions: jealousy, rejection, and so on. These are pre-gender."

It wasn't that she explicitly rejected being defined in feminist terms ("Some of my works are, or try to be feminist, and others are not feminist," she once said in an interview with the San Francisco Museum of Art). Rather, she adopted a contrary attitude towards critics eager to pigeonhole - or at least understand - her exclusively with those terms.

Bourgeois was born in Paris on Christmas Day in 1911. Her parents, Josephine and Louis, ran a tapestry gallery in the 6th arrondissement.

At the end of the war, during the global pandemic, Bourgeois's mother contracted influenza. During the course of the illness, Bourgeois's father had affairs, particularly a long-term one with his daughter's governess. It is thought this fear and anger towards her father stayed with Bourgeois, becoming a motif within her works, almost all of which were created in New York where she lived with her husband, art critic Robert Goldwater, after moving from Paris after their marriage in 1938.

Perhaps the enduring focus on Bourgeois's relationship with her father and the patriarchy is the spider's fault. "The spider is an ode to my mother," Bourgeois once said. "She was my best friend. Like a spider, my mother was a weaver ... Like spiders, my mother was very clever." The spider showed women as protectors: strong, maternal and powerful. However, from 1940 through to the 1990s, her work certainly touched on her paternal relationship which, though fractious, Gorovoy says was not as negative as critics have suggested.

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The Last climb (2008) - steel, glass, rubber, thread and wood. Photograph: The Easton Foundation / VEGAP, Madrid

"She loved her father, too, despite there being some antagonism. But too much has been made of his infidelity." Indeed, Gorovoy thinks the affairs were minor. "People, critics, they need a narrative so as to understand her work - probably to explain the ever-changing complexity of her forms and material. This one stuck and, unfortunately, became the lens through which [critics] viewed and interpreted her. But it's more about the world of her emotions ... and her three children, her husband. She wasn't narcissistic."

Another reason she found herself in feminist waters was the timing of her work. Just as she seemed to find her feet in the 1950s, the male-dominated genre of abstract expressionism exploded, making stars of male contemporaries such as Jackson Pollock and Mark Rothko, and overshadowing her sculptures. She began, through her work, to rebel against the patriarchy this represented. "She thought, for example, that the surrealists made women the object of their work, whereas she was trying to make women the subject," says Gorovoy.

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Louise Bourgeois, pictured 1975, wearing her latex sculpture Avenza (1968-69), which became part of Confrontation (1978). Photograph: The Easton Foundation / VEGAP, Madrid

Bourgeois kept hundreds of diaries and letters. She spoke a great deal, internalising very little, and she used art as a way of expressing and investigating her own subconscious.

"She was very anxious - a trait she thought she inherited from her mother," says Gorovoy. Anxiety is a continual thread through her work, from the arched figures (representative of hysteria) to the cupping cups she used to nurse her ailing mother, associated with her father's infidelity. "She struggled with the burden of being a mother, a wife and an artist." That she spent 30-odd years in and out of psychoanalysis (Freudian, of course) is palpable, although it's worth noting that she only started after the death of her father. In fact, a box of her writings has become a sort of ersatz student text on psychoanalysis, last seen in 2012 at an exhibition at The Freud Museum.

Writer and critic Tom Jeffreys explains: "An argument could be made that it was Bourgeois who kept alive art's interest in Freud and showed that his writings were not only relevant to men. Where the surrealists focused on the more fantastic elements of the subconscious, Bourgeois played with his more subtle ideas of the uncanny (the unheimlich or un-homely)."

She was agoraphobic and often had insomnia, on occasions spending four consecutive days awake - by the end of which she would be in a manic state. She tried every pill, but some of them only made things worse. "If she worked, she was OK. If she didn't, she became anxious ... and when she was anxious she would attack. She would smash things, destroy her work," says Gorovoy. "Equally, if she didn't like the colour of someone's shirt, she would let them know."

Being a woman making art about herself, it was perhaps unavoidable for the theme of gender to recur in Bourgeois's work. Still, some of her best-known works appear to focus on men's genitalia. Sacks hanging from bars feature in many of the Cells and resemble penises, but could also allude to wombs; some resemble a side of meat. Gorovoy refers to them simply as "things".

Bourgeois's legacy is being thrust back into popular culture. This May, her home and the adjacent house in New York will be opened as a foundation, with a scholars' residency. And this June, continuing a fruitful relationship with Tate Modern, her work will appear in the new wing. Bourgeois's work continues to influence contemporary female artists, too. There is something Tracey Emin-like in her woven texts, for one. Jeffreys also cites Polly Morgan, Tessa Farmer and Adeline de Monseignat as direct influencees. "I'm not sure any of their work would be quite the same were it not for Bourgeois." Equally, her work has been aligned with that of male artists such as Robert Gober, as well as Matthew Barney 's story-like installations.

One of her final works, a series of hand-painted pictures titled I Give Everything Away (2010), lines three walls of the last room in the Guggenheim exhibition. Did she know she was going to die? "They talk about 'leaving the nest', but Bourgeois never talked about death." The sentiment is very final, discussing Bourgeois's own departure from life, her family and her home as if she had, at last, found peace with herself and her own mortality. It feels very much like the work of a person whose gender, although immaterial to her work, is important for those trying to unpick her legacy - and understand what it is about her grand sculptures that speaks to both male and female artists today.

* Louise Bourgeois: Structures of Existence; The Cells opens 18 March, Guggenheim Museum Bilbao
Topics

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Louise Bourgeois - the reluctant hero of feminist art

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Outside Bilbao's Guggenheim stands Louise Bourgeois's most famous work: a nine-metre-tall bronze, marble and stainless-steel spider. Straddling the riverside walk so as to encourage you to walk beneath it, Maman is at once nightmarish and sublime, especially when lit up against the overcast Basque night sky.

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アーティスト村上仁美のwebページ。 展示情報、作品紹介など。 ご覧くださいませ。

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drawing, collage, mixed media, altered objects, and other ideas…

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Architecture has the unique ability to illustrate the narrative of its occupants. Recording traces of the lives and memories that took place within, it captures a moment’s particular emotion into a physical presence. If art is a record of history, I aim to capture and record in my work the raw and pained spirit of that moment in history and to depict the anguish and loss of life’s valuable moments occurring in conflict areas globally. As I believe artists are the critics of society, their works should depict both a society’s glory and immorality.

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Ramekon O’Arwisters | Cheesecake #3 (2019) | Artsy

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From Headlands Center for the Arts Benefit Auction, Ramekon O’Arwisters, Cheesecake #3 (2019), Fabric, ceramic shards from CSULB Ceramics Program, 15 × 12 …

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How can I modify the use of animals, brush stroke and scale to communicate the pressure of being the eldest daughter?

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Artist: Carlota Guerrero

Year: 2024

Medium: Paloma Wool Los Angeles pop up installation

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Dinner Is Not Over: https://www.youtube.com/watch?v=vH4Pkdzoo_A

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https://www.britannica.com/biography/Helen-Frankenthaler

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U2-How can I manipulate color and texture to capture teen insecurities?

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