Author Topic: Obama Art  (Read 143746 times)

Offline Meryl

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Re: Obama Art
« Reply #310 on: March 14, 2009, 11:14:47 pm »

Jeff Danziger, the Los Angeles Times

Ack!  Wouldn't want to get on her bad side!  :o  :P  ;D
Ich bin ein Brokie...

Offline Aloysius J. Gleek

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Re: Obama Art
« Reply #311 on: March 16, 2009, 01:46:49 pm »
Ack!  Wouldn't want to get on her bad side!  :o  :P  ;D

Ok, I'm stary-eyed, but I don't think she has a bad side~!


Forgot to mention, the New Yorker's cover last week:







http://lambiek.net/artists/f/floch.htm


Jean-Claude Floc'h
(b. 25/09/1953, France)


Jean-Claude Floc'h is an artist who can be placed among the masters of the clear line, like Hergé and Joost Swarte. The younger brother of comics artist Jean-Louis Floch, Floc'h studied at the school of Decorative Arts in Paris and published his first story, 'Le Conservateur', scripted by Rodolphe, in Imagine in 1975. In 1977, he created the character of 'Sir Francis Albany' in Pilote, in cooperation with François Rivière. A year later, Floc'h and Rivière additionally created the independent story 'Blitz' in Le Matin de Paris. In 1985, 'Un Homme dans la Foulle' appeared, a collection of his advertising artwork.
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Obama Art
« Reply #312 on: March 17, 2009, 03:10:27 am »


http://nymag.com/news/articles/09/03/michelleobama/



Artists Interpret Michelle Obama




Rodrigo Corral




Rodrigo Corral




Billi Kid




Hank Willis Thomas




Kim DeMarco




Kim DeMarco




Laurent Fetis




Les Rogers  




Geoff McFetridge




Mondongo




Brian Rea




Alan Baker




Gluekit



http://nymag.com/news/politics/55382/

Published Mar 15, 2009

The Power of Michelle Obama
Where will our suddenly iconic First Lady come to fit in the pantheon of powerful women? Joseph O’Neill, Edwidge Danticat, Jennifer Senior, Caitlin Flanagan, Thomas Mallon, and others on the meaning of a new American symbol.
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Obama Art
« Reply #313 on: March 17, 2009, 05:12:12 pm »



Hmmmmm. Oh-kaaaay--




Grâce à louisev
Tea Party Group Insults Michelle Obama with Photoshop
http://bettermost.net/forum/index.php/topic,32732.0.html

http://www.facebook.com/photo.php?pid=30129862&op=1&o=all&view=all&subj=55223597239&aid=-1&oid=55223597239&id=1439222662

From facebook
Photos from Nationwide Tax Day Tea Party
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Obama Art
« Reply #314 on: March 18, 2009, 03:24:06 am »



Backlash.


http://nytimes.com/2009/03/18/arts/design/18fair.html?8dpc



Art Review | Shepard Fairey
Can a Rebel Stay a Rebel
Without the Claws?



“Guns and Roses” (2007), like much of Shepard Fairey’s art,
gives a nod to poster imagery, in this case Chinese.
Were that consciously integrated, Mr. Fairey’s work would be
more like art than like canny illustration of what everyone already knows.



“Arab Woman” (2006) and other works evoke the third world.


By KEN JOHNSON
Published: March 17, 2009

BOSTON
— You will be seeing a lot more art by Shepard Fairey on the streets of New York this spring. But it won’t be in the form of the illegal guerrilla strikes he has been committing since his days as a student at the Rhode Island School of Design 20 years ago, nor anything like his famous Obama Hope poster. For starters, it is in the windows of Saks Fifth Avenue, for whom he has also designed swanky red, white and black Russian Constructivist-style limited-edition shopping bags.

Before the Saks campaign makes it painful even to think about this artist, who did more than any other to get our current president elected, you might consider a trip to the Institute of Contemporary Art in Boston to see his first museum retrospective.

The surprise of the show — for the uninitiated, at least — will be that almost everything Mr. Fairey does, from his abstracted images of Andre the Giant to his album covers for Led Zeppelin and other bands, is visually arresting. Those who have followed his career won’t be surprised, either, by his progression from aesthetic anarchist to savvy, all-purpose designer and illustrator whose street cred has been worn out by his all-too-successful commercial ventures.

Nothing if not versatile, Mr. Fairey can work as effectively on billboards as on laptop screens. A resourceful sampler and recycler of found imagery, he has incorporated graphic motifs and compositions from the Russian Constructivist Alexander Rodchenko, Chinese Communist propaganda, American Social Realism, Islamic patterns, neo-Classical-style postage stamps and stock certificates, as well as from the Pop Art of Andy Warhol. And in collaging silk-screened copies of many different sorts of images, words and textures, often at radically different scales, he integrates vertiginous complexity into works of punchy legibility, partly by means of a suave color sensibility usually limited to shades of red, black and off-white.

He is clever with words too. A 2003 poster reads: “War Is the Answer! Elect Bush and Still Get Gore!”

Among his most compelling works are those revolving around images of beautiful, rifle-toting women and children from third world countries. Flowers in their gun barrels suggest a revolution of loving maternity over the Big Brotherly patriarchy represented in other images by the face of Andre the Giant, who usually appears above the caption “Obey.”

The Boston show, organized by Pedro H. Alonzo, an independent curator, and Emily Brouillet, a former assistant curator at the institute, includes works placed outdoors around Boston, presented here as domesticated tokens of the graffitilike practices for which Mr. Fairey has been arrested on numerous occasions. (This time around, he was arrested on his arrival at the retrospective’s opening-night party, and he faces at least 14 vandalism-related charges and possibly 19 more.)

Despite its rousing first impact, the exhibition leaves you with a sense of dismay at the devolution of a certain avant-garde dream into a kind of visual easy listening for the college-educated masses.

The fantasy that has animated Mr. Fairey’s career is that of the artist anonymously intervening in public life like a benign terrorist, unsettling collective complacency and inspiring new, critically perceptive thoughts about how the world works. His method has been to paste images and words that grab attention but then, unlike advertising and propaganda, deliver contradictory, ambiguous and vaguely menacing messages. This is supposed to have the effect of prompting epiphanies about possible alternative social realities.

It’s an idea whose popularity goes back at least to the ’60s, when artists like Adrian Piper and Stephen Kaltenbach inserted seemingly nonsensical ads in art magazines and other periodicals. Later Jenny Holzer pasted up her lists of Truisms, and Jean-Michel Basquiat wrote his mystifying coinage “SAMO” all over town, to similarly perplexing effect.

On another track, Barbara Kruger produced simulations of magazine layouts to incite criticism of, and resistance to, the so-called dominant culture. She also lent her talents to campaigns for the abortion-rights movement (“Your Body Is a Battleground”) and commercial enterprises like Bloomingdale’s (the “I Shop Therefore I Am” shopping bag), and has had her works printed on all kinds of surfaces, from mural-size canvases to matchbook covers.

Mr. Fairey has acknowledged his debt to Ms. Kruger, but he seems cheerfully oblivious to how his ideas about being subversive through art are fatally familiar, not to say naïve. They were radical half a century ago; now they are the stuff of college art history courses. Does anyone not realize that capitalism is contradictory? Is anyone’s world really rocked by something that can’t be immediately categorized? Every day we are swamped with images and ideas that pretend to confound conventional thinking. That’s popular culture.

What is missing from his work is a deeper, more personal and therefore less predictably formulaic dimension. What might that be?

It is not too difficult to discern the shadows of an Oedipal drama swimming below the surface. Here is the baffling, autocratic father represented most powerfully by the image of Andre the Giant (whose positive counterpart is the Good Father Obama). There is the beguiling, possibly dangerous mother embodied in many images of nameless, alluring female warriors. And the son is portrayed in pictures of Joey Ramone, Sid Vicious and other young rebels who would stand in for Mr. Fairey himself and who would depose and replace the Bad Father.

Maybe if some such psychological dimension were more consciously integrated, Mr. Fairey’s work would be more like art than like canny illustration of what everyone already knows.

“Shepard Fairey: Supply and Demand” runs through Aug. 16 at the Institute of Contemporary Art, 100 Northern Avenue, Boston; (617) 478-3100, icaboston.org.


http://www.nytimes.com/slideshow/2009/03/17/arts/design/20090318-fairey-slideshow_index.html


From the Street to the Museum



Shepard Fairey, who for years was an artist whose work was seen primarily on streets,
now has his first museum retrospective, at the Institute of Contemporary Art in Boston.
Mr. Fairey may be best known for his Obama Hope poster.




The Times’s Ken Johnson writes:
The surprise of the show — for the uninitiated, at least —
will be that almost everything Mr. Fairey does, from his abstracted images
of Andre the Giant, left, to his album covers for Led Zeppelin and other bands,
is visually arresting.




"Obey Tupac" (2004). Those who have followed Mr. Fairey’s career won’t be surprised, either,
by his progression from aesthetic anarchist to savvy, all-purpose designer
and illustrator whose street cred has been worn out by his all-too-successful commercial ventures.



"Obey Revolution Girl" (2005).  A resourceful sampler and recycler
of found imagery, Mr. Fairey has incorporated graphic motifs and compositions
from the Russian Constructivist Alexander Rodchenko, Chinese Communist
propaganda, American Social Realism, Islamic patterns,
neo-Classical-style postage stamps and stock certificates.




He has also borrowed from the Pop Art of Andy Warhol, seen here
in a portrait, "Obey Andy Warhol" (2004).




"Obey Middle East Mural" (2009).  Among his most compelling works are those revolving around images
of beautiful, rifle-toting women and children from third world countries, with flowers in their gun barrels.




"Obey Angela Davis" (2005).  The fantasy that has animated
Mr. Fairey’s career is that of the artist anonymously intervening
in public life like a benign terrorist, unsettling collective complacency
and inspiring new, critically perceptive thoughts about how the world works.




"Two Sides of Capitalism: Bad" (2007).   His method has been to paste images and words that grab attention but then,
unlike advertising and propaganda, deliver contradictory, ambiguous and vaguely menacing messages.




"Mujer Fatal" (2008).  What is missing from Mr. Fairey's work
is a deeper, more personal and therefore less predictably formulaic dimension.
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Obama Art
« Reply #316 on: April 04, 2009, 10:34:16 pm »

http://corrigan.ca/april2-09.htm




Patrick Corrigan, Toronto Star
April 2, 2009

"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Obama Art
« Reply #317 on: April 05, 2009, 09:21:23 am »


Grâce à Penthesilea (Chrissi)



Chancellor Angela Merkel and her husband Joachim Sauer
Baden-Baden, April 3 2009



"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Obama Art
« Reply #318 on: April 06, 2009, 07:45:09 pm »
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Obama Art
« Reply #319 on: April 08, 2009, 01:13:54 pm »


Harsh criticism from the Left (it would be Ted Rall, of course)--



Ted Rall, Universal Press Syndicate
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"