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Posts from the “Art” Category

Dandy Lion: The Black Dandy and Street Style

Posted on June 27, 2017

Photo: Photo: Arteh Odjidja, Red Square Moscow, Russia, 2012, from the series Stranger in Moscow; from Dandy Lion (Aperture, 2017). © Arteh Odjidja/Arteh Creative.

The dandy first appeared on the scene in late eighteenth century Britain just as the bourgeoisie was coming into vogue and a new leisure class was becoming a la mode. They aspired to the aristocratic aesthetic and lifestyle, seeing themselves as a cut above the working class in all manner of things. But it was in sartorial pleasures that they distinguished themselves, drawing attention to their status through garb.

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For many, clothes make the man—but the dandy makes the clothes, so seamless is his style that he embodies the timeless spirit of chic. The bourgeoisie grew in power and influence at the same time European imperialism conquered the globe. With political and economic oppression and exploitation came an unexpected twist: the transmutation of dandy culture into new realms.

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In black culture across the globe, the dandy was more than a symbol of middle class yearnings—it was a radical act of self-expression and independence. The black dandy takes from the traditions of European fashion and subverts the aesthetic by infusing it with elements of the African diaspora. Where the European aesthetic has come to embrace subdued tones, clean cuts, and understated effects, the African sensibility embraces color, pattern, and contrast. The result is visually daring and dedicated to distinction.

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Read the Full Story at Crave Online

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Photo: Omar Victor Diop, Alt + Shift + Ego, 2013; from Dandy Lion (Aperture, 2017). © Omar Victor Diop, Courtesy Galerie MAGNIN-A, Paris.

 

Categories: Africa, Art, Books, Crave, Fashion, Photography

The Best Animal Photography of the Last 20 Years

Posted on June 25, 2017

Photo: Self-Portrait of a female Celebes crested macaque in North Sulawesi, Indonesia, 2011. David Slater via Wikimedia Commons.

There is nothing quite like animal photographs to change the way we see the world. No longer are we, the human being, the center of attention—which can be quite a relief. There’s something very relaxing about getting outside of yourself. Animal photography has powers unlike any other genre that exists: it reminds us of the profundity of existence itself. It makes us aware that no matter how you slice it: life is hard. But it’s also charming, endearing, inspiring, and humbling.

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In celebration of all the creatures that exist on our green Earth, Crave has put together a collection of some of the best animal photography of the past 20 years.

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Read the Full Story at Crave Online

Categories: Art, Crave, Photography

David Gwinnutt: Before We Were Men

Posted on June 21, 2017

Photo: Duggie Fields b.1945. © David Gwinnutt

When Swinging London collapsed, the Pop-optics faded away. The bright cheerful colors of promise became muted, grubby, and grey as the city fell into created desperate times. The rising tide of unemployment, set against an on-going recession, brought the conservatives to fore, and through them a new leader was.

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In 1979, Margaret Thatcher became the first woman to assume the mantle and she went hard: deregulating the financial sector, privatizing state-owned companies, and reducing the power of trade unions. She spoke for the elite and was largely unpopular until victory in the 1982 Falklands War.

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During those intervening years, a new generation was coming of age, embracing the D.I.Y. ethos of punk and taking it far beyond the reaches of the known. The scene, which came to be known as the New Romantics, was centered at the Blitz, a nightclub in the Covent Garden section of London.

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If ever there was a fitting name, it was this. At the Blitz, a fantastical coterie of artists, musicians, designers, filmmakers, and performers came dressed to kill, wearing handmade pieces that could best be described as Ziggy Stardust on acid. The Blitz Kids, as they were known, took that art of the poseur to the next level. The donned costumes and makeup that blurred gender lines, sometimes going so far as to erase the human element in the search for an identity that spoke to the moment.

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Read the Full Story at Feature Shoot

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Photo: Alison Owen c. 1984 © David GwinnuttDavid Gwinnutt: Before We Were Men

Categories: 1980s, Art, Exhibitions, Feature Shoot, Photography

Ai Weiwei: Hansel & Gretel

Posted on June 20, 2017

Photo: Ai Weiwei, courtesy of Studio

In our brave new world, we live in a state of constant surveillance, where our every moment can be shadowed. Our phones can track our footsteps while cameras can use facial recognition software to identify who, where, and when. People presume because “they have done nothing wrong,” such invasions are in their best interest. As author Aldous Huxley predicted, “People will come to love their oppression, to adore the technologies that undo their capacity it think.”

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It falls to the provenance of artists to question the status quo, to remind us not to take things at face value. Chinese artist Ai Weiwei has dedicated his life to this: to calling out injustice, hypocrisy, and violations of the state, corporations, and anyone who would be so inclined to use technology to dig into someone else’s affairs.

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Yet it seems no matter how much we speak of the “other,” people are by and large unmoved. Many simply refuse to perceive the impact of abject violations until it happens to them. Understanding the self-centeredness that is innate to so many people these days, Ai taps into the inherent need many people have to use personal experience as the primary path to learn.

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Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions

Devin Allen: A Beautiful Ghetto

Posted on June 19, 2017

Photo: © Devin Allen, courtesy of Haymarket Books.

Photo: © Devin Allen, courtesy of Haymarket Books.

The Constitution will not protect you from the government of the United States. Laws have no power when they are willfully disregarded on the streets, in the police stations, and in the courts. With each and every passing day, the evidence grows clear: we live in a police state that enforces the practice of slavery under the 13th Amendment.

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Every day, those sworn to uphold the law murder innocent men, women, and children—and they get away with it, as juries agree that extrajudicial assassination is rightfully warranted. At the same time, city and state treasuries payout wrongful death suits in the millions, acknowledging a crime has committed while protecting the criminals.

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You can just about hear Marvin Gaye’s plaintive cry, “Make me wanna holler, throw up my hands” over and over again—but despite the pain, sadness, and rage, resignation is impossible. We know the truth about the government of the United States, from Thomas Jefferson, who kept his own children as slaves to Hillary Clinton, who proudly acknowledged in her book It Takes A Village that she and Bill had slaves in the Arkansas Governor’s Mansion. Ain’t a damn thing changed.

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Okay, that’s not entirely true. The practice of slavery has transformed from a chattel system to use of the prison industrial complex, hiding it away from the public view, so that all we see are the murders, day in and out. Invariably, it all becomes too much—there is only so much injustice people can stand before an uprising erupts.

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Read the Full Story at Crave Online

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Photo: © Devin Allen, courtesy of Haymarket Books.

Categories: Art, Books, Crave, Photography

Former U.S. Marine Establishes VETPAW to Protect African Wildlife

Posted on June 15, 2017

 

Photo: A White Rhinoceros (Ceratotherium simum) cow and calf coated in mud at Sabi Sands Game Reserve, South Africa, 2006. Photo © James Temple. Courtesy of Wikimedia Commons.

The numbers are staggering: As of January 2017, more than 211,000 post-9/11 U.S. veterans are unemployed, according to the figures from the Bureau of Labor Statistics. While the national unemployment rate is 4.8%, veterans top that at 6.3%.

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Former U.S. Marine Ryan Tate, 32, is working to put his fellow veterans to work with the creation of VETPAW (Veterans Empowered To Protect African Wildlife), a non-profit organization funded by private donations that works in a remote private reserve in Limpopo, the northernmost province of South Africa. The veterans have been entrusted with the protection of endangered species, such as rhinoceroses and elephants, from poachers who have pushed these majestic creatures to the brink of extinction.

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Read the Full Story at Crave Online

Categories: Art

Agnes Gund Sells “Masterpiece” for $165M to Seed Criminal Justice Fund

Posted on June 14, 2017

 

Artwork: Roy Lichtenstein, Masterpiece, 1962.

Celebrated art collector and philanthropist Agnes Gund has sold Roy Lichtenstein’s 1962 painting, Masterpiece, for $165 to raise money for criminal justice reform.

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The famous painting, which shows a blonde woman crowing to a young man, “Why, Brad darling, this painting is a masterpiece! My, soon you’ll have all of New York clamoring for your work!” is one of the greatest works of Pop Art, combining comic book style with tongue-in-cheek commentary of world of fine art.

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Billionaire hedge fund manager and art collector Steven A. Cohen reportedly purchased the work in January through Acquavella Gallery, according to The Baer Faxt, an art industry newsletter. On Monday, The New York Times confirmed the sale, noting that the $150M price tag puts it “among the 15 highest known prices ever paid for an artwork.”

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Gund is teaming up with the Ford Foundation to launch Art for Justice Fund, designed to finance criminal justice reform. She is asking other collectors to do the same, with the aim of raising another $100M over the next five years.

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Read the Full Story at Crave Online

Categories: Art

Miron Zownir: Berlin Noir

Posted on June 7, 2017

Photo: © Miron Zownir, courtesy of Pogo Books.

In 1978, photographer Miron Zownir arrived in West Berlin. At the age of 25, he was coming into his own while the capital of his native Germany was a mecca for artists and anarchists alike who had been drawn to the seamy, seedy underbelly of a city that seemed to be knocking on death’s door. And yet, within the chaos of poverty, new life came forth, as the culture was nourished by creative thought.

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From cinemas to sex clubs, drug dens to publishing houses, nightclubs to demonstrations, Berlin was alive with the most nourish of pleasures—and through his camera, Zownir captured it all: the highs, the lows, and the glorious madness of squalor.

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His photographs have been collected in Berlin Noir (Pogo Books), spanning nearly four decades, taking us up to 2016. In passionate black and white photographs that are as gritty as they are gripping, Zownir shows us Berlin as we’ve never seen it before. Here is a city filled with derelicts that haunt us with their zest for life and their taste for the edge.

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Read the Full Story at Crave Online

Categories: 1970s, Art, Books, Crave, Photography

Rashid Johnson: Stranger

Posted on June 7, 2017

Artwork: Rashid Johnson. Untitled Beach Collage, 2017, Vinyl, spray enamel, oil stick, black soap, and wax. 183 x 244 x 5 cm / 72 x 96 1/8 x 2 in.

In 1953, James Baldwin published the essay “Stranger in the Village” in Harper’s magazine in which he recounted the culture shock of life as a young African-American man in a small village in Switzerland. The people he encountered were distinctly provincial to the point that manners and etiquette were the least of their concerns. They did not welcome Baldwin so much as the openly gawked, so caught up as they were in the physicality of race.

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“…it must be conceded there was the charm of genuine wonder and in which there were certainly no element of intentional unkindness, there was yet no suggestion that I was human: I was simply a living wonder,” Baldwin writes, perfectly summarizing the power that cognitive dissonance has over the mind that has lost self-control.

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Grace is more than a virtue, it is an act of dignity; to be able to perceive the experience of the other is to understand the role one has to play. To disregard this, whether out of lack of care or awareness, creates a visceral sense of alienation, codifying the outsider as strange: a stranger.

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Most people are conscientious of their otherness when they step outside their comfort zones; it is only those who are extremely extroverted or self-involved who escape the feeling of not belonging to that which is not theirs by birthright.

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Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions

Elaine Mayes: Summer of Love

Posted on June 7, 2017


Photo: Elaine Mayes, Rebel, 25, Golden Gate Park, 1968, vintage gelatin silver print, 14 x 11 inches.

In the summer of 1967, some 100,000 people descended upon the Haight-Ashbury district of San Francisco to come together as one. Inspired by the Beat Generation of the 1950s who had taken to North Beach, a new wave of nonconformists embraced the counterculture vibes of the times, embracing the ethos of the hippie movement, first espoused by Timothy Leary earlier that year at the Human Be-In at Golden Gate Park with the words, “Turn on, tune in, drop out.”

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The Summer of Love, as it came to be known, as a natural extension of the Human Be-In, which embraced the principle of “sex, drug, and rock and roll.” In the face of violence and destruction that raged overseas in the Vietnam War and here at home with the Civil Rights Movement, the hippies sought to take a stand against the system through the message of peace and love.

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Read the Full Story at Crave Online

Categories: 1960s, Art, Crave, Exhibitions, Photography

Kehinde Wiley: Trickster

Posted on June 6, 2017

Artwork: “Portrait of Rashid Johnson and Sanford Biggers, The Ambassadors”, 2017 oil on canvas painting: 120 5/16 x 85 5/8 inches (305.6 x 217.5 cm) framed: 131 5/16 x 96 11/16 x 4 ½ inches (333.5 x 245.6 x 11.4 cm). © Kehinde Wiley, courtesy Sean Kelly, New York

The Trickster exists in different cultures around the globe: the wily shapeshifter with the power to transform the way we see the world. As an archetype, The Trickster can be found in any walk of life where people must operate according to more than one set of rules, moving seamlessly between the appearance of things and the underlying truth.

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Artists know this realm well for they are consigned to delve deep below the surface and manifest what they find. Yet their discoveries are not necessarily in line with the status quo; more often than not, they will upset polite society and upend respectability politics by speaking truth to power – quite literally.

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In the United States, African Americans know this well. Throughout the course of the nation’s history, they have been forced to deal with systemic oppression and abuse in a culture filled with double speak that began with the words “All men are created equal,” penned in the Declaration of Independence by Thomas Jefferson, a man who kept his own children as slaves until his death.

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Throughout his career, artist Kehinde Wiley has moved smoothly between spheres of influence, using the canon of Western art as a tool of subversion, celebration, and recognition for those who have long been excluded from the narrative. “History is written by the victors,” Winston Churchill said, reminding us that now is the time to reclaim that which belongs to us.

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In Trickster, a new exhibition of work currently on view at Sean Kelly, Gallery, through June 17, 2017, New York, Wiley honors his contemporaries who walk his same path, creating a series of portraits of extraordinary black artists including Derrick Adams, Sanford Biggers, Nick Cave, Rashid Johnson, Glenn Ligon, Kerry James Marshall, Wangechi Mutu, Yinka Shonibare, Mickalene Thomas, Hank Willis Thomas, Carrie Mae Weems, and Lynette Yiadom-Boakye.

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Using Francisco Goya’s infamous Black Paintings as the departure point, Wiley puts blackness front and centre, operating on several levels simultaneously. Below, he speaks to us about this work, revealing the power and courage it takes to go beyond the known.

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Read the Full Story at Dazed Digital

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Artwork: Kehinde Wiley, “Portrait of Wangechi Mutu, Mamiwata” © Kehinde Wiley, courtesy Sean Kelly, New York

Artwork: “Portrait of Nick Cave, Nadezhda Polovtseva”, 2017 oil on canvas painting: 120 5/16 x 81 ¾ inches (305.6 x 207.6 cm) framed: 131 5/16 x 92 ¾ x 4 ½ inches (333.5 x 235.6 x 11.4 cm). © Kehinde Wiley, courtesy Sean Kelly, New York

 

Categories: Art, Dazed, Exhibitions, Painting

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