Identity and Art
Assessments
1. Portrait (Identity and the World)
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2. Clay Avatar (The Self and the World in 3-d)
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3. Art Analysis
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Portrait Planning Process
Andy Warhol
Pop Art
Picasso
African Masks
Kehinde Wiley
Kehinde Wiley. B. 1977
Born in Los Angeles. MFA Yale University. Studios in New York, Beijing and Dakar.
Kehinde's work represents Black subjects, often wearing Hip Hop attire, who have replaced White European subjects in famous paintings.
He says that he uses "French Rococo influences, with its garishness and vulgarity, to complement the flashy attire and display of material consumption evident in hip-hop culture".
He is interested in questions of power and race, often depicting his figures in poses that convey power and spirituality.
He also questions gender identity, in particular Masculinity, through his replacement of female figures in famous paintings with men.
Born in Los Angeles. MFA Yale University. Studios in New York, Beijing and Dakar.
Kehinde's work represents Black subjects, often wearing Hip Hop attire, who have replaced White European subjects in famous paintings.
He says that he uses "French Rococo influences, with its garishness and vulgarity, to complement the flashy attire and display of material consumption evident in hip-hop culture".
He is interested in questions of power and race, often depicting his figures in poses that convey power and spirituality.
He also questions gender identity, in particular Masculinity, through his replacement of female figures in famous paintings with men.
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Alexis Eke
CBC Article
Jonathan Yeo
Barbara Kruger
Daphne Odjig
Daphne Odjig. Born 1919 Ontario. D. 2016. Order of Canada
Odjig spent weekends in her early adulthood learning to paint by copying paintings at the ROM and AGO. Early influences were Picasso and Matisse. After initially moving away from her native heritage, she became more interested in Native issues and life in Canada in young adulthood. She was a member of the 'Indian group of Seven' -- a group that influenced contemporary Native art in Canada.
She began to make murals and large paintings depicting historical events and legends that were imbued with themes of cultural survival and regeneration. These narrative works were explorations of personal and collective memory that challenged national stereotypes of “Indian” life and also drove her painting technique. The mature Odjig was an experimental and dynamic painter, who eschewed the structural norms of Norval Morrisseau’s woodland style and began to break the traditional black form line and disrupt the flat planes of colour that typified Morrisseau‘s paintings. Instead she developed several distinct visual languages and graphic styles that she deployed across a number of thematic interests and concerns. In Odjig’s long career she painted about family life and colonial history, produced complex abstractions that derive from Anishinaabe legend and metaphysics, and created elegies in colour and form that respond to the ecological urgencies of the forests of British Columbia where she has lived since 1978.
Odjig’s active commitment to Indigenous artists and their cultural production was a formative influence during the 1960s and 1970s when Aboriginal communities were struggling to emerge from economical and social adversity in Canada. Her art, which speaks from a feminist, Indigenous and aesthetically engaged perspective, continues to contribute to the Canadian narrative.
http://www.thecanadianencyclopedia.ca/en/article/daphne-odjig/
Odjig spent weekends in her early adulthood learning to paint by copying paintings at the ROM and AGO. Early influences were Picasso and Matisse. After initially moving away from her native heritage, she became more interested in Native issues and life in Canada in young adulthood. She was a member of the 'Indian group of Seven' -- a group that influenced contemporary Native art in Canada.
She began to make murals and large paintings depicting historical events and legends that were imbued with themes of cultural survival and regeneration. These narrative works were explorations of personal and collective memory that challenged national stereotypes of “Indian” life and also drove her painting technique. The mature Odjig was an experimental and dynamic painter, who eschewed the structural norms of Norval Morrisseau’s woodland style and began to break the traditional black form line and disrupt the flat planes of colour that typified Morrisseau‘s paintings. Instead she developed several distinct visual languages and graphic styles that she deployed across a number of thematic interests and concerns. In Odjig’s long career she painted about family life and colonial history, produced complex abstractions that derive from Anishinaabe legend and metaphysics, and created elegies in colour and form that respond to the ecological urgencies of the forests of British Columbia where she has lived since 1978.
Odjig’s active commitment to Indigenous artists and their cultural production was a formative influence during the 1960s and 1970s when Aboriginal communities were struggling to emerge from economical and social adversity in Canada. Her art, which speaks from a feminist, Indigenous and aesthetically engaged perspective, continues to contribute to the Canadian narrative.
http://www.thecanadianencyclopedia.ca/en/article/daphne-odjig/
Andrew Salgado
Andrew Salgado. B. 1982. Canada. Artist in London, England.
I think there is this penchant for all creative types to prove their chops first. Picasso was a great artist because he could do anything, but chose to work in a certain method. So in my experience, as a younger artist there was a desire to prove something, at least, on a certain, almost introductory technical level. I’m moving further and further away from that.
The technique has become cruder, almost naïve in certain areas. It’s uglier. It’s gutsier. My most recent paintings have switched to linen and—I would at least like to think—show the confidence to do more with less. There’s simultaneously an overabundance and an economy of mark-making. A lot of people comment on how I paint the eyes, and – here’s one of my secrets – I’m moving further and further away from that didacticism. I want to challenge myself, but also my viewer. I want them to move further into abstraction and ugliness. I have to dig a new path out of the plot I’ve made for myself. It’s not as easy as leaping out. What would I like to accomplish? That’s a big question. That’s the lifelong pursuit, isn’t it?
I’m interested in human nature and our tendency toward violence. I like the macabre or things that appear to be pleasant but reverberate with a type of subversive energy.
I always tell young artists: think less, paint more. It took me a long time to get there, because [art] school can be such a disservice to artists. It’s all about concept, concept, concept ad nauseam. I approach it from the opposite angle, where I let concept envelop the work, and not the other way around. There are no rules.
https://noisey.vice.com/en_ca/article/r79zae/andrew-salgado-painter-interview-2015
I think there is this penchant for all creative types to prove their chops first. Picasso was a great artist because he could do anything, but chose to work in a certain method. So in my experience, as a younger artist there was a desire to prove something, at least, on a certain, almost introductory technical level. I’m moving further and further away from that.
The technique has become cruder, almost naïve in certain areas. It’s uglier. It’s gutsier. My most recent paintings have switched to linen and—I would at least like to think—show the confidence to do more with less. There’s simultaneously an overabundance and an economy of mark-making. A lot of people comment on how I paint the eyes, and – here’s one of my secrets – I’m moving further and further away from that didacticism. I want to challenge myself, but also my viewer. I want them to move further into abstraction and ugliness. I have to dig a new path out of the plot I’ve made for myself. It’s not as easy as leaping out. What would I like to accomplish? That’s a big question. That’s the lifelong pursuit, isn’t it?
I’m interested in human nature and our tendency toward violence. I like the macabre or things that appear to be pleasant but reverberate with a type of subversive energy.
I always tell young artists: think less, paint more. It took me a long time to get there, because [art] school can be such a disservice to artists. It’s all about concept, concept, concept ad nauseam. I approach it from the opposite angle, where I let concept envelop the work, and not the other way around. There are no rules.
https://noisey.vice.com/en_ca/article/r79zae/andrew-salgado-painter-interview-2015
Jonathan Yeo
Rough Portraits (Cyber 2016-2017)
Final Portraits (Cyber 2016-2017)
Facial Proportions
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