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Grayson Perry studio visit

Sun, 12 May 2013 19:30:11 +0100

Grayson Perry studio visit

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Thu, 02 May 2013 14:38:53 +0100

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Thu, 02 May 2013 14:38:22 +0100

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Thu, 02 May 2013 14:37:52 +0100

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Thu, 02 May 2013 14:37:13 +0100

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Thu, 02 May 2013 14:36:36 +0100

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Thu, 02 May 2013 14:36:09 +0100

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Thu, 02 May 2013 14:35:38 +0100

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Thu, 02 May 2013 14:35:09 +0100

Hannah Hoch

Mon, 08 Apr 2013 23:30:00 +0100

Hannah Hoch

Mon, 08 Apr 2013 23:29:00 +0100

Hannah Hoch

Da-dandy, Hannah Hoch While the Dadaists “paid lip service...

Mon, 08 Apr 2013 23:28:00 +0100

Da-dandy, Hannah Hoch

While the Dadaists “paid lip service to women’s emancipation” they were clearly reluctant to include a woman among their ranks. Hans Richter described Höch’s contribution to the Dada movement as the “sandwiches, beer and coffee she managed somehow to conjure up despite the shortage of money.” Raoul Hausmann even suggested that Höch get a job to support him financially. Höch was the lone woman among the Berlin Dada group, although Sophie Täuber, Beatrice Wood, and Baroness Else von Freytag-Loringhoven were also important (if overlooked) Dada figures. Höch references the hypocrisy of the Berlin Dada group and German society as a whole in her photomontage,Da-Dandy.

Höch’s work at Verlang working with magazines targeted to women made her acutely aware of the difference between women in media and reality, even as the workplace provided her with many of the images that served as raw material for her own work. Marriage did not escape her criticism—she depicted brides as mannequins and children, reflecting the idea that women are not seen as complete people and have little control over their lives. Höch saw herself as part of the women’s movement in the 1920s, as shown in her depiction of herself inSchnitt mit dem Küchenmesser DADA durch die letzte weimarer Bierbauchkulturepoche Deutschlands (1919–20).

Dada, Hannah Hoch

Mon, 08 Apr 2013 22:54:25 +0100

Dada, Hannah Hoch

Hannah Hoch

Mon, 08 Apr 2013 22:53:19 +0100

Hannah Hoch

Linder Sterling

Mon, 08 Apr 2013 20:01:12 +0100

Linder Sterling

One of Linder’s most recognizable works of art first appeared on...

Mon, 08 Apr 2013 19:19:00 +0100

One of Linder’s most recognizable works of art first appeared on the sleeve of the 1977 Buzzcocks single “Orgasm Addict.” On the cover, Linder utilized what would become her signature mass-media collage strategy to adorn or violate—or, really, both—a classical nude female torso with mouths at the nipples and a household iron in place of the head. By the time the single was released, Linder Sterling, born in 1954 in Liverpool, had already become a fixture in the Manchester punk and post-punk scene out of which bands like The Fall, Joy Division, the Buzzcocks, Magazine, and The Smiths emerged. In many ways, her collage works from the period have much in common with the subversive practices of punk: Ripping things apart and reassembling them was a way of showing the counterfeit quality and construction of any social image. But Linder’s art went even beyond the rebellion of her underground musical counterparts. Much like Hannah Höch in the Weimar era, Linder fused capitalism, sexuality, violence, feminism, desire, morbidity, and hope in her collages. Those fantastic and yet quotidian works have gained perhaps even more biting currency in today’s culture.

Linder has transformed herself many times as an artist since those first collages. She performed as the lead singer in the art-punk band Ludus: http://www.youtube.com/watch?v=rvryKnzZtZE

linder sterling

Mon, 08 Apr 2013 19:18:45 +0100

linder sterling

Mon, 08 Apr 2013 19:17:46 +0100

linder sterling

Mon, 08 Apr 2013 19:17:19 +0100

linder sterling

Voyage to Summer, Konstantin Kalinovich Serenity, pacification,...

Sat, 30 Mar 2013 21:05:00 +0000

Voyage to Summer, Konstantin Kalinovich

Serenity, pacification, quiet… The circle of life, revolving unhurriedly, is approaching to the Eternity. In Konstantin Kalinovich’s etchings all senses and emotions have united into one entity. You cannon grasp gladness without sorrow. Just a moment before there was life here, and now we have the Eternity.

Yulia Bezrodnaya (fragment of the book introduction)