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David Hansen La mort apprivoisée

by Grace Partridge | Oct 15, 2020 | Uncategorized

#antidoteloves ~ Regram image from previously exhi

#antidoteloves ~ Regram image from previously exhibiting artist @jemimawyman whose latest solo exhibition ‘Fume’, features plumes of smoke from flares, fires or deterrents present during protest. 💨 Expanding on her ongoing photo collage practice, Wyman accumulates images documenting global activism that are printed, hand-cut, and arranged — investigating the use of camouflage as a visual and psychological device related to power. Fume here evokes the origin of the word ‘camouflage’ that developed from the French camouflet meaning ‘whiff of smoke in the face’. Now showing at @sullivanstrumpf 💜

#antidoteloves ~ Jedda-Daisy Culley’s latest sho

#antidoteloves ~ Jedda-Daisy Culley’s latest showing for @jerico_contemporary ‘And your mother’s psychic spaghetti river.’ Closing today, this latest body of work sees the artist explore a narrative perforated by deception and her fatalistic relationship with misconception, entering the space between death and survival. Fooled again by masters of disguise and working through her profound emotional response, the artist draws on themes of abandonment, fear and strength; speaking to the sentiment that there is no greater power than a mother fighting to save her children. Pictured: the big guy in the fluoro orange onesie he’s gonna eat snake’s alive while you die, 2021.

Text from @hyperallergic and video with thanks to

Text from @hyperallergic and video with thanks to @macushla_r and @sara_blue 👏🏽 #antidoteloves ~ When Macushla Robinson, a writer and curator based in New York City, typed the word “rape” in the Metropolitan Museum of Art’s collection database, the search yielded 181 results. Among the entries are French Baroque painter Nicolas Poussin’s “The Abduction of the Sabine Women” (1633-34) and an Ancient Greek amphora illustrating the moment before Ajax, a mythological hero, rapes the Trojan king’s daughter, Cassandra. There are also images that hint at rape in subtler ways, such as Julia Margaret Cameron’s haunting photograph “Beatrice” (1866), a portrait inspired by the 16th-century Roman noblewoman Beatrice Cenci, who was beheaded for killing her abusive father. For a project she calls “All the Rapes in the Met Museum,” Robinson went a step further, analyzing each entry to study how institutional cataloguing and wall labels often gloss over or downplay the impact of sexual violence, particularly when it comes to female victims. There are 7 more days to support this project via Kickstarter — we endorse this prescient and thoughtful curatorial offering and hope you can to! ✨

#antidoteloves ~ The ‘Animated Drawings for a Gl

#antidoteloves ~ The ‘Animated Drawings for a Glacier’ series by Meredith Leich: a watercolorist, animator and videomaker, whose work explores the nature of cities, place-based histories, and climate change. She says, “In all of my work, I want to make striking images that respond to our natural environment through a human, historically-driven lens — from simply capturing a city’s distinctive architecture, to thinking about how social conventions inform the way we live together.” These images are the result of experimenting with a group of locals to project abstract hand-drawn animations onto the ice in remote Alaska and the glacially-formed shores of Cuttyhunk Island. ☁️

#antidoteloves ~ In her series 'From Here I Saw Wh

#antidoteloves ~ In her series 'From Here I Saw What Happened and I Cried', Carrie Mae Weems reveals how photography has played a key role throughout history in shaping and supporting racism, stereotyping, and social injustice. It is comprised of appropriated photographs of slaves in the American South and other 19th- and 20th-century photographs of Africans and African Americans that the artist found in museum and university archives. Among the photographs she selected were daguerreotypes commissioned in 1850 by Swiss naturalist Louis Agassiz. Agassiz intended to use these portraits as visual evidence to support his theories of the racial inferiority of Africans, and to prepare a taxonomy of physical types in the slave population. “When we’re looking at these images,” Weems has said, “we’re looking at the ways in which Anglo America—white America—saw itself in relationship to the black subject. I wanted to intervene in that by giving a voice to a subject that historically has had no voice." And so, Weems re-photographed, enlarged and printed these images through colored filters: framing the red-toned prints in circular mattes and placing all of the prints beneath glass sandblasted with her chosen text. She hopes this strategy “gives the subject another level of humanity and another level of dignity that was originally missing in the photograph.” Image: 'Born With a Veil You Became Root Worker Juju Mama Voodoo Queen Hoodoo Doctor', 1995-1996.

#antidoteloves ~ Visualizing conflict can present

#antidoteloves ~ Visualizing conflict can present a unique challenge to photographers. Historically, imagery associated with war has drawn complex associations, from Robert Capa’s charged ‘Death of a Loyalist’ to Nick Ott’s ‘Napalm Girl’ photograph, with critics like Susan Sontag signaling images’ potential to manipulate how we process atrocity. But horrors can often occur under sunny skies, within beautiful landscapes, complicating their charge and how we understand them within the context of history. Since the early 1990s, photographer An-My Lê, who came to the United States in the early 1970s as a Vietnamese refugee, has been photographing war torn landscapes with a sensitivity to their innate beauty. Using a large format camera, Lê plays with the complexity of truth andnarrative, making photographs that question how we process and understand current and past wars as they are mediated and taught. Text from an interview with the artist by @daylightbooks. Image: 'Night Operations III', 2003-2004. From the series '29 Palms' © An-My Lê.

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