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Nội dung được cung cấp bởi Art Gallery of Ontario. Tất cả nội dung podcast bao gồm các tập, đồ họa và mô tả podcast đều được Art Gallery of Ontario hoặc đối tác nền tảng podcast của họ tải lên và cung cấp trực tiếp. Nếu bạn cho rằng ai đó đang sử dụng tác phẩm có bản quyền của bạn mà không có sự cho phép của bạn, bạn có thể làm theo quy trình được nêu ở đây https://vi.player.fm/legal.
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Squid Game: The Official Podcast
Squid Game is back, and so is Player 456. In the gripping Season 2 premiere, Player 456 returns with a vengeance, leading a covert manhunt for the Recruiter. Hosts Phil Yu and Kiera Please dive into Gi-hun’s transformation from victim to vigilante, the Recruiter’s twisted philosophy on fairness, and the dark experiments that continue to haunt the Squid Game. Plus, we touch on the new characters, the enduring trauma of old ones, and Phil and Kiera go head-to-head in a game of Ddakjji. Finally, our resident mortician, Lauren Bowser is back to drop more truth bombs on all things death. SPOILER ALERT! Make sure you watch Squid Game Season 2 Episode 1 before listening on. Let the new games begin! IG - @SquidGameNetflix X (f.k.a. Twitter) - @SquidGame Check out more from Phil Yu @angryasianman , Kiera Please @kieraplease and Lauren Bowser @thebitchinmortician on IG Listen to more from Netflix Podcasts . Squid Game: The Official Podcast is produced by Netflix and The Mash-Up Americans.…
THE NEWS series
Manage episode 378817769 series 1395868
Nội dung được cung cấp bởi Art Gallery of Ontario. Tất cả nội dung podcast bao gồm các tập, đồ họa và mô tả podcast đều được Art Gallery of Ontario hoặc đối tác nền tảng podcast của họ tải lên và cung cấp trực tiếp. Nếu bạn cho rằng ai đó đang sử dụng tác phẩm có bản quyền của bạn mà không có sự cho phép của bạn, bạn có thể làm theo quy trình được nêu ở đây https://vi.player.fm/legal.
THE NEWS series 2017 acrylic on canvas Nine equally sized circle shaped paintings each with a two foot or 50 cm diameter displayed in a grid of three rows of three comprise this work. They use a bright neon palette of pinks, blues, greens and yellows; these are also a typical colour palette in KAWS’s depictions of graphic or cartoon-inspired works. Kaws uses opposing colours to create contrasts. These round canvases show layers of motifs used by KAWS. Each canvas is like a closeup of another work, in a way drawing focus to a particular aspect of something larger. They are dynamic and playful. Most of them have black outlined eyeballs that have x’d out pupils which take up half or more of the canvas. A third have eyelids and a couple have eyelashes. There is a tongue and digits of a hand and most have a line or wave of colour at the centre. They do not form an image when viewed all together, rather they present a detail that serves as the focal point for each canvas. On each canvas KAWS plays with optical illusions, the 3D effect of which can become apparent for many people if looking at the works with a fixed gaze. This is accomplished through the subtle addition of shadows which are painted on. These shadows create a sense of depth and aspects of the painting appear to pop out from the canvas.
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440 tập
Manage episode 378817769 series 1395868
Nội dung được cung cấp bởi Art Gallery of Ontario. Tất cả nội dung podcast bao gồm các tập, đồ họa và mô tả podcast đều được Art Gallery of Ontario hoặc đối tác nền tảng podcast của họ tải lên và cung cấp trực tiếp. Nếu bạn cho rằng ai đó đang sử dụng tác phẩm có bản quyền của bạn mà không có sự cho phép của bạn, bạn có thể làm theo quy trình được nêu ở đây https://vi.player.fm/legal.
THE NEWS series 2017 acrylic on canvas Nine equally sized circle shaped paintings each with a two foot or 50 cm diameter displayed in a grid of three rows of three comprise this work. They use a bright neon palette of pinks, blues, greens and yellows; these are also a typical colour palette in KAWS’s depictions of graphic or cartoon-inspired works. Kaws uses opposing colours to create contrasts. These round canvases show layers of motifs used by KAWS. Each canvas is like a closeup of another work, in a way drawing focus to a particular aspect of something larger. They are dynamic and playful. Most of them have black outlined eyeballs that have x’d out pupils which take up half or more of the canvas. A third have eyelids and a couple have eyelashes. There is a tongue and digits of a hand and most have a line or wave of colour at the centre. They do not form an image when viewed all together, rather they present a detail that serves as the focal point for each canvas. On each canvas KAWS plays with optical illusions, the 3D effect of which can become apparent for many people if looking at the works with a fixed gaze. This is accomplished through the subtle addition of shadows which are painted on. These shadows create a sense of depth and aspects of the painting appear to pop out from the canvas.
…
continue reading
440 tập
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Art Gallery of Ontario
Audio recorded verbal descriptions provide an accessible and detailed narrative to extend your experience of the AGO. Explore the AGO facade and the artworks outside the building, Henry Moore's Two Forms and Brian Jungen's Couch Monster: Sadzěʔ yaaghęhch’ill. These descriptions, rich in detail and sensory language, provide a vivid exploration of form, texture, and artistic intention, ensuring that all visitors can engage deeply with these celebrated pieces of architecture and public art.…
Audio recorded verbal descriptions provide an accessible and detailed narrative to extend your experience of the AGO. Explore the AGO facade and the artworks outside the building, Henry Moore's Two Forms and Brian Jungen's Couch Monster: Sadzěʔ yaaghęhch’ill. These descriptions, rich in detail and sensory language, provide a vivid exploration of form, texture, and artistic intention, ensuring that all visitors can engage deeply with these celebrated pieces of architecture and public art.…
Audio recorded verbal descriptions provide an accessible and detailed narrative to extend your experience of the AGO. Explore the AGO facade and the artworks outside the building, Henry Moore's Two Forms and Brian Jungen's Couch Monster: Sadzěʔ yaaghęhch’ill. These descriptions, rich in detail and sensory language, provide a vivid exploration of form, texture, and artistic intention, ensuring that all visitors can engage deeply with these celebrated pieces of architecture and public art.…
AGO Exhibition Audio Tracks
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Art Gallery of Ontario
AGO Exhibition Audio Tracks
AGO Exhibition Audio Tracks
AGO Exhibition Audio Tracks
Sound clip of rowing in water
Tree of Life 1985 acrylic on canvas tarpaulin with metal grommets Private collection All images © Keith Haring Foundation This large painting is hung in landscape orientation and is approximately 10’ high x 12’ wide. It is created in Haring’s instantly recognizable style which repeats brightly coloured and stylised shapes outlined in black . Tree of Life is a painting of a large green tree contrasted against a bright pink background, underneath it, four yellow dancing figures are shown from the waist up. It is mounted directly to the wall with screws through grommets, 13 across and 11 high. The top two thirds of the painting are taken up by the trees leaves which sprout off two main branches that split off at the trunk. The branches corkscrew, as do twiggy offshoots. Each offshoot results in either an oval leaf shape with one line down the centre indicating the fold of the leaf shape or, sprouts a similar shape with an added round head and pumping arms with rounded hands on the ends. In total there are 9 tree leaf figures with arms bent at elbows and raised up and there are 12 leaves. The crown of the tree is painted so that it fills up the canvas giving it a rectangle shape. Outlining the tree leaves and bodies, are stacks of dashes which indicate movement and seem to cause the tree to visually quiver, vibrate and shake in a chorus of celebratory movement. Filling up all the available space around these shapes, Haring adds another familiar element. Straight black lines radiate outward around the heads of the tree leaf figures, using a visual shorthand for what could be interpreted as awareness, enlightenment, anger, confusion or something else. The following exhibition wall quote speaks to this: “I am interested in making art to be experienced and explored by as many individuals as possible, with as many different individual ideas about the given piece with no final meaning attached.” Keith Haring. Spread out in the lower third of the work are the head, torso and arms of four larger figures, two on each side of the tree trunk. Their arms are raised up with elbows bent, motion lines in effect. Their yellow bodies are filled in with a pattern of brighter orange squares. In the centre of their round heads in face position is a single black “x” shape. Some of Haring’s favorite party music can be heard emanating from a nearby room which celebrates his use of Day Glo paints. Day-Glo colors are shades of orange, pink, green, and yellow which are so bright that they seem to glow. The walls outside this room and in close proximity to Tree of Life are vertically striped in orange paint and pink Dayglo paint. They back a pair of architectural columns that Haring created and painted in a similar style. Also close by is a large triangular canvas entitled, “A Pile of Crowns for Jean-Michel Basquiat”, in which Haring pays homage to his contemporary, artist Jean Michel Basquiat. Haring has painted Basquiat’s signature symbol, a three pointed crown, in a triangular mound of crowns. It has black lines emanating outward around the pile. He includes a small letter c copyright symbol in the lower right corner of this work.…
Untitled 1984 acrylic and enamel on canvas The Broad Art Foundation, Los Angeles All images © Keith Haring Foundation During the 1980s, wealth inequality in the United States grew significantly under Ronald Reagan’s neoliberal trickle-down economics policies known as Reaganomics. Haring criticized greed and capitalism in several works featuring the image of the “capitalist pig.” This tarp painting portrays a pig spewing money-green vomit made up of computers, televisions, clocks, airplanes, and other modern-day objects. The green bile pools on the ground from which little figures climb, suckling the sickly pig’s teats. This work is a monstrous depiction of the struggle of production in an era when everything was deemed consumable.…
Untitled 1985 Acrylic and oil on canvas Courtesy of The Parker Foundation All images © Keith Haring Foundation Haring grew up and came out as a gay man during a time that encouraged increased freedom of sexual expression, largely fuelled by the counterculture, women’s rights, and gay liberation movements of the 1960s and 1970s. By the early 1980s, a new countermovement emerged that was led by conservative politicians and the religious right. Simultaneously, the AIDS epidemic was growing. Painted in 1985, this untitled work responds to these realities, showing a fiery hellscape of sexual aggression and torture. The theme of hell—often depicted with scenes of uninhibited sexuality—has been addressed throughout art history, from Auguste Rodin’s The Gates of Hell (1880–1917) to Hieronymus Bosch’s The Garden of Earthly Delights (1500s). Haring’s version remains true to his signature line, while also depicting a cast of human and animal figures as well as Christian symbols such as frogs, serpents, and angels.…
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Art Gallery of Ontario
The Great White Way 1988 acrylic on canvas The Keith Haring Foundation All images © Keith Haring Foundation Stretched in the shape of a penis, this massive painting is a critical visualization of what author bell hooks described as “imperialist white supremacist capitalist patriarchy.” The pink phallus is decorated with black lines that make up an intricate scene of weapons, violence, torture, and other abuses of power—a visual representation of the problems of Euro-American society. Haring’s title implies the white supremacist ideology underpinning these activities. The painting shows a phallocentric world in which profit and power in the name of “good” and God are used as tools of oppression. The Great White Way is a prime example of what is perhaps Haring’s greatest skill: the ability to make something look like shallow fun—in this case, a massive, cartoonish, pink, candy-striped penis—while simultaneously speaking truth to some of society’s foremost tyrannies.…
Untitled 1988 acrylic on canvas Private collection All images © Keith Haring Foundation This untitled work shows a human figure struggling to walk up a staircase while carrying a massive egg tied to its back. The egg is cracked and a sperm with devil horns bursts from its shell. The painting speaks profoundly to the AIDS epidemic that took the lives of so many within Haring’s community, including his own. Using monumental scale, a palette drained of colour, and graphic imagery, Haring represented the impossible weight of the AIDS crisis.…
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Art Gallery of Ontario
1 Discussion about the numbers of POWs housed on hulks near English ports between 1783 and 1815. 1:02
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1:02The AGO is home to the Thomson Collection of Ship Models: over 130 examples of miniaturized ships spanning hundreds of years of maritime history. One of the most important models in the collection is George Stockwell’s (1729-1805) 1774 model of the Bristol. Designed in 1768 and completed in 1775, the Bristol was a 50-gun fourth-rate ship of the line built for the Royal Navy amidst England’s war to suppress the independence movement in its American colonies. Image credit: British fourth-rate two-decker 50-gun warship: Bristol (detail) 1774 George Stockwell, (British, 1729-1805) Georgian Model, scale1:48 The Thomson Collection Art Gallery of Ontario, Toronto…
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Art Gallery of Ontario
1 French artist Ambroise Louis Garneray was imprisoned and negotiated a space to continue painting. 1:29
1:29
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1:29The AGO is home to the Thomson Collection of Ship Models: over 130 examples of miniaturized ships spanning hundreds of years of maritime history. One of the most important models in the collection is George Stockwell’s (1729-1805) 1774 model of the Bristol. Designed in 1768 and completed in 1775, the Bristol was a 50-gun fourth-rate ship of the line built for the Royal Navy amidst England’s war to suppress the independence movement in its American colonies. Image credit: British fourth-rate two-decker 50-gun warship: Bristol (detail) 1774 George Stockwell, (British, 1729-1805) Georgian Model, scale1:48 The Thomson Collection Art Gallery of Ontario, Toronto…
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Art Gallery of Ontario
The AGO is home to the Thomson Collection of Ship Models: over 130 examples of miniaturized ships spanning hundreds of years of maritime history. One of the most important models in the collection is George Stockwell’s (1729-1805) 1774 model of the Bristol. Designed in 1768 and completed in 1775, the Bristol was a 50-gun fourth-rate ship of the line built for the Royal Navy amidst England’s war to suppress the independence movement in its American colonies. Image credit: British fourth-rate two-decker 50-gun warship: Bristol (detail) 1774 George Stockwell, (British, 1729-1805) Georgian Model, scale1:48 The Thomson Collection Art Gallery of Ontario, Toronto…
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Art Gallery of Ontario
1 POWs make objects for sale such as ship models. 2:39
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2:39The AGO is home to the Thomson Collection of Ship Models: over 130 examples of miniaturized ships spanning hundreds of years of maritime history. One of the most important models in the collection is George Stockwell’s (1729-1805) 1774 model of the Bristol. Designed in 1768 and completed in 1775, the Bristol was a 50-gun fourth-rate ship of the line built for the Royal Navy amidst England’s war to suppress the independence movement in its American colonies. Image credit: British fourth-rate two-decker 50-gun warship: Bristol (detail) 1774 George Stockwell, (British, 1729-1805) Georgian Model, scale1:48 The Thomson Collection Art Gallery of Ontario, Toronto…
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Art Gallery of Ontario
1 POW Lieutenant Hanyard from the French Navy writes to the Duke of Portland asking to be freed. 1:35
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Nghe Sau
Danh sách
Thích
Đã thích
1:35The AGO is home to the Thomson Collection of Ship Models: over 130 examples of miniaturized ships spanning hundreds of years of maritime history. One of the most important models in the collection is George Stockwell’s (1729-1805) 1774 model of the Bristol. Designed in 1768 and completed in 1775, the Bristol was a 50-gun fourth-rate ship of the line built for the Royal Navy amidst England’s war to suppress the independence movement in its American colonies. Image credit: British fourth-rate two-decker 50-gun warship: Bristol (detail) 1774 George Stockwell, (British, 1729-1805) Georgian Model, scale1:48 The Thomson Collection Art Gallery of Ontario, Toronto…
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Art Gallery of Ontario
The AGO is home to the Thomson Collection of Ship Models: over 130 examples of miniaturized ships spanning hundreds of years of maritime history. One of the most important models in the collection is George Stockwell’s (1729-1805) 1774 model of the Bristol. Designed in 1768 and completed in 1775, the Bristol was a 50-gun fourth-rate ship of the line built for the Royal Navy amidst England’s war to suppress the independence movement in its American colonies. Image credit: British fourth-rate two-decker 50-gun warship: Bristol (detail) 1774 George Stockwell, (British, 1729-1805) Georgian Model, scale1:48 The Thomson Collection Art Gallery of Ontario, Toronto…
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Art Gallery of Ontario
1 Conditions on board the hulk and a POW warns of the dangers of gambling. 3:04
3:04
Nghe Sau
Nghe Sau
Danh sách
Thích
Đã thích
3:04The AGO is home to the Thomson Collection of Ship Models: over 130 examples of miniaturized ships spanning hundreds of years of maritime history. One of the most important models in the collection is George Stockwell’s (1729-1805) 1774 model of the Bristol. Designed in 1768 and completed in 1775, the Bristol was a 50-gun fourth-rate ship of the line built for the Royal Navy amidst England’s war to suppress the independence movement in its American colonies. Image credit: British fourth-rate two-decker 50-gun warship: Bristol (detail) 1774 George Stockwell, (British, 1729-1805) Georgian Model, scale1:48 The Thomson Collection Art Gallery of Ontario, Toronto…
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Art Gallery of Ontario
1 A Prisoner of War (POW) orientates a new prisoner and excerpts from a POW’s memoir. 2:15
2:15
Nghe Sau
Nghe Sau
Danh sách
Thích
Đã thích
2:15The AGO is home to the Thomson Collection of Ship Models: over 130 examples of miniaturized ships spanning hundreds of years of maritime history. One of the most important models in the collection is George Stockwell’s (1729-1805) 1774 model of the Bristol. Designed in 1768 and completed in 1775, the Bristol was a 50-gun fourth-rate ship of the line built for the Royal Navy amidst England’s war to suppress the independence movement in its American colonies. Image credit: British fourth-rate two-decker 50-gun warship: Bristol (detail) 1774 George Stockwell, (British, 1729-1805) Georgian Model, scale1:48 The Thomson Collection Art Gallery of Ontario, Toronto…
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Art Gallery of Ontario
The AGO is home to the Thomson Collection of Ship Models: over 130 examples of miniaturized ships spanning hundreds of years of maritime history. One of the most important models in the collection is George Stockwell’s (1729-1805) 1774 model of the Bristol. Designed in 1768 and completed in 1775, the Bristol was a 50-gun fourth-rate ship of the line built for the Royal Navy amidst England’s war to suppress the independence movement in its American colonies. Image credit: British fourth-rate two-decker 50-gun warship: Bristol (detail) 1774 George Stockwell, (British, 1729-1805) Georgian Model, scale1:48 The Thomson Collection Art Gallery of Ontario, Toronto…
THE NEWS series 2017 acrylic on canvas Nine equally sized circle shaped paintings each with a two foot or 50 cm diameter displayed in a grid of three rows of three comprise this work. They use a bright neon palette of pinks, blues, greens and yellows; these are also a typical colour palette in KAWS’s depictions of graphic or cartoon-inspired works. Kaws uses opposing colours to create contrasts. These round canvases show layers of motifs used by KAWS. Each canvas is like a closeup of another work, in a way drawing focus to a particular aspect of something larger. They are dynamic and playful. Most of them have black outlined eyeballs that have x’d out pupils which take up half or more of the canvas. A third have eyelids and a couple have eyelashes. There is a tongue and digits of a hand and most have a line or wave of colour at the centre. They do not form an image when viewed all together, rather they present a detail that serves as the focal point for each canvas. On each canvas KAWS plays with optical illusions, the 3D effect of which can become apparent for many people if looking at the works with a fixed gaze. This is accomplished through the subtle addition of shadows which are painted on. These shadows create a sense of depth and aspects of the painting appear to pop out from the canvas.…
UNTITLED (HARING) 1997 acrylic on existing advertising poster This large portrait orientation work is a painting done on a black and white poster. The original poster features a photograph of artist Keith Haring. In this framed work the height of an average person and 4 feet wide Haring is captured larger than life from the waist up. He is in profile facing left, drawing on a blank area on the left of a subway ad displayed inside a subway station. Haring is a white man with short curly mid-tone hair. He wears glasses and a leather jacket with the word champion on a patch on his left sleeve. He is drawing with chalk onto a dark background with his right hand. The drawing resembles both a cowboy hat and a UFO, and he is connecting it to a pyramid with a series of vertical dashes. On the right the ad appears to say, “now roast without risk” above a photo of a dark roast turkey. KAWS has painted onto this poster in an uncomplicated cartoonish style. Here he has added a character named “Bendy”. Bendy looms over Haring’s shoulder as he works. Bendy is a yellow creature with a big head with x’s for eyes, commas for nostrils and grey crossbones shaped protrusions. Bendy’s head narrows to a serpentine body which wraps under Haring’s right arm and around his body once and through his open left hand held at waist height as if Haring is grasping onto its tail directly in front of him. KAWS has signed the work with the year “97” and a copyright symbol and written what looks to be Keith Haring’s name but only the Keith is visible. This work is hung in between two other pieces which are existing advertising posters that KAWS painted over.…
KAWS in Galleria Italia Sculpture in Wood KAWS born Jersey City, New Jersey, United States, 1974 These sculptures are situated in Galleria Italia, a city-block-long 4 meter or 14 foot wide east/west thoroughfare in the Gallery building. There is a two storey window wall on the north side and warm brown coloured wood paneling on the south. Although they are placed without barriers the works are not intended to be touched and a recommended distance to be held of 1 meter or three feet is indicated. At a short distance from the passageway between the Signy Eaton gallery and the ramp on the western end of Galleria Italia is the first of three playful works called FINAL DAYS, the second is called ALONG THE WAY and the third, AT THIS TIME. All three larger than life size statues feature the character KAWS has dubbed COMPANION. The sculptures are solid, and glossed to a high shine with a veneer finish, giving them a silky appearance. They show wood grain and a vertical rectangle assembly much like a hardwood floor. The statue figures are smooth with slightly rotund torsos and perfectly round legs. Their short gloves have a bulge at the cuff, and their hands have three fingers and a thumb. They wear smooth rounded shoes that bulge above the ankle. The letter X motif is also carved on the backs of their gloves and tops of their shoes. With its cartoonish gloves, oversized shoes, and large-buttoned shorts, it bears an intentional resemblance to Walt Disney Studios mascot Mickey Mouse. The notable exception is the mouse head, which in the “COMPANION” character is replaced with a “soft skull” and crossbones and carved X’s for eyes. In these sculptures, KAWS’s ”Companion” figures veer toward the human in their poses and their implied pathos. The first work diagonally faces us at the left of the walkway near to the window wall. FINAL DAYS 2014 Afromosia wood Here, the character of “COMPANION” is slightly taller than average person standing height and uniquely has a small cottonball shaped tail, and does not wear gloves or shoes or have buttons on its shorts. It steps forward on its left leg with arms extended. Its arms are held wide to the side with palms vertical and fingers slightly curled reaching in joy or perhaps stretching for balance as it moves. The next sculpture stands 35 feet further east up against the south wall and faces the windows. ALONG THE WAY 2013 Afromosia wood This 8 feet tall and 6 feet wide statue is wood with a black finish. It has two “COMPANION” figures who stand side by side as one supports the other. The figure on the right is completely limp from mid back up and appears zapped of energy, strength or both; it uses it’s right arm to hold onto the supporting figure’s shoulder. The supporting figure braces the limp figure by leaning its body towards it. The supporting figure also holds it’s left hand on the small of the limp figures back in a consoling gesture. 30 feet further and centred in the walkway is the last physical statue towards the middle of Galleria Italia. It is placed nearest to the window wall and faces us. AT THIS TIME 2013 Afromosia wood The largest COMPANION character statue is a medium brown wood colour and stands nearly 8 and a half feet tall. The figure stands feet together, body slightly bent backwards with its head tilted up and back. Elbows wide, COMPANION’S gloved hands reach up and shroud its face.…
MAN’S BEST FRIEND 2014 acrylic on paper This work is a massive gridded rectangle of 50 black and white line drawings. The width of the work is about 3 king size mattresses and it is almost one and a half mattresses high nearly reaching the Gallery ceiling. Each framed drawing is 22 inches tall and 18 inches wide. The grid is composed of two dimensional line drawn characters from Peanuts which resemble Snoopy, a familiar comic strip character which is a Black-spotted white beagle and Snoopy‘s friend, a small bird named Woodstock. In each of the close-ups the character’s eyes are replaced by x’s, in KAWS’s trademark X shape. Recognizable in the paintings are: the spiky feathers on the top of Woodstock’s head, Snoopy’s water bowl, the side of Snoopy’s head and floppy letter U shaped ear, Snoopy‘s short pointy tail and back foot as he walks upright, the top of Snoopy‘s head with a Mountie hat on it, his black dot of a nose, and his up-curving-line wide smile and various extreme close-ups of his eyes marked as an X. The wall on which this work is hung and two adjacent walls on either side are covered in outsized black lines that look as if they were made with a giant black pen that leapt off of one of the drawings and danced around on the walls with explosive energy. Nearby on either side of the work are sculptures called SHARE and TAKE. On the left is SHARE. SHARE features KAWS’s “Companion” Character standing holding another character dubbed “BFF” which is toy sized and dangles from it’s left hand like a stuffed animal. BFF is bright blue and resembles Sesame Street muppets like Cookie Monster or Elmo. It has bulging eyes atop it’s head with x’s for pupils a round yellow nose and a fuzzy frame like a soft toy. On the right of the grid of drawings, in the opposite corner, the sculpture titled TAKE swaps the two characters; a large BFF stands and clutches a small toy sized COMPANION character to its chest.…
GOOD INTENTIONS 2015 bronze and paint Collection of the Madison Group, Courtesy Corkin Gallery GOOD INTENTIONS is a sculpture, presenting two identical figures which stand closely side by side on a low riser against the wall. The one on the right stands at 7 feet tall.The one on the left is smaller reaching the right figure’s waist and hides, childlike, behind it’s leg. They are various shades of matte grey and white. The features and style of these figures are those of a character which KAWS has dubbed quote “COMPANION” . With its white cartoonish gloves, oversized shoes, and large-buttoned shorts, it bears an intentional resemblance to Walt Disney Studios mascot Mickey Mouse. The notable exception is the mouse head, which in the “COMPANION” character is replaced with a white “soft skull” and grey crossbones with black X’s for eyes. The figures are smooth with slightly rotund torsos and perfectly round legs. They wear brownish grey shorts with two palm sized circles in the front like buttons where suspenders might attach. Their short gloves have a bulge at the cuff, and their hands have three fingers and a thumb. They wear smooth rounded shoes that bulge above the ankle. The taller figure on the right stands with its right foot slightly forward. From behind, the smaller figure holds onto the taller figure’s right leg , threading its hand between the taller figure’s legs and leaning in as a child might do. The taller figure twists to hold its right hand behind the smaller figure’s head, shielding it or pulling it close in what could be perceived as a protective gesture. These two figures in KAWS’s “COMPANION” character style, share signature traits with other characters in the KAWS Family: Letter X’s etched into their heads instead of eyes and the same X motif on the backs of their gloves and tops of their shoes. Their large heads are in the style of a cartoon skull with two divots for nostrils and knobby “crossbone” protrusions on the sides of their heads. At the bottom of their heads they have 4 rounded bumps with teeth-like gaps. In the room around them KAWS‘s “Kimpsons” characters are displayed. These are liberal appropriations of characters from the popular long running tv show The Simpsons which are instantly recognizable. The Kimpsons have X’s for eyes and other traits KAWS has created that make up his signature style.…
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Art Gallery of Ontario
Wood Green and Broadstairs, 1903, from Gower Sketchbook, graphite and watercolour on wove paper, Art Gallery of Ontario, Gift of Jane and John McNicoll, 2002, 2002/9441. Displayed on a table and under Plexiglas, this is one of 8 sketchbooks at the centre of the last room in the exhibition. This room displays the two artists' works in their own right. A series of five colour prints on paper by Cassatt are on one wall, and on the others are paintings from McNicoll’s travels of landscapes and figures. The vertically oriented sketchbook is 20 cm tall by 16 cm wide and is open to a small watercolour sketch and life drawings of figures in pencil on both of its off-white pages. In the right upper half of the top page is the watercolour which is slightly larger than a business card. Two thirds is of a dramatic sky with towering grey clouds and one patch of pastel blue near the top. The lower third is a landscape with still waters on the left and a sandy beach and an escarpment rising on the right. Patches of grey, blue and brown dot the beach and indicate bathers at the shore. Under the watercolour is a sketch of the rear view of a child holding a pail and walking in the sand wearing a sunhat with a ribboned band. In a sketch to the left, another child, also seen from behind, sways in a swimming dress with horizontal stripes. To the top left and bottom right of the bottom page are inscriptions. The writing at the top left reads: Wood Green May 1903. Under this are three rear view sketches of a barefoot adolescent figure in a skirt. One is standing with their arms in front of them, presumably carrying something. The remaining two sit perched on a ledge, with one facing left with their left knee raised to also rest on the wall. Writing at the bottom right reads Broadstairs 1903. Spaced around the bottom page are 6 walnut sized sketches of scenes that the artist would have seen during a trip to Broadstairs, on the coast of England. Two depict a child in a sun hat playing with a bucket on the beach. Four are of a person in what resembles a long wool bathing dress and beret-shaped swimming cap. They alternately sit up and recline, leaning on an elbow in the sand, with two sketched as outlines with only a few short strokes of pencil. Around 60 additional images from all the sketchbooks are shown on a monitor mounted on the wall nearby. The other sketchbooks in the case are opened to show drawings such as: sketches of models, females in the nude and males wearing only loincloths, seaside landscapes and village scenes, pencil portrait sketches, a young boy leaning on a staircase, women beside an easel talking in an art class, and a man standing behind a tripod with a surveyor’s instrument called a Survey Transit Telescope.…
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Art Gallery of Ontario
Portrait of Madame J (Young Woman in Black), 1883, oil on canvas, Collection of the Maryland State Archives, MSA SC 4680-10-0010. This work is one of 5 spotlit paintings in this section of the exhibition which has 5 angled walls, giving each work its own wall. Here, each of three works by McNicoll and two by Cassatt present us with an elegantly dressed woman posed indoors. In three paintings the woman is positioned on or beside a Chintz sofa or chair. This work is 80 by 64 cm hung and in portrait orientation. The work is framed by a gold-coloured wood frame which is 10 cm wide and embellished with carved rope and ribbon patterns. A slim young white woman sits forward on an upholstered chair in a tasteful interior. She rests her left elbow on the arm of the chair and gazes off to the left, thinking. The young woman is dressed in a black, long sleeve riding jacket. It has a high collar with a small decorative swatch of white fabric at the left of her neck. Her dark hair is almost completely covered by a short brimmed black hat with feathers and a thin veil which comes down to just under her lips. The veil gives her face a light greyish hue, making her face appear to be bright between the blacks of her outfit. Her lips are rosy and suggest a slight smile. The chair’s fabric is pale yellow with a floral pattern in red and dark green. Thick, long brushstrokes create the flowers and leaves of the fabric behind the woman and in a small triangle between her side and the bend of her elbow on the armrest. The wall behind her is a brownish purple of mauve and taupe hues with two horizontal lines of gold chair rail moulding on it. Hung above this and behind the top of her hat is a rectangular artwork. Against a white background it features the shape of an arch in brown and yellow which resembles the shape of a handheld fan when opened. The artist's signature is in black at the bottom right of the work. Also on display nearby is a video of a discussion in ASL between artists Rae Rezwell and Peter Owusu-Ansah about the work of McNicoll who was also d/Deaf.…
Francoise in Green, Sewing, 1908–1909, oil on Canvas, Montgomery Museum of Fine Arts, Montgomery, Alabama, Gift of the Ida Belle Young Art Acquisition Fund, 2009.0006. Nearby other works in which young working-class children are dressed and posed as upper-class children, this painting captures a fair-skinned white girl of about 10 seated, opulently dressed, and engaged with her sewing pastime. This work is 81 by 65 cm and hung in portrait orientation. The work is framed by a gold-coloured wood frame which is 12 cm wide and embellished with carved decorative reliefs. The girl has fine brown hair parted at the side and falling over her shoulder in loose ringlets. Her hair is held back with a red bow over her left ear. She looks down at her fingers, a hands-length from her face, as they presumably thread a needle. Her top is a cape or shawl-like lacy construction that appears through the painting technique to be like frothy foamy water with layers of bright white peeping through blues, greys and muted white brushstrokes. Her green skirt fills the bottom third of the painting, thick brushstrokes cascade its four vertically striped tiers down towards the observer in a symphony of greens. Sunlight spills into the scene from the left above the girl’s shoulder, highlighting the skirt and giving it a satiny glow. Her temple, cheek, shoulder and arm are also lit, giving them a smooth appearance in contrast to the blurred edges of the painting technique. The light also touches the back and arm of the padded, wide, King Louis the 16th style wooden chair she sits on. The chair back is a brownish grey fabric and has a lightly sketched floral pattern set in a decoratively carved thick wood frame. Behind her on the left is a bright green drape, and to the far right past her shoulder is the edge of a wall. Between them, a glimpse into another room with a muted yellow patterned rug, a chair back, and a section of mantlepiece against a far wall. The artist's signature is in dark blue at the bottom right of the work.…
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