More stories

  • in

    Vivid Paintings by Artist Jessica Spence Highlight the Beauty of Black Hair

    
    Art

    #beauty
    #hair
    #painting
    #portraits

    July 13, 2020
    Grace Ebert

    “Braids and Barrettes” (2018 ), acrylic on canvas. All images © Jessica Spence
    Through stunning renderings of Black children and women, Jamaican-American artist Jessica Spence explores the beauty of finished braids, twists held in place with plastic barrettes, and perfectly laid edges. Her acrylic paintings generally depict a single subject, who often is turned away from the viewer, centering the hair and how it’s presented rather than the person’s face. Spence focuses on the intricacies of each lock, comparing the styling process to that of painting. “I nurtured each brushstroke like I would a strand of hair, a two-strand twist, or a braid,” she shares with Colossal.
    Based in New York, the artist imbues her paintings with social commentary derived from her own experiences and from those around her. She considers the impossibility of beauty standards, by saying:
    I was inspired to create my current body of work on Black hair in response to the discrimination and chastising experience of many Black women and girls in spaces such as the workplace or schools… The paintings show the beauty and versatility of these hairstyles and highlight the significance of hair in Black culture, while also highlighting these intimate experiences and routines of daily life.
    For more of Spence’s vivid depictions, follow her on Instagram, where she often shares news on upcoming exhibitions and prints available for purchase. (via The Jealous Curator)

    Left: “Twists and Barrettes” (2019), acrylic on canvas, 24 x 24 inches. Right: “Laid” (2019), acrylic on canvas, 24 x 24 inches
    “Sore Arms” (2017), acrylic on canvas, 36 x 36 inches
    Left: “Fearless/Fear-Less” (2019), acrylic on canvas, 30 x 30 inches. Right: “Weekends at Auntie’s” (2018), acrylic on canvas, 40 x 40 inches
    “Sunday Evening” (2017), acrylic on canvas, 36 x 36 inches

    #beauty
    #hair
    #painting
    #portraits

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

     
    Share this story
      More

  • in

    The Descendants: Photographer Drew Gardner Recreates Portraits of Historically Significant Figures

    
    Art
    History
    Photography

    #DNA
    #family
    #portraits

    July 10, 2020
    Grace Ebert

    Thomas Jefferson, by Rembrandt Peale, 1800. Shannon LaNier, Jefferson’s sixth-great grandson. All images © Drew Gardner, shared with permission
    To prepare for a recent portrait, Shannon LaNier pulled a black coat over his head and wrapped a thick, layered collar around his neck, a costume to match what Thomas Jefferson wore in an iconic 18th-century painting. The Houston news anchor was participating in an ongoing series by British photographer Drew Gardner that recreates photographs, paintings, and other images of historical figures by styling their descendants in similar garb. LaNier’s photograph is particularly significant, though, because he’s the sixth-great grandson of Jefferson and Sally Hemmings, who the third U.S. president enslaved and forced to bear his children, a story that’s long been left out of historical narratives.
    Titled The Descendants, the project is a visual excavation of Western history that questions what remains after generations pass. The relatives of historically significant people are, for the most part, out of the spotlight, but as the photographer notes, their ancestors’ “DNA is walking down the street.”

    Irina Guicciardini Strozzi, the 15th great granddaughter of Lisa del Giocondo. The Mona Lisa by Leonardo DaVinci
    The project began about 15 years ago when Gardner’s mother mentioned that he resembled his grandfather. Although the current project has diverged from simple likeness—the photographer notes that similar features are not a requirement when searching for descendants—he hopes to inspire questions about people’s legacies. “I am not saying they look like their forebears,” he notes. “I’m encouraging a debate. I want to provoke a conversation that makes people curious about history.” Since its inception, he’s photographed relatives of Frederick Douglass, Lisa del Giocondo, Berthe Morisot, and Napoleon.
    Gardner’s criteria for choosing subjects is strict: the historical figure must be widely known to the public and have made a significant impact that goes beyond simple celebrity. The next step involves tracking down paintings, photographs, and other realistic representations of the person, which eliminates a considerable number of prospects—originally, Gardner hoped to recreate an image of Pocahontas but soon realized that only a woodcut existed. The photographer then searches for living family members, sometimes working through more than a dozen generations to find someone within 15 years of age of the forebear. Often with the help of museums and other institutions dedicated to historical preservation, he contacts the relative to ask if they’ll pose for a portrait.

    Frederick Douglass. Kenneth Morris, Douglass’s third-great grandson.
    To maintain the integrity of the original image, the costumes and props are vintage, when possible. Some elements, though, like the massive, rusted chains forming the backdrop of Isambard Kingdom Brunel’s portrait from 1857, don’t exist anymore. When the authentic items aren’t available, Gardner recreates them in physical or digital form.
    For LaNier’s portrait, though, the situation was different. While he is dressed similarly to Jefferson, he diverges because he chose to forgo the wig his sixth-great grandfather wore.  “I didn’t want to become Jefferson,” he told Smithsonian Magazine. The result is a striking set of portraits that explore historical truths. “Jefferson may have been a founding father, but I am an image of what his family has now become,” LaNier says in an interview about the experience. “You look at my family and you see every color in there, as you will see from many family’s that have come from slavery.”
    Although the pandemic has changed his immediate plans for upcoming recreations, Gardner is hoping to release more pieces in 2021, which you can follow on Instagram. For those interested in a behind-the-scenes look at his process,  Smithsonian Magazine has released videos of the Douglass, Jefferson, and Elizabeth Cady Stanton shoots.

    Lucie Rouart, great granddaughter of Morisot. Berthe Morisot, by Edouard Manet, 1872
    Isambard Thomas, Brunel’s thrid-great grandson. Isambard Kingdom Brunel, portrait by Robert Howlett, 1857, © National Portrait Gallery
    Gerald Charles Dickens, Dickens’ great, great grandson. Charles Dickens, portrait by Herbert Watkins, 1858, © National Portrait Gallery
    Tom Wonter, Wordsworth’s fourth-great grandson. William Wordsworth, portrait by William Shuter, 1798, © Cornell University
    Helen Pankhurst, Pankhurst’s great granddaughter. Emeline Pankhurst, women’s rights activist.
    Hugo de Salis, fourth-great grandson of Napoleon. Napoleon in his study, by Jacques-Louis David, 1812, © National Gallery of Art, Washington D.C.

    #DNA
    #family
    #portraits

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

     
    Share this story
      More

  • in

    Berries, Cookies, and Salami Slices Anonymize Vintage Portraits by Digital Artist Harriet Moutsopoulos

    
    Art
    Food

    #collage
    #portraits
    #surreal

    July 9, 2020
    Grace Ebert

    “Idaeus,” 20 x 24.01 inches. All images © Harriet Moutsopoulos, shared with permission
    Telling someone that there’s an errant herb stuck between their teeth or a dot of sauce just below their lip is likely to spur embarrassment, so noting that they’re covered in egg or raspberry or a gloopy mound of ketchup might be too much to bear. Harriet Moutsopoulos, though, helps her subjects save face by completely masking their distinct features with singular bites of fruit, bowls of ice cream, and slices of salami, ensuring their anonymity.
    The Australian artist, who works under the name Lexicon Love, combines found portraits and edibles into strange collages. Although her techniques are digital, Moutsopolous often considers analog practices, preferring basic technologies to programs like Photoshop or Illustrator. She also imposes limits of two or three elements to maintain the integrity of each piece. “The most significant challenge for me is giving each artwork the slight imperfections of hand and the general look and feel of being made entirely from traditional, analog practices,” she says.
    Moutsopolous tells Colossal that she’s “drawn to the surreal and unsettling and try to inject that into my work where possible, always seeking out the unexpected connections between humor and tragedy.” At times both comical and unsettling, the bizarre compilations inspire questions about the subjects’ identities. “On the surface, this absurd combination appears to reject any sense of reason (an extension of my own twisted sense of humor). However, obscuring the faces of my portraits with food is designed to not only challenge traditional notions of beauty but also to provoke, tease, and confuse the observer,” the artist says.
    Pick up one of Moutsopoulos’s prints on her site, and follow her future food-covered assemblages on Instagram. (via Inag)

    “Protogonus,” 20 x 24.01 inches
    “Carry on Regardless,” 20 x 24.01 inches
    “Cancelled,” 20 x 24.01 inches
    “You Win Again,” 20 x 20 inches
    “First Love,” 20 x 24.01 inches
    “Lorem Ipsum,” 20 × 24.01 inches
    “Dog’s Balls,” 20 x 24.01 inches

    #collage
    #portraits
    #surreal

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

     
    Share this story
      More

  • in

    In Bright Paintings Full of Color, Artist Otis Kwame Kye Quaicoe Depicts Black Subjects in Gray

     “Sitter” (2019), oil on canvas, 86 x 54.75 inches. Photo by Robert Wedemeyer. All images © Otis Kwame Kye Quaicoe and Roberts Projects, Los Angeles, shared with permission For Otis Kwame Kye Quaicoe, pastel backdrops and numerous shades of orange, blue, and pink directly connect to the Black subjects depicted in his oil paintings. […] More

  • in

    Ornate Fabrics Cloak Models in Disquieting Portraits by Artist Markus Åkesson

     “The Grove” (2020), oil on canvas, 180 x 140 centimeters. All images © Markus Åkesson, shared with permission Swedish artist Markus Åkesson enshrouds his subjects in elaborately patterned silks and satins, leaving only the impression of their faces, limbs, and torsos visible. An extension of his ongoing Now You See Me series, the artist’s latest paintings […] More

  • in

    Solemn Faces Emerge from Hazy Portraits by Artist GyoBeom An

     All images © GyoBeom An, shared with permission Rendered in thick pencil, a new series of portraits by Seoul-based artist GyoBeom An feature models’ faces obscured in a monochromatic haze. While the distinct characteristics remain, a smudged overlay casts each subject in a blur. An tells Colossal that he begins with a figurative drawing […] More

  • in

    Hand-Tufted Patches of Color Form Lush Fiber Portraits by Artist Simone Saunders

     “Black Lives Matter II,” 23 x 32 inches. All images © Simone Saunders, shared with permission Alberta-based artist Simone Saunders hand-tufts bold, colorful portraits with themes of identity and Black history woven throughout. Crafting vibrant patches of fibers that form eyes, lips, and garments, Saunders casts her earnest subjects against austere backgrounds, which sometimes […] More