Bk Kirwan Bk Kirwan BkKirwan artunderpressure
BkKirwan artunderpressure
gacougnol:

Aspen Magazine N°9
Edited by Angus MacLise and Hetty MacLise
Published Winter-Spring 1971
Roaring Fork Press, NYC

gacougnol:

Aspen Magazine N°9
Edited by Angus MacLise and Hetty MacLise
Published Winter-Spring 1971
Roaring Fork Press, NYC

blastedheath:

Emil Nolde (German, 1867-1956), Italiener, 1906. Woodcut, 7.2 x 13 cm.

blastedheath:

Emil Nolde (German, 1867-1956), Italiener, 1906. Woodcut, 7.2 x 13 cm.

ymutate:

Gretel Stephens: Luxe 2009
found at: gretelstephens.com

ymutate:

Gretel Stephens: Luxe 2009
found at: gretelstephens.com
justanothermasterpiece:

Giuseppe Berni.

justanothermasterpiece:

Giuseppe Berni.

justanothermasterpiece:

Giuseppe Berni.

justanothermasterpiece:

Giuseppe Berni.

patrickschierer:

 Akiyama Yô. Metavoid 6.
Thrown, gas-burned, cut, folded and slip-assembled stoneware. 

patrickschierer:

 Akiyama Yô. Metavoid 6.

Thrown, gas-burned, cut, folded and slip-assembled stoneware. 

justanothermasterpiece:

Caitlin Lonegan.

justanothermasterpiece:

Caitlin Lonegan.

mrkiki:

Xavier Grau
Off Minor V. 1997Acrílico sobre tela. 195 x 165 cm.
VIA

mrkiki:

Xavier Grau

Off Minor V. 1997
Acrílico sobre tela.
195 x 165 cm.

VIA

darksilenceinsuburbia:

Maja Ruznic

From The Removal of Fingers and Other Body Parts


In this new work, I look at how the woman’s body has historically been used in war as a site to assert power through rape and a vehicle for inter-generational trauma.  Inspired by the writings of Julia Kristeva, I made paintings that explore the elements of war and violence that continue to ooze long after the violence has ended.  Kristeva defines the abject as something that provokes disgust, a human reaction to a threatened breakdown in meaning caused by the loss of the distinction between subject and object or between self and other.  Kristeva associates the abject with the eruption of the Real into our life—the Real being the materiality that shows us our own death.  Her writing creates an opening for me to look at how women who have been raped in war carry guilt and shame for the rest of their lives and continue to be degraded by their communities.  The figures in my narrative paintings are broken, defeated and dirty.  Some of the figures have missing limbs and it is difficult to differentiate between the victim and the aggressor.  I blur the line to show how in times of war, aggressors can become emotionally vacuous while before the war they were “healthy” men.  Traumatic events usually leave both individuals—the victims as well as the aggressors emotionally scarred.  Despite their embodied traumas, I have imbued these figures with a redemptive quality and given the abject within them a place to thrive.  (artist statement)

1. And She Carved Him Out Herself

2. Bath Time

3. On His Way

4. Accident

5. The Big Purge

Via

 

blastedheath:

Fiona Rae (British, b. 1963), We go in search of our Dream….., 2007. Oil and acrylic on canvas, 84 x 69 in.
via julienfoulatier

blastedheath:

Fiona Rae (British, b. 1963), We go in search of our Dream….., 2007. Oil and acrylic on canvas, 84 x 69 in.

via julienfoulatier