Zacharias Heyns. Emblemata. 1625.
Box, ca. 1910–20 by Marie Zimmermann (American, 1879–1972)
Burgonet by Filippo Negroli, Milan c. 1543 via The Metropolitan Museum of Art (OASC)
Dans les cendres
(In the Embers)
Do you work in a shared printmaking studio? Yes?
Then chances are there is a sign in that studio somewhere with angry letters screaming silently, desperately, ineffectually: “DO NOT GOUGE THE INK!”
I want to see your signs! Take a photo, post them, and tag them “do not gouge the ink”, or submit them to me using the “submit!” button and I’ll publish them.
Kiki Smith, Lilith 1994In medieval Jewish lore, Lilith was Adam’s first wife. When she demanded to be Adam’s equal, she was evicted from the Garden of Eden. Lilith flew away to the demon world, replaced by the more submissive Eve. Most statues receive our gaze passively, but Lilith stares back with piercing eyes, ready to pounce.
Joseph Beuys, Torso, 1949/51. Installation während der Zeitgeist-Ausstellung (1982-3) im Innenhof des Martin-Gropius-Bau, Berlin. Aus Joseph Beuys im Wilhelm-Lehmbruck-Museum, Duisburg.
Quita Brodhead, Nude (1930)
I came away from “Quita Brodhead: Bold Strokes” wondering how it is possible that I had not heard of her in the past. She is as least as good as many more renowned abstract painters, the vast majority of whom are male. Was it a matter of timing, as many of her works post-date the artists they are inspired by, or a matter of all-too-common overlooking by the establishment? In her excellent article “Quita Brodhead: Capturing the Vibes of the Twentieth Century,” Barbara Wolanin notes that Brodhead was involved in a good many small-scale shows in the tri-state area, Washington, DC, and Paris towards the end of her life, and has been collected by the Philadelphia Museum of Art, the Pennsylvania Academy of the Fine Arts, and the Delaware Art Museum. Yet where is Brodhead’s place amid modernist masters?
WILHELM LEHMBRUCK - Kneeling, Small (Kniende, klein), 1910, drypoint
Courtesy National Gallery of Art, Washington