Screen prints done today… part of our upcoming project with Antoine Larrey. More pics soon…
Available soon : www.mauditcailloueditions.com
can’t wait for this
Australian photographer Ward Roberts has caught our eye, with his older series of work titled, Courts. In a beautiful collision of line, colour and symmetry, the series documents the simultaneously dense and empty expanses of sporting fields and courts around the world. Once populated and well-used, Courts makes a quiet comment on our indoors-y tendencies and abandonment of outdoor activities.
We’re drawn in by the bold pastels, colour codes and beautiful architectural structures which surround and complement the environments.
Enjoy more of Ward Roberts’ work here.
Once I was bothered… Now I’m not #basicbitches
things i told the internet, but didn’t tell my mom
35mm film scans
some pictures about my backwards concept of privacy.
i. it’s getting bad again
ii. this week i am struggling with self doubt and the transition from iced coffee to hot coffee
iii. i want to puke and sleep for six days
iv. i still can’t sit on your couch without shaking
v. i need other people to validate that i am important because i can’t do it for myself
vi. no one else has ever told me that i am desirable with the lights on
"What is interesting, is that the Frida Kahlo venerated by American feminists is a very different Frida Kahlo to the one people learn about in Mexico, in the Chicano community. In her country, she is recognized as an important artist and a key figure in revolutionary politics of early 20th century Mexico. Her communist affiliations are made very clear. Her relationship with Trotsky is underscored. All her political activities with Diego Rivera are constantly emphasized. The connection between her art and her politics is always made. When Chicana artists became interested in Frida Kahlo in the ‘70s and started organizing homages, they made the connection between her artistic project and theirs because they too were searching for an aesthetic compliment to a political view that was radical and emancipatory. But when the Euro-American feminists latch onto Frida Kahlo in the early ‘80s and when the American mainstream caught on to her, she was transformed into a figure of suffering. I am very critical of that form of appropriation."
Coco Fusco on her Amerindians piece from 1992 with Guillermo Gómez-Peña (via cosmicspread)