The copyright law allows for usage of work that has been copyrighted under the terms of fair use without the permission of the copyright holder. The courts use the word “transformative”
Maurice Berger is a writer, cultural historian, and curator whose work focuses on the intersection of race and visual culture. He is research professor and chief curator at the Center for Art, Design, and Visual Culture at the University of Maryland, Baltimore County. Race Stories, his monthly column, for the Lens section of the New York Times, explores the relationship of photography to concepts and social issues about race not usually covered in the mainstream media. His writings have appeared in Artforum, Art in America, Aperture, Village Voice, Brooklyn Rail, Pen America, Wired, National Geographic, and the Los Angeles Times. His books include White Lies: Race and the Myths of Whiteness (Farrar, Straus and Giroux, 1999), a finalist for Horace Mann Bond Book Award of the W.E.B. Du Bois Institute for Afro-American Research, Harvard University, and For All the World to See: Visual Culture and the Struggle for Civil Rights (Yale, 2010). Berger has received honors and grants from the National Endowment for the Humanities, National Endowment for the Arts, Association of Art Museum Curators, International Association of Art Critics, as well as an Emmy Award nomination. For his work on Race Stories, he was awarded the 2014 Creative Capital | Andy Warhol Foundation ArtsWriters Grant.
Andy Warhol has become such an icon that a photo of his medicine cabinet is expected to fetch at least $6,000 on April 10 at Sotheby’s. The photo — and another showing Warhol’s wig, glasses and Longines watch — was taken by David Gamble, who spent eight days shooting in Warhol’s East 66th Street townhouse in 1987 before it was sold. Gamble was given access to Warhol’s lair by the artist’s executor, Fred Hughes, who hoped Gamble’s photos, featured in the Observer in London, would boost prices at an upcoming auction of Warhol’s estate, which turned out to be a huge success. The Brit, a rock drummer before turning to photography, told me from his home in New Orleans that it was difficult to capture a ghost. He was happily surprised to find no one had emptied the shelves stuffed with cosmetics and medicines. “You can’t get more voyeuristic than a medicine cabinet,” Gamble said. Share this:
pop art photography
This is an iPad oil study using Procreate on the iPad Pro and Apple Pencil. It is a study of a famous photograph by Yousef Karsh. This one took me 10.5 hours to get it to this stage.
Karsh (1908-2002) is a Canadian and has made some of the most iconic portraits in photography of all time, including the likes of Sir Winston Churchill, Einstein, Picasso, and Andy Warhol, to name a few.
Check out my video from a Warhol photo booth.
View the photo strip here: http://tinyurl.com/y7ubhlrm
Good Times in a Warhol photo booth!
Video collage with photos of Deborah Harry by Andy Warhol and the Andy Warhol Debbie Harry Prints
Photoshop CC 2015.5 tutorial in 2 parts showing how to transform a photo into the look of an Andy Warhol-style, pop art silkscreen portrait, as well as adding Warhol-like text. Andy Warhol was an American artist who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture, and advertisement that flourished by the 1960s.
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Tagged: , Graffitis , Graffs , Graffiti , graffIK , photograffik , Tags , POP-Art , Pochoirs , PoP , stencils , Art Urbain , Urban Art , URBAN PHOTOGRAPHY , Street Art , Art Contemporain , Photographie contemporaine , Photos , Photographie , Photography , peintures murales , Peintures urbaines , Walls , wall paintings , wall drawings , Photographie urbaine , Pascal Rey Photographies , niko , D700 , DigiKam , digiKam-users , Linux , Open source , Free Software , fresques murales , Fresques urbaines , FRANCE , Sorry Graffiti , Aruba , ABW
Lee was born in Seoul, Korea in 1960. He attended Sunhwa Art High School and received a B.F.A. in Sumi-e painting and drawing from HongIk, University, Seoul, and an M.F.A. from the National University of Tokyo Arts and Sciences, Japan.
Lee was active in the resistance movement during the reign of South Korean military dictator President Park and lost many friends during the reign of terror leading up to Park’s assassination in 1979. Lee immigrated to Japan in 1988, where he would spend the next ten years establishing himself as a leading contemporary artist.
Lee has been featured in group and solo shows throughout museums and galleries in Japan and Korea, including the Tokyo Metropolitan Art Museum and the Kawasaki City Museum. Since moving to New York in 1999, he has exhibited at the Sonoma Museum of Visual Arts, CA, the Hammond Museum, NY, the Korean Embassy, Washington, DC, the Japan American Art Association at the Tenri Gallery, NY, the International Art Festival Lantern of the East, Los Angeles, CA, and more.
Lee has lectured in Japanese and Korean universities on "Oriental Sensation and Neo-postmodernism" and "Contemporary Visual Art and Psychology." He is a tenured instructor of Sumi-e, oil painting and drawing at the Nakano Art Center, Japan, and currently teaches Sumi-e painting at the National Jewish Council Center, NY. He is a member of the New Century Artists, NY, the Japanese Artists Association, NY, the Korean Japanese Exchange Art Association, Tokyo, and the Japan International Art Group, Tokyo.
About the work
Jongwang Lee’s massive, liquid paintings, rendered with a complex and precise mixture of resin, oil paint and pigments, express the artist’s quest for a balance between the spiritual and the physical worlds. Examining the proverbial return to the womb, Lee paints human forms that float in a watery substance and inhabit a world before time.
Ironically, Lee’s spiritual quest has resulted in a series of sculptural paintings that evoke opulent, overgrown gemstones. One has the illusion of gazing deep into a cross-section of colored and decorated amber, peering into the past through layers of time.
While Lee’s recent work has a contemporary Pop Art sensibility-with its day glow colors and bold compositions-his influences are drawn from 5,000 years of Korean history. "My work is Oriental. I am influenced by Korean Sumi-e brush painting and Eastern philosophies, as well as by my experiences in the West," says the artist.
Lee begins each painting with an underpinning of a linear web. The lines act as a link to another place, bridging spiritual and earthly realms. Next, he layers the temperamental resin mixture with additional layers. The resin dries at various times, depending on the thickness of the paint mixture and how it is applied.
"I have wrestled with this devilish resin for nearly 20 years," says Lee. "After many experiments and many failings, I now know how to negotiate it."
My artwork is a visualization of man’s alienation from his soul in this highly materialistic, technological society.
My paintings are infused with symbolism drawn from 5,000 years of Korean history. In the past, Shamans used several kinds of rope placed around the ceremonial area to communicate with the soul world. The linear elements in my paintings echo the role of the Shaman’s ropes. They are a connection between the spirit world and reality. On another level, they represent a connection between people.
My grandmother was a famous Shaman in Korea. During my childhood I was deeply impacted by her performances and felt a strong contact with the spiritual world. This early experience has been an important source of inspiration for my art. Eastern philosophies and Western experiences have deeply influenced my work.
For six years I studied traditional Korean Sumi-e painting, learning from the old masters. Before that time, I had already begun to develop new techniques, experimenting with both oriental and western materials. Using a palette knife, a trowel and other less conventional tools, I have created my own original art form.
Moving to the US has felt like a rebirth for me. I believe many immigrants feel like this when they come to a new country, On one hand, I want to retreat to the familiar, safe, comfortable place of my own history and birth country, akin to returning to the womb. But, at the same time, I want to be reborn, in a sense, to enjoy the freedom and the cultural and political climate of the US.
I hope that my work encourages people to look within themselves and realize the unbelievable power of life and the dormant potential within each of us.
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Tagged: , 2007 , 2007-11 , 2007-11-17 , SML , SML Flickr , See-ming Lee , SeemingLee.com , life , 李思明 , Jongwang Lee , art , inspiration , sculpture , Susan Eley Fine Art , NYC , photography , communication , Canon10D , Canon1740f4L , FlickrStats:Views=10000