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4,469 notes

hobbitdragon:

bigbardas:

[trigger warning: discussion of rape and violence]
Artemisia Gentileschi is an amazing historical figure.  A survivor who endured torture and humiliation when she tried to convict the man who raped her, she is famous for her beautifully rendered paintings of defiant women enacting violence upon men.  Above are Judith Slaying Holofernes, Judith and Maidservant, and Jael and Sisera.  It is rumored that Judith Beheading Holofernes is a self-portrait, in which Judith was painted in Gentileschi’s likeness and Holofernes was modeled after her rapist. 

Artemisia was one of my favorite artists to study in my European art history classes. 

Filed under Artemisia Gentileschi judith and holofernes christianity tw: rape tw: gore baroque

6,060 notes

nycartscene:

Opens Tonight, Apr 5, 6-8p:

”Altered States”
 Valerie Hegarty

Marlborough Chelsea, 545 W25nd St., NYC

Hegarty’s depiction of destruction is a departure point to examine larger issues of erasure, repression, the uncanny, metamorphosis, death and rebirth. Hegarty painstakingly crafts her works from foam core, papier mâché and ink-jet prints on canvas that she then paints, carves, twists, drapes, amputates, and grafts to create mutated originals where the fictional disasters behave as a catalyst for the works coming back to life. - thru May 5

(via dwellerinthelibrary)

Filed under Valerie Hegarty contemporary art

49 notes

omgthatartifact: Wine Cup with Dionysus Greece, 360-250 BC The J. Paul Getty Museum “The Greek god Dionysos appears on this Apulian red-figure cup in his role as the god of theater. An actor costumed as a phlyax and holding a wreath stands before Dionysos. The god sits on a chair with a cloak wrapped around his legs holding aphiale, or offering dish, which contains three white objects, perhaps eggs. The term phlyax is used for both farces parodying the heroes and themes of mythology or the comic elements of everyday life and for the actors who performed them. These plays were popular in the 300s and 200s B.C. in the Greek colonies in Italy. The term phlyax probably derives from the Greek verb “to swell” and finds its meaning in the actor’s costume of a mask, tights, a padded tunic, and a large artificial phallus. On the outside of this cup, set on a low disk foot, a seated woman holding another phiale with eggs faces a kneeling Eros holding a fillet or ribbon. On the other side, a similar scene is depicted. A nude boy kneels before a woman holding a phiale and a mirror.  This cup represents a change in the theatrical scenes that were so popular on South Italian pottery. About 360 B.C., painters shifted from depicting scenes from plays to alluding to the theater by showing either an actor or Dionysos.”

omgthatartifact:

Wine Cup with Dionysus

Greece, 360-250 BC

The J. Paul Getty Museum

“The Greek god Dionysos appears on this Apulian red-figure cup in his role as the god of theater. An actor costumed as a phlyax and holding a wreath stands before Dionysos. The god sits on a chair with a cloak wrapped around his legs holding aphiale, or offering dish, which contains three white objects, perhaps eggs. The term phlyax is used for both farces parodying the heroes and themes of mythology or the comic elements of everyday life and for the actors who performed them. These plays were popular in the 300s and 200s B.C. in the Greek colonies in Italy. The term phlyax probably derives from the Greek verb “to swell” and finds its meaning in the actor’s costume of a mask, tights, a padded tunic, and a large artificial phallus. On the outside of this cup, set on a low disk foot, a seated woman holding another phiale with eggs faces a kneeling Eros holding a fillet or ribbon. On the other side, a similar scene is depicted. A nude boy kneels before a woman holding a phiale and a mirror. 


This cup represents a change in the theatrical scenes that were so popular on South Italian pottery. About 360 B.C., painters shifted from depicting scenes from plays to alluding to the theater by showing either an actor or Dionysos.”

Filed under ancient greece greek pantheon dionysus

7,978 notes

snowce: A naked member of the activist group Liberate Tate lies on the floor of Tate’s classical sculpture exhibit room drenched in an oil-like substance to protest Tate’s ongoing partnership with BP. The protest, which took place yesterday to mark the one-year anniversary of the Deepwater Horizon rig explosion, lasted 87 minutes — one for every day oil spilled into the Gulf of Mexico.

snowce:

A naked member of the activist group Liberate Tate lies on the floor of Tate’s classical sculpture exhibit room drenched in an oil-like substance to protest Tate’s ongoing partnership with BP.

The protest, which took place yesterday to mark the one-year anniversary of the Deepwater Horizon rig explosion, lasted 87 minutes — one for every day oil spilled into the Gulf of Mexico.

(via dwellerinthelibrary)

Filed under protest oil environment performance art