I love this contest. The entries from young artists are so inspiring.
The 2017 winner is Sarah Harrison (CT):
Congratulations to Sarah Harrison from Connecticut in the 10th-12th grade group on being named the National Finalist of the 2016-17 Doodle 4 Google Contest for her doodle “A Peaceful Future”. Google is honored to award Sarah with a $30K college scholarship and a $50K technology award for her school, as well as sharing her doodle on the Google homepage for the world to see.
A Bright Future
The winning artists from this year’s contest shared powerful visions for the world of tomorrow with artwork that advocated for a cleaner environment, worldwide equality, advancing technology, and more. The next generation showed us a bright and hopeful future.
To see the various finalists, click here: https://doodles.google.com/d4g/.
“That which takes place by surprise, moments of happiness, that is inspiration. Inspiration is there all of the time for everyone whose mind is not clouded over with thoughts, whether they realize it or not. Inspiration is pervasive but not a power. It is a peaceful thing. It is a consolation even to plants and animals. Do not think that it is unique. If it were unique, no one would be able to understand your art work. All of the moments of inspiration added together make what we call sensibility, and a development of sensibility is the most important thing for children and adults.”
~ Agnes Martin, from a lecture Cornell University in 1972
While in Arizona in December, I made time to stop by the Phoenix Art Museum to see Kehinde Wiley’s exhibit. I’ve loved his style since I saw my first image of his at the Brooklyn Museum a decade ago. Until December I had only seen a few images. I was completely blown away by the breadth, scope and creative power he expressed in an exhibit I could only refer to as prolific. I will share some images of his work throughout a few posts. The Phoenix Art Museum exhibit ended at the beginning of January, but be sure to find him whenever he pops up near you.
A couple of years ago, I saw Hiroshima, Mon Amour, a 1959 French film set in Hiroshima, Japan following the U.S. bombings of Hiroshima and Nagasaki on August 6 and 9, 1945. I had learned a very sanitized version of the bombings in school, but I don’t recall ever seeing the effects of the bombing, i.e. the large-scale destruction of life and the desolation of the survivors. Prior to watching Hiroshima, Mon Amour, I had not heard of the bombings in any personalized way. Suffice it to say that the film left an impression.
A couple of months ago, I visited Montreal, Quebec and spent an afternoon at the Botanical Garden. I spent the majority of my time that afternoon in the Japanese Garden. I trailed through the meditation spaces, lingered over the bonsai trees and wept over the Hiroshima memorial of drawings by survivors. I’ve been wanting to share this for a while, but it’s been difficult to revisit my photographs and the personal stories they captured. However, the 70th anniversary of the murder of so many Japanese people seemed to be an appropriate time to share the images.
We should all work to eliminate the idea that we need to destroy others in order for some to live with their own ideas of freedom. Visit the City of Hiroshima web site for current information about the city.
by Yashinori Kato 17yrs old at the time of the bombing
Masahiko Nakata 15 yrs old at time of bombing
Torao Izuhara 23yrs old at the time of the bombing
This is for everyone who would like to visit my table at the Harlem Book Fair, but is unable to. I will be offering a 10-15% discount at the Fair and that offer will extend to anyone who shops from this blog post using this code: WPHBF.
In May I spent a weekend in Montreal. The highlight of the trip by far was a visit to the Montreal Museum of Fine Arts for the Marvels and Mirages of Orientalism exhibit. Hands down, one of the best exhibits I have ever seen if only for this one image: A Tangerian Beauty. I will share other images from the exhibit in future posts, but for now, this beauty gets her own post, with a spotlight on the gentleman who paired her on the exhibit wall.
Why is she so special? Because most of the women in this exhibit of North African art, culture and people primarily portrayed white women as bejeweled favorites of the African rulers and as the recipients of services from “lower” black female co-servants. The majority of brown and black women were portrayed mostly as hard laborers (evidenced by muscled arms kneading the smooth supple skin of the lounging white women) or entertainers. The Tangerian Beauty is the one black woman in the WHOLE exhibit who was not depicted in a sexually exploitative manner, or in a physically unattractive way (i.e. as a dismissive curiosity) or as a servant. The bias of most of the works on display was so oppressive, I grew angrier throughout the exhibit. This got me to thinking of how black women have been portrayed in fine art throughout the ages around the world. Some sad thoughts there… but inspiration is blooming…. Yet still there was a whole exhibit, in a major museum, depicting the peoples and cultures of North Africa – something I have never seen in America.
A Tangerian Beautyis a splendid example of José Tapiró Y Baró’s North African ethnographic types that showcase the artist’s skill and remarkable attention to detail. In this vivid watercolor, the silken gleam of the headscarf, colorful feathers, the glint of gold, glow of pearls, elaborate costume, and the careful study of a particular physiognomy contribute to the remarkable immediacy of the image. The frame is original to this work, and apart from several decorative motifs, contains the number 1309, which probably refers to the Muslim Hijri calendar, which started counting in 622 AD to commemorate the Prophet Muhammad’s migration from Mecca to Medina. If converted to the Gregorian calendar, the year would be about 1891 AD.