Expulsion - Simeen Farhat


Stereotyping the Asian Feminine (2012) - Afghan Artist GAZELLE SAMIZAY

Stereotyping the Asian Feminine explores the definition of ‘stereotype’ as the repetition of an image. Given that television and films are merely a string of still images moving at a fast rate, they are a perfect medium for creating and disseminating stereotypes. My intent was to take a look at stereotypes as a whole, including different groups of people. I started by taking photos of various movies from the 20th century, double and triple exposing the film. Unfortunately, I was overwhelmed by material and had to narrow my focus to Asian women. As I watched the films, I saw that the stereotype of Asian women could not exist on its own, and was defined vis-à-vis other groups, such as Asian and white men. These stereotypes were further defined by the political climate of the time, namely World War II and the Cold War. Asian men were portrayed as evil, mischievous and “feminine” in comparison to “masculine” white men. Asian women were portrayed as vamps, sexual, exotic and at the service of strong, white men. As time has passed, elements of these stereotypes have changed while others have remained the same. Stereotyping the Asian Feminine questions what stereotypes are being created every minute in millions of homes across the nation. - GS

(via isqineeha)


Triptych–August 1972 by Francis Bacon was painted in memory of Bacon’s lover George Dyer who committed suicide on 24 October 1971, the eve of the artist’s retrospective at Paris’s Grand Palais, then the highest honour Bacon had received.

Dyer is presented as literally a man falling apart. His body is mutilated; the black border dissolves into his body in both, leaving a void in place of large parts of his torso. In contrast he seems to be melting, leaving blobs of flesh on the ground beneath him. Bacon described this effect as portraying “the life flowing out of him”.

Bacon never recovered from Dyer’s suicide and from then on his work became haunted by an awareness of loss, death and the effects of passage of time on those around him. He later admitted that “… although one is never exorcised, because people say you forget about death … you don’t … time doesn’t heal. But you concentrate on something which was an obsession, and what you would have put into your obsession you put into work.”

From Left:

Triptych–August 1972 (left panel) by Francis Bacon

George Dyer in the Reece Mews Studio (1964) by John Deakin


Zdzisław Beksiński (previously) (1929-2005)
was a Polish painter, photographer and sculptor, specializing in the field of utopian art. Beksiński did his paintings and drawings in what he called either a ‘Baroque’ or a ‘Gothic’ manner. His creations were made mainly in two periods. The first period of work is generally considered to contain expressionistic color, with a strong style of “utopian realism” and surreal architecture, like a doomsday scenario. The second period contained more abstract style, with the main features of formalism.

Beksiński had no formal training as an artist. His paintings were mainly created using oil paint on hardboard panels which he personally prepared, although he also experimented with acrylic paints. He abhorred silence, and always listened to classical music while painting. Although he loved classical music, Beksinski appreciated rock music as well.

Beksiński was murdered in 2005 via


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(via shetastesliketherealthing)





Ivan the Terrible and His Son Ivan on November 16, 1581

Ilya Repin

This painting depicts the historical 16th century story of Ivan the Terrible mortally wounding his son in Ivan in a fit of rage. By far the most psychologically intense of Repin’s paintings, the Emperor’s face is fraught with terror, as his son lay quietly dying in his arms, blood dripping down the side of his face.

This is my favorite painting ever and I hereby vow to always share it whenever I come across it.

I have seen this painting in Moscow. It’s absolutely breathtaking in person. So grotesquely beautiful.

His eyes are haunting

(via sugaccino)


Marie Hudelot: Heritage

French-Algerian photographer Marie Hudelot created the series ‘Heritage’ working with ritual, family heritage and decorative costumes, drawing inspiration from her own background. Hudelot explains: “My mother is Algerian and my father is French. I used the pictorial tradition of still life and suggest different characters where their accessories come from different customs.” The faceless characters encourage the viewer to identify with the shown person, raising questions about their own origins and traditions.

Artist Statement:

I worked by using the pictorial tradition of still lives. I chose to put forward characters where the nature and objects they carry come from different rites and customs.

The photographs can be grouped into three metaphorical categories:

Firstly the “mark”, with elements of uncultivated land, evocative death and rebirth.

Secondly, the “fight” with a reinterpretation of the various struggles and honors of war, as a tribute to ancestors, veterans sometimes death indifference or anonymity of the war.

And finally, the symbol of “femininity” located in the context of two cultures, French and Algerian, sometimes felt as a dichotomy, sometimes as a sign of diversity.

Here jewels, feathers, branches, flowers, hats, decorative ribbons become evocative symbols of seduction, femininity, youth, memory, struggle, life and death. 

Playing on the accumulation of symbols, and profusion of accessories the subjects become still life-like totems or family crests.


More excerpts from the extremely beautiful “Subjective Atlas of Palestine" project. View the full publication via link.

About: The Dutch designer Annelys de Vet invited Palestinian artists, photographers and designers to map their country as they see it. Given their closeness to the subject, this has resulted in unconventional, very human impressions of the landscape and the architecture, the cuisine, the music and the poetry of thought and expression. The drawings, photographs, maps and narratives made for this atlas reveal individual life experiences, from preparing chickpeas to a manual on water pipe smoking, from historic dress to modern music. Pages containing humorous and caustic newspaper cartoons and invented Palestinian currency followed by colourful cultural diaries and moving letters from prisoners.

All in all, the contributions give an entirely different angle on a nation in occupied territory. In this subjective atlas it is the Palestinians themselves who show the disarming reverse side of the black-and-white image generally resorted to by the media.



Paintings by Emily Kame Kngwarreye, Richard Yukenbarri Tjakamarra, Dorothy Napangardi and Nancy Noonju.

Australian aboriginal paintings that dream with the land, grass, yam and rivers. Dreaming is a term used by Aborigines to describe the relations and balance between the spiritual, natural and moral elements of the world. It is an English word but its meaning goes beyond any suggestion of a spiritual or dream-related state. Rather, the Dreaming relates to a period from the origin of the universe to a time before living memory or experience - a time of creator ancestors and supernatural beings. -aboriginalartonline


Nadia Myre, Indian Act

Indian Act speaks of the realities of colonization - the effects of contact, and its often-broken and untranslated contracts. The piece consists of all 56 pages of the Canadian Federal Government’s Indian Act mounted on stroud cloth and sewn over with red and white glass beads. Each word is replaced with white beads sewn into the document; the red beads replace the negative space.


"I will not accept an inferior position in the art world. Nor have my art called African because I have not correctly and properly given expression to my reality.

I have consistently fought against that kind of philosophy because it is bogus. European artists like Picasso, Braque and Vlaminck were influenced by African art. Everybody sees that and is not opposed to it. But when they see African artists who are influenced by their European training and technique, they expect that African to stick to their traditional forms even if he bends down to copying them.

I do not copy traditional art. I like what I see in the works of people like Giacometti but I do not copy them. I knew Giacometti personally in England, you know. I knew he was influenced by African sculptures. But I would not be influenced by Giacometti, because he was influenced by my ancestors.”

- Ben Enwonwu

October: Highlighting African Art & African Artists

(via center-for-chthonic-studies)