ARTS REVIEWS: Isabel Pérez del Pulgar - SERIES: Second Skin - Screens Play 1

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Isabel Pérez del Pulgar (Plastic Artist; Granada, Spain)

http://www.blogger.com/profile/15628438162098204343
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One extraordinary triptych. Any saturation of means or technical equipment does not guarantee a decent and creative product. Otherwise, what need did Van Gogh have of paying tribute to his boots by painting them in a canvas?

Imagination has no rival. And neither has self-discipline!

"Three screens. Three Space fragmentations. Consecutive and silent among themselves. Or fighting one another whilst disputing their very own refraction. Three screens. Three mirrors dubiously sharing an image. Isabel Pérez del Pugar."

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ART REVIEWS: Diane Arbus (1923 – 1971), Mother of the New Social Photography

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Diane Arbus Double Self-Portrait With Infant Daughter (1945)

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Diane Arbus (1923 – 1971), cult and pivotal figure of the "new" socio-critical wave of documentary photography in the latter half of the 20th century, developed a very immediate visual language to portray not only people on the outer rim of social acceptability, but also the mask-like comfortably off citizen of the middle classes.

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Masked Woman in a Wheelchair (1970)

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Untitled (1970-1971)

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Lists from a 1959 notebook

From 1955 Arbus studied under Lisette Model, who encouraged her to concentrate on personal shots. From then on her subjects included people both on the street and in their homes, political refugees, midgets, giants, twins, drag artists, nudists and the mentally ill. Her shots of society´s outsiders combine the often dark, disturbing subjects with an objectivity and calm attentiveness that grants the viewer a certain distance to the pictures. Rather than forward any philosophical position in her work, she wished simply to document the world in all its many aces. The result was not pure pictorial documentation, but descriptions of psychological realities that capture more the private than the social context.

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Untitled (1971)

Untitled (1970-1971)

Arbus´ work had a great influence on the international photography scene of her day, an was the object of much discussion. In 1967 she participated in the "New Documents" exhibition at the Museum of Modern Art, New York. In 1971 she put an end to her life and a year later she was the first woman photographer to be exhibited at the Venice Biennale. That same year the New York Museum of Modern Art staged a large touring exhibition, which attracted over 7 million visitors.

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Tattoed Man at a Carnival (1970)

Untitled (1970-1971)

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(*) Text from: 20th Century Photography (Taschen, Museum Ludwig Cologne 2001)

See more of her works at: http://www.artphotogallery.org/02/artphotogallery/photographers/diane_arbus_17.html

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ARTISTS AND THEIR WORKS: Liliana Lucki (Argentine), A Welcomed Symbolic Act

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Liliana Lucki was born in San Miguel (Argentina) and studied at Buenos Aires´ National School of Art in 1975. She followed up her studies at the hands of professors Samos, Pagano and Noe and, in 1984, entered the artist workshop of Juan Larrea. She´s been writing and illustrating children books for nearly three decades and at present teaches art and history of art. Her works have been displayed in many exhibitions all around her native land and abroad, including Italy, Spain and Mexico.

http://lilianalucki.blogspot.com/

"Model I", 80cmx90cm - (Colour drawing)

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"Jalomi", 80x80cm - (Oil in canvas)

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"They Can See US", 80cm x 100cm - (Oil in canvas)

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"Inhabited Tree", 20 cm X 40 cm (Oil in canvas)

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"Conclusion 2", series Essay and Movement, 60cm x 90cm (Oil in canvas - Collage)

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Series Pencil I, 1 m x80 cm (Pencil)

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"Shamirli", Digital Composition (Pencil)

Above all, and always on a personal level, what first attracted me was the marvellous intensity of her colouring and that broad range of what seems to be incomplete characters; a dreamlike symbolic and creative act of a meaning or interpretation varying according to the natural observer´s state of mind, regardless of the artist´s original intention, of course.
...A painting a day, I´d dare say.

All images by (c) Liliana Lucki

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