#museum
I rendered some characters of the Philippine Mythopoeia book in the style of Renaissance grotesque, with creeping flora, weird fauna, monsters, and deities.
My Digital Journey Story as Designer and Artist: 1998-2021
I’m just a slow burn This 2021 because of the pandemic lockdowns I took the plunge and dropped my very first NFT artwork on blockchain and sold my first collectible in less than 24 hours. It took me quite a while to get here as artist and designer.
1998 - coded and designed my first website and at the same year received my first of five consecutive web industry awards
2000 - design and information architecture for the websites of an international multilateral development bank and an art institution
2002 - President of the Philippines two executive orders: start of design system standardisation and digitalisation of the National Coats of Arms for the bureaucracy and a new state decoration and award protocol
2007 - joined twitter to post musings on art and design
2008 - my first art blogs and meme works (“Philippine Mythopoeia” for blogger, later “mentisflatus” for tumblr)
2008 - content development, design, social media + website ecosystem for an art institution
2011 - my first QR code and digital art for a major multi-museum exhibition
2019 - start of digital illustrations and writing for a proposed book version of the “Philippine Mythopoeia” blog site
2021 - my first NFT (non-fungible token) drop and sale on blockchain: https://rarible.com/aericangelo
How did the pandemic affect culture? These 3 new pieces of work will tell you
We all know how much the world has been affected by the pandemic since March 2020. Social habits, travel, and sanitary measures are just three areas that have changed drastically in that time, and it will take a while for these to return to normal.
In the art world, however, the changes haven’t been as well documented, even though the shock was just as severe for artists, writers, and…
Man sagt mir ich soll mich passend zur Umgebung kleiden…. Die Räumlichkeiten und Ausstellung der Gemäldegalerie in Berlin waren so beeindruckend, das wir an zwei Tagen dort waren. #hoschie #berlin #museum #gemälde #gemäldegalerie #kunst #art #beeindruckt #blumennmotiv #flowers #stilleben (hier: Gemäldegalerie)
https://www.instagram.com/p/CEHxTJejHLV/?igshid=1on40yiqr3s05
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SchwereKnochen. Hat jemand den passenden Grill? #hoschie #bones #knochen #schenkelpfanne #schwereknochen #knochenjob #naturalhistorymuseum #naturalhistory #museum #naturkunde #dino #berlin #anatomy (hier: Naturkundemuseum)
https://www.instagram.com/p/CD_XHnrDLvt/?igshid=1tiqzx7hgytfy
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Dorothy Norman was born in Philadelphia on this day in 1905. In 1927 she met and began collaborating with photographer and gallerist Alfred Stieglitz. Norman made this photograph of Stieglitz’s final gallery, An American Place, shortly after his death. Unbroken planes of light on empty walls seem to highlight his absence.
See this photograph in our installation “Elegy: Lament in the 20th Century.”
“From the Window of An American Place after Stieglitz’s Death,” 1946, by Dorothy Norman
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Here LaToya Ruby Frazier presents a modest kitchen interior transformed into a tableau for reimagining family narratives and reinforcing generational bonds. By displaying these pictures on her refrigerator, Frazier’s grandmother Ruby is able to be in the presence of those who are absent from her home. An otherwise everyday scene becomes a place of joy and remembrances, where Ruby may gather loved ones, who now “pose” for her granddaughter’s camera.
See this photograph in our installation “Pictures in Pictures.”
“Grandma Ruby’s Refrigerator,” 2007 (negative); 2019 (print), by LaToya Ruby Frazier © LaToya Ruby Frazier
We have our Bridgerton watchparty outfits ready. Which one would you wear to promenade?
“Woman’s Dress,” around 1805–10, England
“Woman’s Riding Ensemble,” around 1820, United States
“Fan,” around 1805, France
“Woman’s Dress,” around 1800, United States
“Man’s Top Hat,” 1820–25, United States
“Woman’s Evening Dress,” around 1817, France
This aerial photograph documents some of the painted messages that artist Emma Wilcox left on rooftops and empty lots in her Newark, NJ, neighborhood that the city took by eminent domain, a process where governments can expropriate private property for public use. “MY MEMORY GETS IN [THE] WAY,” reads one bit of text scrawled across a rooftop, while a more directly accusatory “THIEF” appears in a lot where a demolished building once stood.
See this photograph on view in our newest installation “Waiting for Tear Gas.”
“Eminent Domain No. 5,” 2007, by Emma Wilcox
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Bringing some much needed puppies to your feed today. Happy National Puppy Day!
“Untitled (Two Dogs),” October 1940, United States. "Three Puppies,“ 1790, by Maruyama Ōkyo. ”Decorative Panel with Dogs,“ around 1900, by Maurice Biais. ”Untitled (dog ‘photographer’),“ around 1900, by Jeanette Bernard.
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In February 1989, artist Andrea Fraser assumed the role of fictional docent Jane Castleton and performed a tour of the museum, including spaces traditionally overlooked, such as restrooms, the cafeteria, and shops. Fraser addresses not only the history of the institution and its collection, but also broader social and political concerns, particularly affecting the city of Philadelphia. The result is a portrait of the museum and the conventions attached to it and to the art world at large.
Watch “Museum Highlights: A Gallery Talk by Andrea Fraser” in our Contemporary art galleries.
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Dox Thrash was a prolific printmaker who was born on this day in 1893 and settled in Philadelphia in the late 1920s. In 1937, at the height of the Great Depression, he became the first Black artist to work for the Fine Print Workshop of Philadelphia, a branch of the Works Progress Administration, a federal relief program designed to employ thousands of artists and share their work with the public. Learn more about the artist in the recently digitized publication “Dox Thrash: An African American Master Printmaker Rediscovered.”
“Monday Morning Wash,” around 1938–39, by Dox Thrash
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