Vincent Van Gogh; detail of The Rocks.

(Source: marieantoinete, via workman)

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Lucian Freud, Girl with kitten, 1947

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John Baldessari, Aligning Balls, 1972

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Klimt’s “The Kiss” by Alice Kendall

(Source: wonderlandtattoospdx, via museoleum)

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Kiss by the window, Edvard Munch, 1892

(Source: heliotrophic, via ouijacatt)

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Wheat Field with Rising Sun

Vincent van Gogh, 1889

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Saint Rose of Lima by José del Pozo, c. 1820 (detail)

(Source: sollertias, via ouijacatt)

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Maria im Ährenkleid 1490

(Source: a-harlots-progress, via medieval)

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Portrait of Charlotte of Belgium

Franz Xaver Winterhalter

ca. 1864

Oil on Canvas

(Source: thesquarecheese, via ouijacatt)

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Olafur Eliasson, Wirbelwerk, 2012

(via gitanitadelmar)

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Postcard from Dan Graham to Eva Hesse, postmarked July 30, 1969.

All postcard images courtesy of Allen Memorial Art Museum, Oberlin College, Ohio.  Eva Hesse Archive, Gift of Helen Hesse Charash.  © The Eva Hesse Estate. Courtsey Hauser & Wirth  © Estate of Sol LeWitt/ Artist Rights Society (ARS)

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As part of Women’s History Month, today we’re looking at Mequitta Ahuja’s Parade

Mequitta Ahuja’s work explores the construction of identity, including her own. Recognizing that there is always an element of invention when it comes to depicting oneself, the artist refers to her heavily manipulated self-portraits as “automythography.” The term was inspired by a genre invented by the writer Audre Lorde, who braided personal history together with mythology in her “biomythography,” published in 1982.

Ahuja’s process of self-documentation begins with photographs. Using a remote shutter control, she performs privately for the camera. Then, through a series of sketches and preparatory drawings, she introduces inventive, often fantastical elements into the resulting images. Her final works wed the real with the surreal, nonfiction with fiction.Parade captures this complicated marriage, offering in two parts the primary modes of painting: figuration and abstraction. The artist appears, poised mid-stride, on the right-hand canvas. Bright colors describe her figure and emanate from her black hair, which, as it carries over toward and onto the left-hand canvas, expands to become a dense cloud of increasingly abstract markings. The brushwork conveys Ahuja’s lively kinetic process in laying down pigment. She has referred to her interest in “the psychic proportions hair has in the lives of Black people,” which here dominates the composition, both physically and conceptually.

Mequitta AhujaParade (diptych), 2007, enamel on canvas,Gift of Melanie Lawson and John F. Guess, Jr., in honor of Jeanne and Michael Klein, 2010.

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