When talking about competitions and exhibitions dedicated to 21st Century Realism, The Art Renewal Center’s International ARC Salon is the largest in the world in terms of entries, and the most diverse in terms of categories and international participation. Over $130,000 in cash awards, top Prize $25,000 cash award, international traveling exhibition opportunity with the […]
A four-legged woman, headless men with spouts emerging from their stomachs or backs, human beast hybrids, a male body with the head of a duck. These descriptions might sound like a dream you might have had once, or perhaps they sprang up in a feature horror film. But these are simply some of the drawings that Italian physician, Fortunio Liceti, concocted in the early 1600s.
Upon close inspection of these finely-wrought, cross-hatched drawings and prints, one can begin to understand 17th century anxieties and misconceptions about the human body. Most specifically, the reproductive system. In addition to fictitious figures, Liceti rendered what is believed to be a variation of deformities present in human life.
Fortunio Liceti was born prematurely in 1577 off the coast of Italy, where rumors began to circulate that at birth he was so small that he could fit into the palm of a hand. He grew up to study medicine and philosophy at the University of Bologna where he became increasingly interested in biology. He published his work often, for a time releasing one book per year.
His most famous work, On the Reasons, Nature and Differences of Monsters published in 1616 chronologically documented cases of human and animal monsters from antiquity. In the culture of the time, many people considered such monsters as frightening signs of evil cursed by spiritual or supernatural entities. Liceti categorized monsters based on their potential causes, several of which he claimed were unrelated to the supernatural. It was only centuries later that historians noted that some of the documented monsters were infants with birth defects, to which many credit Liceti’s book as an early model for the study of birth defects, a field later termed teratology.
Centuries later, it would be surrealist artists rather than scientists who would revisit Liceti’s work with its imaginative, uninhabited psyche.
Now several weeks into the COVID-19 crisis, most art institutions worldwide have either closed or are still in the process of closing to the public. By now, most businesses have taken a hit from this closure, not to mention the thousands of people that have been left indefinitely unemployed. Among those effected are the galleries and artists that have been left without sales, as well as museums that are now unable to host events or sell tickets.
All of this has left institutions scrambling to come up with new and alternative methods of bringing a museum’s collection to someone’s home. We are now beginning to see the first online exhibitions popping up on social media; the first is credited to Beijing-based X Museum. The Museum enlisted artist Pete Jiadong Qiang to create an online museum experience themed as an online gaming system.
“Online exhibitions will have their place in the future, and the epidemic accelerated the process,” Pete explained. “I would rather not have a specific boundary between online and offline, virtual and physical, especially for an emerging contemporary museum in Beijing.”
But even though the X Museum is credited for getting the word out there, this trend was already in existence long before they went live. Google Arts & Culture has been exhibiting virtual tours of museums around the world for years. You can tour more than 500 art institutions worldwide such as the Musée d’Orsay in Paris, the Van Gogh Museum in Amsterdam, and many others.
As we enter Week 2 of quarantine here in Los Angeles County, bored and art-deprived people like myself have been itching to get back into art spaces. The hashtag, #MuseumFromHome has been making rounds on social media.
“The museum may be closed and we all may be social distancing,” read a tweet from the University of Southern California’s Fisher Museum of Art. “But the beauty of technology and social media (which is not always so lovely) is that we can bring the museum both past and present into your homes.”
Just a few weeks ago, Senior Director of the Galleria degli Uffizi in Florence announced their new social media program “Uffizi Decameron” after the gallery was forced to close its doors due to the virus. The program title is a play on the famous 14th century plague-era novel, The Decameron by Giovanni Boccaccio.
“Everyday we’ll be telling you about the stories, the works, and the characters in our beautiful museum, to virtually unite everyone for the sake of art and culture. The treasures in the Uffizi, the Palazzo Pitti, and the Giardino di Boboli will be with you in your home, so we can together overcome this difficult time.”
Another way people are coping during this time are the do-it-yourself online art exhibitions that are popping up around the world. Italian curator Giada Pellicari launched the hashtag #ArtistsInQuaratine.
“I conceived this project due to the anxiety, fear, and anger that I felt the night of March 7th, when many journals published a draft of the Decrete by the Italian Ministry regarding the emanation of some red restricted areas in Italy,” Pellicari told Artsy in this article.
Twelve artists who live in red areas around Italy will be exhibited on the Instagram account @artistsinquarantine where their artwork will go up for sale.
“The artists will present, in some cases, new works exclusively conceived for the frame of Instagram,” Pellicari said. “I felt the urgency to create a new project that could show the way that the artistic scene was affected due to the coronavirus.”
Art Basel in Hong Kong has launched viewing rooms online. Art Central is bringing sales online for participating galleries. In New York, curators Barbara Pollack and Anne Verhallen initiated the online exhibition, “How Can We Think of Art at a Time Like This?” as a platform for the exchange of ideas at this time of crisis.
“The beauty of these online exhibitions is that it’s a global exhibition, and it’s accessible to everyone,” Pollack continued. “I’m hoping that all of these websites and Instagram accounts link up to each other so that we can really start a global dialogue. Making sure that we have a diverse group of voices is incredibly important to me at this time.”
At the present time, LAAFA is not open to the general public as a precautionary measure. Please call (818) 708-9232 or email us at firstname.lastname@example.org for any questions.
Happy New Year from LAAFA! We are starting off the new year with our “Get To Know Our Instructors” series at LAAFA. This month is alumna and instructor, Amanda Mears. Below is a list of Q&A to get to know her a little better:
What was your experience like as a student here at LAAFA?
As a student and now a teacher at LAAFA, I really value LAAFA for giving me the opportunity to work with really talented, dedicated students and faculty.
What is your preferred method or medium?
Drawing and painting. Also printmaking.
Did you continue, or are continuing, your studies elsewhere?
I am currently attending Claremont Graduate School MFA program on a full scholarship. I will graduate in May 2020.
What are some projects that you are currently working on?
At the moment I am mainly working on paintings for my thesis show at Claremont in March 2020. My paintings are landscape-based and large scale. I have also continued my figure-drawing practice that I began at LAAFA and will have a large scale figure drawing in an exhibition about body image called “Perceive Me” that opens in January 2020 at Cal State LA Jan 21 to Feb 24, 2020, then travels to McNish Gallery at Oxnard City College Nov 5, 2020 to January, 2021, Coastline Community College January 2021 to March 2021, Mesa Community College March 2021 to April 2021, Lancaster Museum Of Art and History (MOAH) October 2, 2021 to November 21, 2021and then College of the Sequoias, Visalia March 2022.
What advice do you have for current or future students of LAAFA looking to make it into the art world?
Find your own voice because that will make you happy, and also make your work really interesting to other people as well.
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LAAFA campus is closed in between quarters, from December 17-January 1, 2022. Phone hours will continue to be available during this break, except for Christmas Eve/Day and New Year’s Eve/Day.