AEFERG Illustration

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The art blog of Portland-based illustrator Anne Ferguson.

July 6, 2013 at 7:17pm
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fashion artworks by Antonio Lopez (February 11, 1943 – March 17, 1987)


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July 3, 2013 at 4:37am
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Kate O’Hara



Kate O’Hara



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June 29, 2013 at 12:12am
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Reblogged from fer1972



Three Versions of Judith Beheading Holofernes:

Caravaggio (1571-1610)

Valentine de Boulogne (1591-1632)

Artemisa Genitileschi (1593-1653)

One of my favorite classes I ever took was my Feminist Art History class, and we covered Artemisia Gentileschi quite a bit — specifically, her Judith Beheading paintings in contrast to other artists, especially Caravaggio. It’s a perfect example of a male perspective vs a female perspective.

While Judith in Caravaggio’s and Boulogne’s paintings are prim, clean, slender, and beautiful within the gory act they are committing (indeed, Caravaggio’s Judith seems about as uncomfortable by the act as a lady mewling over a broken nail), Artemisia has her Judith as heavy-set, with thick arms and a thick frame, and a far more forceful participator in the act.

Additionally, the handmaiden in the first two examples are both old, feeble women who are not meant to be focused on — they hang back in the darkness, waiting or fretting over Judith. On the left side is a man in the throws of dying, and on the right is a woman of elderly age, both undesirable people/outcomes. The ugliness frames and further highlights Judith’s beauty. However, in Artemisia’s rendition, the servant is not only much younger, but she’s an active accomplice in the grisly act.

Finally, Holofernes in both Caravaggio’s and Boulogne’s renditions is simply lying back and allowing his head to be cut off: his hands remain at his side, and his blood seems to avoid the ladies to the right. In Artemesia’s depiction, he’s actively defending himself, blood is spilling absolutely everywhere and on his attackers — the very female aggressors he is trying to forcefully shove away, yet still being overpowered and defeated.

To put it simply, the contrast between Artemisia’s painting and the other two examples here (and the many many many other Judith renditions throughout art history) is the act of beheading Holofernes is the center focus, not Judith herself. It’s a clear example of agency, and what it means to be a subject that is passively looked on while meekly reacting to a situation vs a subject that is empowered and in full control of the act she is committing.

June 28, 2013 at 1:08pm
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Last night I attended a screening of the gig poster documentary ‘Just Like Being There’, directed by Scout Shannon and featuring the work of many fabulous illustrators and designers. The film was preceded by an exhibition (my crappy phone pictures don’t nearly do the gorgeous work justice) and followed up by a Q&A session with Shannon and the featured artists. A great film, and a very enlightening and inspiring night!

(Super special thanks to the lovely Kristin Rogers Brown for the tickets!)

June 14, 2013 at 6:50pm
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Andrew Bird has the best show posters.

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June 8, 2013 at 3:21pm
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Foals - Antidotes CD insert

June 5, 2013 at 4:39pm
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(Source: you-are-bolin, via major-organ)

May 28, 2013 at 7:52pm
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Doing some nature studies for an upcoming project!

Doing some nature studies for an upcoming project!

May 21, 2013 at 12:05pm
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Reblogged from fuckoffoz

By Jen Rome, from the Daft Punk “ReDiscovery” exhibition.


By Jen Rome, from the Daft Punk “ReDiscovery” exhibition.

May 15, 2013 at 11:44am
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Reblogged from raedioisotope


Caspar David Friedrich

“Both Friedrich’s life and art are marked with an overwhelming sense of loneliness. This becomes more apparent in his later works, from a time when friends, members of his family and fellow pioneers of early romanticism began to either become distant from him or die.” —Linda Siegel (1978)

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