As such, the painting manifests tensions regarding sexual mores in mid 20th-century America. Part of a series of works French made to chronicle the human condition, Evasion symbolizes an individual’s attempt to deny the physical self. Here’s what the museum’s website says about the painting: I love the color scheme of bold yellows and blues, which really make the men’s seeming discomfort with their bodies stand out. I saw this work at the Cleveland Museum of Art this past summer. Here, I think his way of depicting their bodies adds to the pathos of the massacre: we see these men as living men who are being brutally murdered. He always seems to emphasize the male body in one way or another. I tend to think of Cadmus’s work as mostly comic and (homo)sexual rather than gritty and political. The painting was originally part of a commission by Life, but it was ultimately not published in the magazine since its editors did not want to offend pro-labor groups. The top work on my list is a rather serious work by Paul Cadmus about the massacre of strike breakers in June 1922 in Herrin, Illinois, which I saw at the Columbus Museum of Art. As part of my 2013 round-up, I’d thought I briefly write about the five works of art that I most enjoyed seeing in 2013. “I want to inspire kids to do that research,” he said.Ĭhris Jeansonne, OSU Preparing Future Faculty Program mentee, working with Joy Sperling.Although PJ and I saw fewer plays last year than we’d like, we went to more museums that I think is typical. When asked by a student whether he hoped to spread knowledge of Navajo culture through this popular genre, Dale replied that, while he wanted to be clear that the retellings of these stories are his own, he does hope that his comics will lead his readers back to the original Navajo stories. In describing the significance of his work to the students, she said, “Notice how he draws on his own complex and multi-layered personal life, just like all of us, but then connects that with various aspects of his particular cultural background.”ĭale told stories of his childhood growing up Navajo in the American Southwest, and discussed Native American representation in the media. Professor Sperling first came across Dale’s mash-ups at the Indigenous Comic-Con, in Albuquerque, New Mexico, and found them both striking and clever in their use of pop-culture iconography. His presentation also featured images that consist of ‘mash-ups’ of Native American culture and popular media icons-including Native American versions of Princess Leia and Rey from Star Wars, Audrey Hepburn’s character from Breakfast at Tiffany’s, the gang from The Breakfast Club, and many others. “I’d always been an illustrator, but it didn’t feel like the illustrations were going anywhere the illustrations became a vehicle for story, that’s when it became meaningful,” Dale said. The artist spoke of his career as an illustrator and graphic artist, which evolved into his work as a comic artist. Joy Sperling.ĭale’s presentation focused on his on-going comic book series Hero Twins, a superhero-style narrative inspired by the Navajo creation story. On February 13, 2018, Navajo Artist Dale Deforest gave an artist talk to AHVC New Art entitled “Don’t Call It Native Art,” hosted by Professor.
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