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mmcarthur.bsky.social
phoenixmcarthur
@mmcarthur.bsky.social
3.4K followers 440 following 8.5K posts
Once an artist, always an artist, poetry junkie, wishful potter, voracious reader, lover of Indie and Obscure Rock, Jazz, Classical, Science & always the Resistance. 🧷💪 #ArtHeals
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 3d
If nothing else, believe in art.
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 8m
Mental for sure! 🤪
mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 36m
He was definitely one of them!
mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 37m
Lol
mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 39m
October 9
Happy 85th Stardust Birthday to John, and
Happy 50th Birthday to Sean! 🎂 🎉🎈
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 42m
Yum! 😋
mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 43m
A pair of eagle rays gliding through the dark depths.

📸 : Mario Chow n.d.
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 46m
"Draw what's really there, not what you think you see," said my first life drawing teacher at The American Academy of Art.
🤔
Young girl sitting at an easel trying to draw a statue.
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 1h
John Singer Sargent :
Fumée d’ambre gris
(Smoke of Ambergris), 1880

Oil on canvas
139.1 × 90.6cm | 54-3/4 × 35-11/16in

Sterling and Francine Clark Art Institute, Williamstown, MA
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 1h
Will do.
mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 1h
László Moholy-Nagy :
Galalite Picture (Gz.III), 1932

Oil on Galalith (plastic)

Further description in the alt text 👇
A geometric abstract painting made on plastic material (Galalith) and produced using a mechanized, telephonic process that eliminated the artist's direct hand in its creation. The technique involved the artist providing instructions for the abstract design on graph paper and a factory technician manufacturing the artwork based on those instructions, aligning with the Bauhaus principle of "art and technology a new unity". Key Characteristics Artistic Process: Moholy-Nagy sought to remove himself from the physical act of creation, re-evaluating the role of the artist in a technological age. Material: The painting is made on Galalith, a brand of plastic that was sometimes referred to as "Galalite". Geometric Abstraction: The artwork features pure geometric forms, straight lines, and a limited color palette. Mechanized Production: Similar to his "Telephone Pictures," Moholy-Nagy ordered Galalite Picture (Gz.III) from an enamel factory via telephone, dictating the design on graph paper for a technician to produce. Significance Distance and Mind Over Hand: This method emphasizes the conceptual aspect of art, where the idea behind the work is paramount. Bauhaus Connection: The work reflects the Bauhaus movement's goal of uniting art and technology and dissolving the hierarchy between artists and craftsmen
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 2h
Grateful you're my Governor!
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 4h
I was going to watch it tonight, so I can't say. But IMHO, nothing is ever better than the original or the book. 😊
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 8h
Georgia O'Keeffe :
Black Spot, No. 2, 1919

Oil on canvas, 24 x 16 inches

Georgia O'Keeffe Museum
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 12h
Eyvind Earle :
Forest Arabesque, 1995

Serigraph
24" x 15
The artwork “Forest Arabesque,” created by Eyvind Earle in 1995 is a distinguished piece within the Magic Realism movement and belongs to the landscape genre. This artwork features a mesmerizing depiction of a forest scene dominated by trees characterized by intricate and delicate line work. The dark, round canopies of the trees are dotted with vibrant spots of red, blue, yellow, and green, giving them an ethereal, almost magical quality. The trunks and branches are rendered in stark white against a gradient background that transitions from a muted pale yellow at the bottom to a deep, rich purple at the top. This progression of colors creates a serene yet otherworldly atmosphere, imbuing the scene with a sense of depth and tranquility. The detailed and methodical arrangement of color and form reflects Earle’s unique style, blending realism with an imaginative flair.
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 12h
My favorite Halloween movie of all time:
Nosferatu, 1922
Director: F. W. Murnau
Starring Max Schreck
Image of the original Nosferatu
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 12h
There is no intensity of love or feeling that does not involve the risk of crippling hurt. It is a duty to take this risk, to love and feel without defense or reserve.

~ William S. Burroughs, from: The Letters of William S. Burroughs
Image of William S. Burroughs at his typewriter
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 12h
Bisa Butler :
Quilt - I Am Not Your Negro, 2019

vibrant, life-sized textile portrait inspired by a 1936 photograph of an unidentified Black man in Greenville, Mississippi, using a title that pays homage to writer James Baldwin.

Further deep dive description in the alt text 👇
The work, made from appliquéd cotton, wool, and chiffon, reimagines the historical photograph with rich colors and intricate patterns to honor Black intellectuals and elevate often-overlooked figures, presenting them as powerful and multifaceted individuals. Source Material: The quilt is based on a documentary photograph by Dorothea Lange showing a Black man from the Depression era. Title: The title "I Am Not Your Negro" is a direct reference to writer James Baldwin's words and serves as a tribute to Black intellectuals and thinkers. Medium: Butler uses fabric—including cotton, wool, chiffon, lace, and velvet—to create her detailed, layered portraits, much like a painter would use oils on a canvas. Narrative: Through her chosen fabrics and vibrant colors, Butler adds layers of meaning to the figures, telling stories and connecting them to broader themes of African American history and identity. Technique: She uses an appliqué technique, layering and piecing together different fabrics to form the image, and then stitching the layers together to give the work structure and texture. Purpose: The quilt is not a depiction of Baldwin himself but an embodiment of the spirit of Black intellectualism and a way to give voice to stories that have been forgotten or marginalized.
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 13h
Vincent van Gogh :
L'Allée des Alyscamps, 1888

A pair of paintings ("pendants") by van Gogh. Painted in Arles, France, it depicts autumnal scenes in the Alyscamps, an ancient Roman necropolis in Arles which is lined with poplars and stone sarcophagi.
Les Alyscamps (F569) Les Alyscamps (or 'L'Allée des Alyscamps') is a pair of paintings ("pendants") by Dutch painter Vincent van Gogh. Painted in 1888 in Arles, France, it depicts autumnal scenes in the Alyscamps, an ancient Roman necropolis in Arles which is lined with poplars and stone sarcophagi. Oil on canvas | 92 cm × 73.5 cm Les Alyscamps (F568)
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 13h
Lyonel Feininger :
The Lady in Mauve, 1922

Oil on canvas, 100.5 x 80.5 cm

Museo Nacional Thyssen-Bornemisza, Madrid
As in many other paintings based on his first illustrations for books and magazines, in The Lady in Mauve Lyonel Feininger makes use of a small drawing entitled La Belle, which was executed in 1906 and published in the French magazine Le Témoin in 1907 with the title L’Impatiente. Although the basic scheme of that early work, which shows an elegant female figure strolling through the streets of Paris viewed from behind, her torso slightly turned towards the viewer, is evidently the same, in the painting the image is fragmented and destabilised as a result of the mark left on Feininger by Cubism and Futurism, and the influence of the structure of his own musical compositions. In his commentary on the present work, Ulrich Luckhardt precisely stresses the fact that Feininger combined his work as an artist with his interest in music, especially during his stint as a teacher at the Bauhaus in Weimar. According to Luckhardt, “the severe form of the fugue, the laws of different voices, subject and counterpoint it observes, are reflected very precisely in Feininger’s paintings, ” chiefly in the repetitions of forms and in the harmony of planes and colours of The Lady in Mauve, which is contemporaneous with his Fuge VI für Orgel in C major. As in most of his compositions featuring human figures, Feininger adopts a very low viewpoint — a visual device that enables him to enlarge the figure and extend the height of the buildings, which tower into the sky. The artist wrote in this connection in 1906 that “the slightest difference in relative proportions creates enormous differences with regard to the monumentality and intensity of the composition. Monumentality is not attained by making things larger — how childish! — but by contrasting large and small in the same composition.”
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 13h
Victor Brauner (Romania, 1903-66) :
Gemini, 1938

Oil on canvas
45.7 × 54.3 cm | 18 × 21-7/16 in

The Art Institute of Chicago
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 13h
Wassily Kandinsky : Untitled, 1940

Watercolour and India Ink on Paper

Centre Pompidou Paris
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 13h
All about Peace ☮️ and Love ❤️ today.

image : Banksy
Girl blowing heart bubbles, boy jumping up to catch them. Drawn on a white wall.
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 13h
Delita Martin (American, b. 1972) :
Flying [Feather Skirt], 2020

Relief printing, charcoal, acrylic, fabric, decorative papers, and hand stitching

60 × 40 in | 152.4 × 101.6 cm

Further description in the alt text 👇
Delita Martin was born in Conroe, Texas. She is currently based in Huffman, Texas. Martin received her BFA in drawing from Texas Southern University and MFA in printmaking from Purdue University. Formally a member of the fine arts faculty at the University of Arkansas at Little Rock, Martin is currently working as a full-time artist in her studio. Martin’s work has been exhibited both nationally and internationally. “Delita Martin: Calling Down the Spirits” held at the National Museum of Women in the Arts, 2020 was Martin’s first solo museum exhibition. Her work toured the country (2016-17) in the Crystal Bridges Museum exhibition, “State of the Arts: Discovering American Art Now” which included 101 artists from across the United States. In 2015 she was featured in the International Review of African American Art as one of sixteen “African American Artists to Watch” who are gaining national and international recognition. Permanent Collections (selected): Bradbury Art Museum, C.N. Gorman Museum, Crystal Bridges Museum, David Driskell Center, Minneapolis Institute of Art, Minnesota Museum of American Art, National Museum of Women in the Arts, Petrucci Family Foundation, Studio Museum in Harlem, Thrivent Financial, William J. Clinton Presidential Library and Museum, and the U.S. Embassy, Nouakchott, Mauritania. Martin’s work is also represented in numerous private and corporate collections in the United States and abroad.
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 13h
Henri-Edmond Cross (France) :
Afternoon at Pardigon, Var, 1907

Oil on canvas, 81 x 65 cm
Musée d'Orsay, Paris
This landscape painting has a very much more representational and colourful quality than the Iles d'Or. For Cross it is an important picture because he created a companion-piece for it, showing approximately the same section but extended by one figure and with its theme as the evening sun instead of the midday light. There is a distinct three-dimensional gradation leading from the pine on the hill to the group of trees situated further back and over the sea to the chain of hills. The dissolving of a southern landscape into intensive dabs of colour reveals here the close relationship between Neo-Impressionism and Fauvism, in whose emergence this painting played an important part.
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mmcarthur.bsky.social
phoenixmcarthur @mmcarthur.bsky.social · 13h
Fukuōji Kazuhiko :
Moon and the Light from a Window, 1994
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