"Colored Fungus, Orchids, Bamboo, and Rocks" (1604). This is my favorite Ma Shouzhen painting. The splashes of blue give these plants a little character.

Chinese culture is the bomb dot com. Everything about it intrigues me. The Chinese are family-oriented and place a lot of emphasis on nature and wellness. Much of the art from this corner of the globe reflects such values. The creations from Ma Shouzhen are no different. Don’t let the dainty photos fool you though. Ma had a life that was fit for a segment on “The Secret Life of Women.”

"Narcissus." Ma stuck to her Chinese roots and often painted items from nature.

Ma Shouzhen was born in Jinling, China in 1548. No, her birth name wasn’t Ma. Her legal name was Xianglan, but she also went by Xuan’er and Yuejiao. Growing up in pre-modern China was difficult for Ma. The iron fist of the Ming Dynasty was banging hard upon China. The art scene was male dominated and ladies got no respect. Some women took matters into their own hands and made a way out of no way. Since art by women wasn’t respected during the duration of Ma’s life, they got exposure by not disclosing their gender or by working as courtesans who served the male artists of the time. Ma chose the latter.

"Orchid and Rock" (1572). The simplicity and monochromatic color theme are characteristics of Ma's signature style. This painting also features Ma's favorite thing to paint, an orchid.

Ma was considered a romantic figure who offered her poetry and painting to her clients in addition to a happy ending. Although her line of work was taboo, she stayed true to Chinese culture by dedicating her talent to depicting scenes from nature. Her favorite things to paint were orchids. Ma’s style consisted of painting in delicate ink monochrome. Orchids were extremely popular with courtesan painters because they were fragrant plants that blossomed in seclusion. The courtesans could identify.

"Landscapes and Flowers." In this painting Ma chose not to feature the orchid, instead she focuses on bamboo and the actual landscape.

Although Ma didn’t get the respect that was owed to her, she made amazing art. She didn’t let her lower class status or the side eyes of society keep her in the shadows. Her dirt was done in the dark, but her art shined light on her inner peace, confidence, and beauty. To Ma Shouzhen I bow in respect. She gave society the middle finger and made things happen. No matter what.

"Orchids, Bamboo, Lingzhi, and Rocks." I like the horizontal direction of this trilogy. I could definitely see these framed on my wall!

I am not an animal lover. They stink, make noise, and some have pea shaped poo. The zoo is my worst nightmare and I’ve never had a pet. Guess that doesn’t even make me an animal liker. Marie-Rosalie Bonheur made a living, and quite a name for herself, by being around animals. No, she wasn’t a zookeeper. She was a widely acclaimed animalière, or animal artist. She was a prominent artist in the 19^th century who kicked the asses of her male counterparts with ease. Few females from this period are recognized for their artistic abilities, but Rosa established herself as one of the most original artists of the Realist tradition.

"Sheep in the Highlands" (1856). This painting is so flawless it looks like a photograph. The shadows and sky detail are executed perfectly.

Marie-Rosalie Bonheur made her grand entrance on March 16, 1822 in Bordeaux, France. She was one of four artistically inclined children. Her brother, Isidore Jules Bonheur, was an important animalière sculptor of the 19^th century. Their father, Oscar-Raymond Bonheur, was a trained artist and devout socialist. Oscar was a major influence on Rosa, both socially and artistically. When Rosa was a child, Oscar-Raymond was involved with Saint-Simonians, a political group that advocated a form of socialism which pushed for equality between the sexes and the abolishment of class distinctions. Her father’s association with this group allowed Rosa to grow up liberated and free of gender norms. She was the only girl in an all boys’ private school and she dressed like a boy. Her usual attire as an adult was a short haircut accompanied by a waistcoat and trousers. On one occasion she wore a dress and was arrested by an officer who mistook her for a man dressed in women’s clothing.

“To [my father’s] doctrines I owe my great and glorious ambition for the sex to which I proudly belong and whose independence I shall defend until my dying day.”

Rosa’s appearance wasn’t the only man-ish thing about her. Her fascination with animals and the disgusting added to her tomboy nature. She found pleasure in dissecting animals to learn about their muscle and bone structure. She even enjoyed visiting slaughterhouses in Paris to observe the animals in their various states of processing.

"Monarchs of the Forest" (1879). Boy do I have a fear of deer! This dynamic duo will definitely haunt me. Its interesting how Rosa can make a painting look overcast. I can feel the chill in the air.

Rosa began her official artistic training at the age of 13. She attempted boarding school and dress making before she finally decided to study under her father. Rosa got her start by copying engravings and plaster casts, drawing still-lifes, and later copying paintings of the masters in the Louvre. She submitted her first work to the Salon in 1841 at the age of 19.

"Study of a Cow" (1840). I see how the title matches the image. Most of the time when I see cows, this is how I see them.

In 1842, the Bonheurs moved to the Rue Rumford, an agricultural area of Paris that was close to farms, fields, and animals. Oscar deemed the copying the children were doing in Bordeaux insufficient. He wanted them to develop their talent through realistic drawing and painting. Rosa submitted her first sculpture, a terra-cotta of a Shorn Sheep Grazing, the same year the family relocated. Rosa’s relationship with the Salon was continuous throughout her career. By the age of 23, she had exhibited eighteen works at the Paris Salon. In 1848 she was given her first gold metal from the Salon for a sculpture. Sadly, Rosa rarely submitted sculptures after that because she did not want to overshadow the word of her brother.

"The Horse Fair" (1852). Rosa's most well known work. Critics and art lovers alike raved on and on about this painting. The detail, size, and brilliance are what kept people in awe.

In 1851 Rosa began to create works for the house of Goupil in Paris. It was during this same year that Rosa reached her peak as a painter. “The Horse Fair” took 18 months to complete. Rosa was 31 when she completed her most famous piece. People were impressed at its brilliance. No woman had ever created a work as beautiful, or an animal painting as large.

"Chamois Mother and Baby" (1888). I am mesmerized by the landscape in this painting. The shadows on the mountains, the clearness of the sky, the froth in the river, and the moss on the rocks. *sigh* I think this one is my fav!

Although Rosa had immense fame in the United States, England, and the United Kingdom, she never gained respect in France. In 1859 she moved near the Forest of Fontainebleu. This location would be her final place of residence. Rosa continued to work on sketches, paintings, and commissions during her 40 year stay by the forest. She died May 25, 1899.

"Lion at Rest" (1880). This sucker looks like he JUST ate a gazelle. Rawr!

Throughout her life, Rosa defied all norms. She dressed as a man, entered the male dominated field or art, and was even thought to be romantically linked to Buffalo Bill Cody. This badass girl needed a badass guy! Marie-Rosalie Bonheur will not only be remembered for her independent character, but also her list of international honors. Her accolades, usually reserved only for men are:

-Honorary member of the Pennsylvania Academy of Fine Arts and of the Société des Artistes Belges (1863)

-Chevalier de la Légion d’Honneur, the first woman artist to receive this honor (1865)

-The Cross of San Carlos of Mexico, awarded to her by Emperor Maximilian and Empress Carlotta (1865)

-Membership in the Académie des Beaux-Arts of Antwerp, Belgium (1868)

-Commander’s Cross of the Royal Order of Isabella by Spain’s Alphonso XII (1880)

-Catholic Cross and the Leopold Cross presented by Leopold of Belgium (1880)

-Honorary member of the Royal Academy of Watercolorists of London and Mérite des Beaux-Arts de Saxe-Coburg-Gotha (1885)

-Officier de la Légion d’Honneur, the first woman to be honored in this position (1894).

"Virgen de la Macarena" (1680). This weeping statue of the Virgin Mary, also known as "La Esperanza (The Hope), is currently housed in the Basilica de la Macarena. During the Easter celebrations held in this church, La Esperanza has the place of honor.

As long as recorded time can document, Spain has been one of the most prominent locations when it comes to the arts. The Spanish language and our beloved Manolo Blahnik both originated there. Luisa Ignacia Roldán is another culture altering force from in the European country. La Roldána, as she is called in Spain, was born in1652 in Seville, Spain. Luisa was exposed to artistry from day one. Her father, Pedro Roldán, is recognized as one of Spain’s finest Baroque sculptors. Luisa learned all she knew from her father. The entire family was employed by Pedro’s workshop. Luisa and 3 siblings helped sculpt Pedro’s creations while another sibling painted them. Cue Sly & the Family Stone’s “Family Affair” now.

"Madonna and Child with Saint John the Baptist" (1692). Luisa definitely took her time on this piece. The details on the baby and the faces under the Madonna's feet are precise. The painting on this sculpture must have taken forever!

Once she became a budding, young beauty, Luisa married an artist in her father’s workshop. The union between Lusia and Luis Antonio Navarro de los Arcos was frowned upon by the Roldán family. Pedro Roldán must have been extremely upset; he didn’t attend his daughter’s wedding. Although unintentional, Luisa’s decision to marry Luis ripped her family apart. Soon after Mrs. was placed in front if her name, Lusia moved out. She and her husband relocated to the San Vicente parish of Seville. Once settled in, the newlyweds got to work. No, not on paintings. The first few years of their marriage are when the majority or their children were born: Luisa Andrea, Fernando Maximo, Fabiana Sebastiana, and Maria Petronila Gertrudis. In addition to the listed 4, the couple had two other children who didn’t live long enough to receive names.

"The Mystical Marriage of Saint Catherine." Saint Catherine can be identified by the wheel upon which she was tortured laying at her feet. The marriage the title of the piece refers to a dream she had in which Jesus placed a ring on her finger in a "mystic marriage."

Luisa and her husband had to sculpt like mad to keep their large family with the basic essentials. Their pieces were selling and they were making a name for themselves. In 1680, the family decided to move to a more upscale area. The house was rented, but was still a sign of the success Luisa and her family gained and planned on maintaining. Few pieces from Luisa’s time in Seville have survived, but some stood the test of time. Among the remaining are four wooden angels and two thieves made in 1863 and 1864. The most important of the Seville works, and maybe the most recognizable piece made by Luisa’s hands, the “Virgen de la Macarena” made it out as well.

"Pieta at the Foot of the Cross" (1704). I'm sure its very moving to see this piece in person. There are a few details this picture cannot capture. For one, the scroll at the top of of the cross isnt clear enough to read. Ugh! I want to know what it says!

At the time of Luisa’s upgrade, Spain was in an economic depression. This depression didn’t seem to impact Luisa because of new home and success. Seeming wasn’t enough. Tragedy knocked on Luisa’s door in 1863 when two of her daughters died within a month of each other. The cause of death of the two girls was unknown at the time, but due to the close timing of the deaths many assume the illnesses of the depression are to blame. Less than a year after the deaths of Luisa Andrea and Fabiana Sebastiana, Lusia gave birth to her final child, Rosa Maria Josepha.

"Death of Mary Magdalene." This is my favorite piece by Lusia. The vivd colors she uses makes this sculpture absoluteley breathtaking!

Sometime in 1864, Lusia moved her family to Cádiz. Here she received her first independent project for a work called Ecce Homo for the Regina Angelorum Convent. A year later Luisa was requested to be an artist for several wooden sculptures what would be placed in the city’s cathedral. Another commission from the city came in 1867.

"The Education of the Virgin." Again, Luisa's attention to detail plays a part. She even put words in the book the Virgin is reading from.

After Luisa completed all the work in Cádiz, she moved to Madrid to apply for the position of Escultora de Cáma, or Sculptor of the Chamber, at King Charles II’s court. She was appointed the position of Court Sculptor in 1692. Despite her high position, Luisa and her family struggled. Records reveal that Lusia continuously petitioned for the pay promised to her along with a place for her family to live. By 1968 things were improving. From the point of her appointment to the end of her career, Luisa signed all her works with her name followed by the title “Escultora de Cáma.”

"Saint Joseph and the Child." The ripples in Saint Joseph's cloak make it look like he is in motion. Did you notice the pattern on his socks? The detail looks like it is individually painted.

A few years after Phillip V rose to the phone, Luisa’s health began to fade. Her death date isn’t definite, but sources place it either 1704 or 1706. The only date supported by documentation is January 10, 1706 (Luisa’s will was dated only a few days before). Although Luisa had much success throughout her life and her husband has been fairly well off at the time of her death, Luisa stated in her will that she was a pauper and had nothing to leave to her children. In turn, Lusia was buried in a pauper’s grave in Madrid.

"The Virgin and Child with Saint Diego of Alacala" (1690-5). I am not sure what scene in history this piece is depicting, but the woman on the far left sure looks shocked. The little heads are again around the base of the piece. I wonder what they mean.

Luisa would be proud to know that her struggles weren’t in vain. Her sculptures directly influenced the Spanish artists of the eighteenth century.  Luisa’s figured are noted for their “strong, clear profiles; thick, often curling hair; dreamy-looking faces with furrowed brows and parted lips; and flowing garments.” She was the first woman sculptor documented in Spain, and her works are still praised, recognized, and even worshiped to this day.

Image Layouts: Feesh

“Life’s challenges are not supposed to paralyze you; they’re supposed to help you discover who you are.” -Bernice Johnson Reagon

No matter how true this statement may be, when you’re under a dark cloud its hard to see the silver lining. The road of life is filled with countless twists, turns, and potholes. Most of us would rather take an alternate route or call the Department of Transportation to fix the problems instead of putting the pedal to the metal and making it through dolo. Not Artemisia Gentileschi. Her entire life was one big struggle, but battered and bruised she made it through. As a result of her lifetime of pain, she made an eternity’s worth of art. Many of her paintings reference the Bible and the risk-taking women within its pages. The subjects of Artemisia’s paintings are women who have been hurt, wronged, or judged by men. They are taking matters into their own hands and letting a monsoon of hell rain down on the masculine figures who inflicted such emotions.

"Danae" (1612). Danae is a figure from Greek mythology. She is known for her Virgin Mary-esque fertilization. Zeus, King of the Gods, impregnated Danae by showering himself upon Danae in the form of golden rain. This painting is of that defining moment.

Artemisia was born in Rome, July 8, 1593 to Tuscan painter Orazio Gentileschi and his wife Prudentia. Prudentia died when her daughter was twelve. Artemisia became formally acquainted with painting in her father’s studio. Since her father’s style of painting was heavily influenced by Caravaggio, so was hers. To say the least, she lived up to the first four letters of her name. She learned to draw, mix color, and paint. She was an intelligent, and talented, girl who surpassed her brothers in the art of painting.

"Susanna and the Elders" (1610). The elders spying on the innocent Susanna. Dirty pervs.

Artemisia’s first work was completed when she was 17. “Susanna and the Elders” depicts a scene from the Book of Daniel. In this Biblical tale, the Hebrew wife Susanna is bathing in her garden when two elders spy on her. The two men then approach Susanna and threaten to claim that Susanna was meeting a man in the garden if she doesn’t agree to have sex with them. She refuses. When Susanna is on trial and about to be executed, Daniel saves the day. The scene Artemisia chooses to portray is the scene in which the two elders are observing Susanna and mapping out their plan. Few artists choose to illustrate this part of the story. Some speculate that Artemisia endured sexual harassment, thus giving her the urge to paint someone in her situation.

"Jael and Sisera" (1620). This painting is of Sisera, a cruel Canaanite leader, and Jael, wife of Heber the Kenite. In this Biblical tale Sisera seeks refuge in Jael's home after defeating the Israelites. Once Sisera falls asleep, Jael drives a tent peg into his brain. Ouch!

In 1612, Artemisia attempted to enter school to study art on an academic level. She was denied enrollment due to her gender. At the time of Artemisia’s rejection, her father was employed painting the vaults of Casino della Rose inside the Pallavicini Rospigliosi Palace in Rome with his comrade Agostino Tassi. To save money and fulfill his daughter’s wishes, Orazio hired Agostino to tutor Artemisia. Soon after, Artemisia accused Agostino of raping her.

"Venus and Cupid" (1625-30). Venus and Cupid are supposed to be mother and son right?

Amazingly, the transcripts from the 7 month trial are still around. According to Artemisia’s statement, Agostino repeatedly attempted to get Artemisia alone. He finally cornered her in her bedroom and raped her. He tried to pacify her after the rape and justify his urge to have sex with her by claiming he would marry her. He also informed her that if word about the rape ever got out, she would be frowned upon by society because of her impurity. After the initial rape, Artemisia continued to have sex with Agostino under the assumption they were going to be married. Agostino eventually retracted his promise after hearing of Artemisia’s alleged canoodling with another man. Orazio was aware of the rape and the sex and kept quiet until he heard of the proposal being cancelled. Once Agostino refused to marry Artemisia, Orazio scurried to the authorities and tattled. Not only did he inform the police about the rape, but also of Agostino’s stealing of paintings from the Gentileschi household. Talk about drama!

"Esther before Ahasuerus" (1628-35). In the Hebrew Bible's Book of Esther, Ahasuerus chooses Ester, who is Jewish, to be his new wife. He is unaware of her religion. Eventually, Esther foils Ahasuerus' plan to eliminate all Jews. To commemorate the deliverance of Jewish people from the Pursian Empire, The Book of Esther is read twice during the Jewish celebration of Purim.

Agostino attempted to preserve his status in society by claiming Artemisia was not a virgin when they had sex. He even called her “an insatiable whore.” Such an accusation forced the courts to have Artemisia examined and tortured. The torture portion of Artemisia’s trial consisted of having miniature tongs placed on her fingers and tightened continuously while she was asked a series of questions. The courts believed that if Artemisia could tell the same story under torture, the story must be true. We all know getting a paper cut hurts like hell, imagine having your fingers pinched while trying to answer life or death questions. Oh no! In the end, Artemisia’s life was spared and Agostino was imprisoned for a year. Turns out he was already an ex con. He had been to jail for incest with his sister-in-law and charged with arranging the murder of his wife. Dude was a career criminal and a Grade-A sicko. To make matters worse, upon his release, Agostino was invited into the Gentileschi household again by Orazio. Now if that’s not some bull I don’t know what is!

"Judith Decapitating Holofernes" (1612-3). The pain from her rape, the accusations against her, and emotional restlessness are definitely illustrated in Artemisia's re-creations of a Caravaggio classic.

During and immediately after the trial Artemisia worked on “Judith Decapitating Holofernes.” This story, also Biblical, is about Judith seducing Holofernes and beheading him while he is in a drunken stupor. Artemisia’s depiction of the murder is extremely graphic and full of rage.

"Judith and her Maidservant" (1613-14). Judith, her maidservant, and Holofernes together post-decapitation.

One month after the trial Orazio arranges for his daughter to marry Pierantonio Stiattesi, an artist from Florence. Shortly afterwards the couple moved to Florence. Artemisia enjoyed huge success while in Florence (1614-1620) and became the first woman accepted in the Academy of the Arts of Drawing.

"Minerva" (1615). The Roman goddess of poetry, medicine, wisdom, commerce, weaving, crafts, magic, and the inventor of music.

From 1621 until her death, Artemisia moved around a lot and painted non-stop until her final day. She was last documented as living in Naples. She was originally assumed to have died in 1652 or 1653. Recent evidence reveals that she was accepting commissions in 1654.With no know death date; we are left to assume she passed away in the plague that swept through Naples in 1656.

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Help Thy Neighbor , view it below. I will just warn you that it is a little sad.

Above is at it again, this time the streets he was roaming were more of a delicate and sober experience. His new Haiti pieces are a reminder of the staggering statistics of the injured and fallen.

HELP THY NEIGHBOR from ABOVE on Vimeo.

Check out Above’s website.

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Giant Robot is pleased to host a rare U.S. appearance by Tosa Novmichi at GR2. Tosa is half of the legendary Japan-based Maywa Denki music and art duo that creates its own ingenious and otherworldly instruments. In addition to touring and playing sold-out rock concerts around the world with their pneumatic, electronic, automated, and conceptual music devices, they create some of the world’s most interesting and interactive toys. Following the footsteps of the popular Knockman family (centered on the eponymous, wind-up figure that knocks its own head like a drum) comes the Otamatone. The piece looks like a musical note and plays like a Theremin. Fans of electronic music, cool toys, and otaku culture from Japan will not want to miss Tosa’s personal demonstration of the toy.

Tosa Novmichi of Maywa Denki

Saturday, February 20, 2010, 5:00 – 7:00 p.m.

GR2

2062 Sawtelle Blvd.

Los Angeles, CA 90025

gr2.net

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Legendary artist Yoshitaka Amano will make a rare U.S. appearance with his newest exhibit, DEVA LOKA, created especially for a U.S exhibition and named for the ancient Indian land of God. As an ode to his childhood love for American comics, culture and automobiles, Amanoʼs latest breathtaking and vibrant pieces are boldly coated with auto paint and metallic glitter. Amano is widely acclaimed for his work in animation and video games. He is renowned for designing the characters for the hit video game, Final Fantasy, as well as for anime films including Vampire Hunter D, Guin Saga, Final Fantasy, and Front Mission. “Between the late 60’s and the 70’s, and during my early years in the art world, I was greatly influenced by American comic books and pop culture. I’d like to show my gratitude for the inspiration America gave me with this exhibit. With the theme of DEVA LOKA, all of my concepts and influences are able to come together, centered in one place. I hope everyone enjoys my show.”Deva Loka will be Amano’s first major exhibition in Los Angeles in nearly a decade.

February 20th – March 13th. Opening reception Saturday, February 20th from 7-10pm

LeBasse Projects

6023 W. Washington BLVD.

Culver City, CA 90232

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“They only met once, but it changed their lives forever.” Michele Rosenthal’s “The Breakfast Club” art print is a tribute to one of the greatest teen movies of all time. Available as a digital print on heavy paper, 11.5″ x 7.5″, signed by the artist on the reverse, for only $10. Check out the full digital painting in higher resolution, after the jump. Head on over to TheMustStash to get yours.

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J. Strickland once again proves his prowl in the skateboarding game, a accomplished cinematographer and brand creator and now photographer with his first solo photography show this saturday evening at UBIQ. His newest body of work is featured in the newest Edition of SKATEBOOK titled “The Sun Rises in the East” and includes new photography of iconic skaters KevinTaylor, Mike Maldonado, Burton Smith, Zered Bassett, Luker Lou, Daniel Kim, Charles Lamb and others. Strickland’s style and approach are best described as grimmie sharpe, very real and intense capturing the real feel of the East. We encourage you to pass this invitation along, limited edition 24″x36″ dye ink prints will be sold at this event as well as the newest Edition of SKATEBOOK which features the body of work. We will see you Saturday evening. Official After Party will be “Dre Day” presented by Jayo over at the Kyber fromm 9-2. Thats Wassup!

UBIQ

1509 Walnut St.

Philadelphia

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Edel Rodriguez will be showing a selection of recent paintings and drawings. Influenced by the colors and sounds of a childhood in Cuba, Rodriguez’s work is infused with narratives and myths that deal with personal history and cultural displacement.

Hailing from Havana, Cuba, he utilizes different mediums to execute a broad range of styles in his art, garnering a Silver and Gold Medal from the Society of Illustrators for his editorial illustrations, which consists mainly of conceptual pieces and portraits. Rodriguez has illustrated several children’s books, and his art is featured regularly in a variety of art journals and magazines, such as American Illustration and Communication Art.

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In a career spanning 27 years, RISK has impacted the evolution of graffiti as an art form in Los Angeles and worldwide. RISK gained major notoriety for his unique style and pushed the limits of graffiti further than any writer in L.A. had before: He was one of the first writers in Southern California to paint freight trains, and he pioneered writing on “heavens,” or freeway overpasses. At the peak of his career he took graffiti from the streets and into the gallery with the launch of the Third Rail series of art shows, and later parlayed the name into the first authentic line of graffiti-inspired clothing.

Before he’d ever heard of graffiti, RISK was unconsciously writing it. As a kid, he filled sketchbook after sketchbook with images, not just of people and things but of letters too. He even had spray paint in his hand before ever applying it to a wall, using it to paint BMX bikes. “Even back then I think I was addicted to spray paint,” he recalls. “I just loved painting with it.”

Visit RISK’s limited-edition print series just released at www.riskrock.com. Each screen print is signed and numbered by the artist.

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Now in its 6th year, this revolutionary art tour, designed to expose established and emerging artists and their work to audiences across the country,  kicked off 2010 in Los Angeles and now moves on to Austin, TX. The tour focuses on the video medium, which emerged in the 1960s and has since expanded galleries into more experimental, kinetic and interactive spaces. “Installation 6: Video” challenged 10 artists to create non-narrative video installations that will eventually transform five unique exhibitions around the country.

Dust La Rock – Occult of Personality (Clip) from Scion ART on Vimeo.

“For ‘Installation 6,’ we unveil a full exhibition of video installations that illustrate how 10 emerging artists and creative icons see the world through vivid movement and color,” says Jeri Yoshizu, Scion manager, sales promotions. “In our continued support of independent artistic expression, we are eager to introduce audiences across the country to inventive works by leading talent in art, music and design who push the boundaries of creativity with every medium they explore.”

Featuring:

Dust la Rock (Brooklyn, NY), Eric Nakamura (Los Angeles, CA), Saelee Oh (Los Angeles, CA), French (London, England), Josh Graham (New York, NY), Ill-Studio (Paris, France), Monihan Monihan (New York, NY), Mark Mothersbaugh (Los Angeles, CA), PMKFA (Tokyo, Japan), and Sage Vaughn (Los Angeles, CA).

Opening reception:
Sat, Feb 20th, 7pm – 10pm

Okay Mountain
1312 E Cesar Chavez St. Ste B
Austin, Texas 78702
okaymountain.com

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Past posts that you may have missed that should not slip under your Art Radar:

Some events from last week’s Art Radar are still running, check them out!

Art HERstory: Cindy Sherman

Check out our mini biographies on our: M.I.S.S. Paper Doll Artists

Check out our newest venture that all of our favs (y’all!) can be involved in: M.I.S.S. Flickr

Since the premiere of MTV’s documentary on life at the Jersey Shore, viewers across America have been fist pumping and beating up beats. Snooki, J-Woww, Sammi, and Angelina showed us how ladies from the Tri-State area get down. These self-proclaimed guidettes wore their fake tans, push up bras, and lengthy extensions with pride. Despite such long standing stereotypes, not all Jersey girls fit that role. Cindy Sherman is a prime example of a guidette mutation. She is still a hot, opinionated chick with a tan, but she doesn’t prowl the shore looking for Juiceheads or expose her undies in the hottest clubs. Cindy uses a camera lens to get her point across.

(2003).The stereotypical guidette. This photograph hit home for Cindy because it pokes fun of what people think a Tri-State girl, like Cindy, looks like.

Cindy’s life began on January 19, 1954 in Glen Ridge, New Jersey. Yes, another great Capricorn! Cindy spent her early years in Huntington, Long Island as the youngest of five children. Oddly, Cindy wasn’t always the artsy fartsy type, neither were her parents. It wasn’t until after high school that Cindy decided to pursue art. The State University College at Buffalo was where Cindy’s artistic pursuit began.

“It wasn’t until college that I had any concept of what was going on in the art world. My idea of being an artist as a kid was a courtroom artist or one of those boardwalk artists who do caricatures.”

Cindy entered SUCB anxious and eager to study painting, but changed her major before her commencement date. She became frustrated with the limitations painting placed on her. Sherman has said that she felt that ” . . .there was nothing more to say [through painting]. I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead.” To this day Cindy doesn’t regret her change in focus from painting to photography.  She even admits she never could have been a successful painter, claiming that she is unable to react to painting. I understand where she’s coming from. I changed my major four times before I found my calling. If you aren’t feeling it, don’t waste your time on it.

(1990-1). I think this picture is poking fun at 'the model.' The woman in the picture has shiny cleavage, edgy makeup, and the infamous sexy stare.

After her 1976 graduation, Cindy did what any serious artist would do. She moved to New York City. She settled in a loft on Fulton Street in lower Manhattan and began taking photographs of herself. The “Untitled Film Stills” show Cindy dressed up in an array of costumes. Each photograph is of a type of woman, not anyone in particular. The housewife, the prostitute, and the dancer are a few of the personas Cindy toys with. She uses this collection to express her opinion and simultaneously poke fun at the stereotypes placed on women in modern society.

(1977). An photograph from the "Untitled Film Stills" collection that portrays Cindy as 'the housewife.'

Her ”Stills” project was completed in 1980. Cindy announced its completion when she was unable to think of more clichés to illustrate. She had her first solo show at the nonprofit space the Kitchen the same year. The critics raved about Cindy’s work and the show received tons of publicity.

(2002). The washed up prom queen. Shes decked out, minx and all.

Cindy’s artistic eye changed with the release of the “Disasters and Fairy Tales” series. The photographs became much more ambiguous, and to say the least, disgusting. The fairy tales side of the series features Cindy dressed as characters commonly found in fairy tales. The damsel in distress is a prime example. No, Cindy doesn’t dress herself in the finest linens in all the land, instead she sexes the characters up.  The photographs in the disaster aspect of the series feature colored lighting used in settings littered with random object that aren’t necessarily easily recognizable. The use of doll body parts and prosthetics make the meaning of this series even harder to grasp. Cindy’s intent was to let observers into her mind and show them the beauty she finds in the gross.

(1989). No matter how cluttered this scene is, I understand the beauty Cindy sees in it. Wait, is that a blow up doll?

The “History Portraits” were Cindy’s next big release. These portraits are parodies of archetypally famous paintings. During the composition of these portraits Cindy lived overseas. Her inspiration came from books, not museums.

This photography is a parody of Gustave Moreau's 'The Apparition.' According to historians and critics the original painting was intended to illustrate the threatening power of a woman.

“Even when I was doing those history pictures, I was living in Rome but never went to the churches and museums there. I worked out of books, with reproductions. It’s an aspect of photograph I appreciate, conceptually: the idea that images can be reproduced and seen anytime, anywhere, by anyone.”

In 1992 Cindy took her edginess to a new high with the “Sex Pictures” collection. Her plastic doll pals are featured once again and this time they let it all hang out, literally. Prosthetic genitalia from both sexes are photographed in extreme close up. The dolls featured are placed in various sexual poses that look like something out of the Kama Sutra. Cindy’s aim was to shock, and boy did she accomplish that goal. The “Sex Pictures” definitely aren’t safe for work although the subjects featured are polymer based. Trust and believe the pictures are enough to make the biggest porn addict cringe.

(1989). Parody of the cliche profile portrait that was once popular among the elite. The posture and attire of the subject shows her supposed status and sophistication. The cracked makeup symbolizes the mask this woman wears, both figuratively and literally.

Cindy’s eye-opening and graphic photography earned her a MacArthur Fellowship in 1995. This award, also known as the “Genius Award,” grants $500,000 a year over a five year period to scholars with no strings attached. Apparently, Cindy is doing pretty well financially. In 1999 the average selling price for a Cindy Sherman photograph ranged from $20,000 to $50,000 and one of the Film Stills went for $190,000 that year. Well, the Museum of Modern Art upped the ante on a Cindy Sherman piece in 1996 when they purchased a complete set of Film Stills for one million dollars.

Cinderella at her finest. The damsel in distress is the topic of this photo. The halo of flowers, blonde hair, and setting make it obvious.

Obviously Cindy perfected the art of photography, but she doesn’t stop there. In 1997 she took a seat in a director’s chair. Her directorial debut, Office Killers, was released in theaters. Since then Cindy has stepped back into her modeling shoes and started taking pictures of herself again. She currently lives and works in New York City with her husband.

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If you missed it the first time, you have a chance to check out the Paper Dolls show at FIFTY24LA during tomorrow night’s Downtown LA Art Walk. All of the pieces are for sale and we have a great lineup of artists – all who contributed pieces that are priced to sell! You can view all of the pieces in our Paper Dolls Opening Reception Recap and all of the pieces will be available for sale online shortly. We hope to see you there!

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Giant Robot is proud to host Metal Mad, a group art show featuring works inspired by the head-banging, guitar-driven, amps-to-11 musical genre owned by the misunderstood.

While all artists will share a love of shredding guitar and bone-shaking volume, their styles and mediums will be as different as dark metal, black metal, speed metal, thrash, grindcore, and stoner rock. Contributors come from America, Asia, and Europe:

Aeron Alfrey, Chris Bettig, Bigfoot, Aaron Brown, Buff Monster , Michael Coleman, Louie Cordero, Cupco, Tom Forget, Noel Freibert, French, Matt Furie, Joe The Artist, Paul Lyons, Jeremiah Maddock, Kiyoshi Nakazawa, Tom Neely, Matt Nelson, Eric Nyquist, Martin Ontiveros, Prodip, Brian Ralph, Albert Reyes, Scrappers , Skinner, Ryan Jacob Smith, Bwana Spoons and Hannah Stouffer

Giant Robot New York
437 East 9th Street Between 1st Ave. & Ave. A, in the East Village
New York, New York 10009

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For the 2nd year in a row Bherd Gallery presents their ladies only show! Featuring the freshest female artists in Seattle. Presenting the urban contemporary works of: Ninjagirl, Soopajdelux, Soule, Coco Howard of Softlife, Siolo Thompson and Michelle Smith-Lewis.

Bherd Studios Gallery

8537 Greenwood Avenue North

Seattle, WA 98103

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Since this is all of the information I could really find in English, here is a short bio:

Since he was born in September 1980 (Florence – Italy), Francesco D’Isa loves synthesis and hates biography. He studied philosophy in Florence. He’s self-taught as an artist: his fascination with visual imagery has driven him to master the required skills. He’s a pioneer of digital art in Italy, but his skills as a drawer let him work with traditional media as well. He was the co-founder of the Italian Art & Literature magazine “Mostro”, where he published his first artworks. After that, his digital and traditional artworks were featured in many magazines around the world, like “Expose III”, Ballistic Publishing (USA); “Pixel Surgeons: Extreme manipulation of the figure in Photography”, Mitchell Beazley Art & Design, Octopus ed. (UK); “Black magic, White Noise” ed “Illusive 3″, Die Gestalten Verlag (GERMANY); “Design 360°”, San Du Culture ed. (CHINA). He won art prizes and exhibited his artworks in galleries worldwide (Italy, Germany, England, USA, Australia, Russia, Argentina etc). In 2007 he became “Pornpope” founding the porn-artistic collectivewww.pornsaints.org. He organized for Pornsaints international art exhibitions and parties in art galleries and erotic festivals, both in Europe and USA. Moreover, through his work as “Pornpope” many international porn stars like Kylie Ireland, Stoya, Madison Young and Sasha Grey acted for him as muses, models and working partners.

From the one image and the brief write up, this would be a show I would for sure see.

February 13th at 6 p.m.

“Eros e Civiltà”, Francesco D’Isa Solo Show

Galleria Miomao

Via Podiani, 19 – Perugia ITALY

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Come to The Land of Odd Gallery’s $100 & Under show, opening on the evening of February 13, 2010 from 6pm to 11pm. This event will be held in conjunction with the NELA 2nd Saturday art walk. As always refreshments will be served and the event is FREE!

Great Art! Great Prices! The Land of Odd Gallery is bursting at the seams with great artwork! With over 40 participating artists from across the country and all the work priced at, or under $100, this is going to be an event to remember. This show will be cash and carry, so get it while you can! Featuring the artwork of; Douglas Alvarez, Christie Bastet, Edith Ben-Horin, Jeff Berman, Terri Berman, Jeff Bertrand, Deborah Blanco, Chris Bonno, Heidi K. Born, Deryke Cardenaz, Bryan Collins, Josh Cooper, David Daniel, Marcel DeJure, Brett Gilbert, Jolly de Guzman, Brad Davis, William Reynolds Green, Joe B. Hall, John Hicks, Chuck Hodi, K. Howell, Chris Isner, Jinx, Bruce Kaplan, Amelia Lewis, Cynthia Llanes, Vivian Nguyen, Sean Madden, Evil Paul, Demi Pietchell, Patrick Quinn, Pablo Ramos, Monica Roache, Glenda Rolle, Lisa Rosso, Melissa Sullivan, Jason Sullivan, Ckay Walker, Matt “Creep Creeperson” Wall.

February 13, 2010 – March 27, 2010

The Land of Odd Gallery
4690 Eagle Rock Blvd. Los Angeles, CA 90041
Opening Reception: February 13, 2010 from 6pm to 11pm

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Yes, it’s true. Capricorns are the best. The Mountain Goats of the zodiac tend to be methodical, logical, analytical, and most of all persistent. The go-getter attitude of Capricorns is the reason behind their success and achievements. Dame Jocelyn Barbara Hepworth was no exception. Her persistence and diligent work earned her a place in the Most Excellent Order of the British Empire and the title of one of the most significant artists of the 20^th century.

"Two Figures" (1954-5)

This young doeling was born on January 10, 1903 as the eldest of four. Her father was a civil engineer who worked in Wakefield, West Yorkshire where he raised his family. Her first love was math. It brought her closer to her father, and watching him work introduced her to the idea of technical drawing. She attended Wakefield Girls’ High School where her work received much praise and encouragement. Eventually, she won a scholarship to Leeds School of Art in 1920 where she began to study sculpture.

"Infant" (1929)

While at LSA she met fellow sculptor Henry Moore. The duo’s time together continued outside of LSA. The following year both Hepworth and Moore went to Royal College of Art. Hepworth finished the two year program at Leeds School of Art in a single year and earned a county scholarship to Royal College of Art. A true Capricorn woman!

"Conoid, Sphere and Hollow II" (1937)

Hepworth’s early sculptures at Leeds were quasi-naturalistic and were similar to the work of Moore. Despite the similarities, Hepworth’s work showed a tendency to add detail to simple pieces. She remained enrolled in the School of Sculpture at the Royal College of Art until 1924. The same year Hepworth was awarded another scholarship which provided the opportunity to study in Italy with other scholarship recipients. One of the other travelers was sculptor John Skeaping, her future husband.

"Theme on Electronics (Orpheus)" (1956)

Hepworth was married to Moore until 1931. The same year she met Ben Nicholson, who became her second husband a year later. Ben brought contemporary European developments in art to Hepworth’s attention. In 1933 the couple joined the artists’ group Abstraction-Création and British modern art group Unit One. During the 1930s Hepworth, Nicholson, and Moore were a dominating force in modern art. They were recognized as ‘the nucleus of the abstract movement in England.’

"Mother and Child" (1934)

The art movement in London became less and less important during 1938. Hepworth and Nicholson decided to leave the city and relocate to St. Ives in Cornwall. Their travel began five days before the declaration of World War II. The Cornish landscape became inspiration for her work.

"Sculpture with Colour (Eos)" (1946)

The late 30s and 40s also brought about Hepworth’s use of ‘the hole.’ The idea of putting a hollow in her sculptures came from the mathematical and logical side of Hepburn shining through. She was toying with the idea of mass and space.

"Tides" (1946)

In 1949 Hepworth acquired Trewyn Studio where she worked on her carving. In 1961 she moved her work to the Palais de Danse where she worked on her large scale sculptures. In this studio Hepworth created Single Form which was placed outside the United Nations building in New York in 1964. The following year she was recognized for her contributions to modern art by the Royal Family. She was a guest on the Queen’s Birthday Honour’s List and made a Dame of the British Empire.

Barbara Hepworth hard at work on a new, and intricate, work of art!

Dame Jocelyn Barbara Hepworth died on May 20, 1975 when her studio home caught on fire. Withing a year after her death, Trewyn was to be opened as a museum and sculpture garden dedicated to her life’s work and is now a part of the Tate St. Ives. Her home and studio are now open as the Barbara Hepworth Museum. Outside of the museum, Hepworth’s work will be on display at The Hepworth Wakefield, a museum currently under construction in Wakefield. The museum is scheduled to open this year.

The signature of Barbara Hepworth on a piece of her art.

As Americans we are all aware of the ongoing beef between us and our maple leaf brethren to our north. Trey Parker and Matt Stone even took things a step further and came up with an official anti-Canada song. I get it, Americans and Canadians aren’t too fond of each other. Regardless of how much we blame each other and poke fun, they brought us the artistic interpretation of Canada’s landscape as seen through the eyes of Emily Carr. Carr is a master of the paintbrush and pen and she’s, you guessed it, Canadian. If such great works of art came from one of the country’s citizens, it can’t be that bad, right?

"Indian Church" (1929). The intricate pattern the leaves make in combination with the various shades of green are SO DOPE.

Emily was born December 13, 1871 in Victoria, British Columbia. By the way, British Columbia became a part of Canada the year she was born. Emily was an artsy youngster and her parents took notice. Her father encouraged her to further explore her interest in art. Sadly, she didn’t take her talent seriously until the early 1890s, after the death of her parents. The nearest art school was in San Francisco, so to San Fran is where Emily moved. She was there two years before returning to Victoria.

"Totem Walk at Sitka" (1907). The way Emily made the sunlight and shadows look so realistic is amazing. I feel like I'm actually standing in front of a path surrounded by trees. It's hard to believe this is a painting.

In 1898 Emily began sketching and painting what she saw while on her trips to aboriginal villages. Her main inspirations came from visiting Ucluelet, an area on the western coast of Vancouver Island. Here is where she observed the Nuu-chah-nulth people, known to English speaking people as the ‘Nootka.’ The next year Emily traveled to England to deepen her knowledge.

"Loggers' Culls" (1935). I absolutely love cloud watching. Corny? Maybe a little. The clouds in this painting remind me of my weekly visits to the park to admire the cotton balls in the sky.

Once in England Emily spent most of her time studying at the Westminster School of Art in London. She also spent some time at various art studios in Cornwall, Bushey, and Hertfordshire. Her studies paid off. Her hard work and dedication to art allowed Emily to become involved with the St. Ives group and Hubert von Herkomer’s private school. In 1910 she spent a year studying at the Académie Colarossi in Paris and elsewhere in France before moving back to British Columbia permanently.

"Above the Gravel Pit" (1937). Emily definitely knew how to use her colors! The various hues of blue make this sky look like there should be a bird or two flying through it.

Discouraged by her lack of success, Emily contemplated giving up art altogether. In1905 she took a teaching job in Vancouver at the Ladies Art Club. After a few years the travel bug bit Emily again. She vacationed in Alaska where she dedicated a part of her holiday to using her own art to document the artistic history of the aboriginal people she encountered. The totem poles of the coastal Kwakwaka’wakw, Haida, Tsimshian, and Tlingit communities guided Emily back to where she belonged, in the studio making art.

"Tree in Autumn." Autumn is my favorite season because of all the colors. Yep, she got them exactly right.

“I glory in our wonderful west and I hope to leave behind me some of the relics of its first primitive greatness. These things should be to us Canadians what the ancient Briton’s relics are to the English. Only a few more years and they will be gone forever into silent nothingness and I would gather my collection together before they are forever past.” -Emily Carr

The 1920s and 30s were when Emily’s work gained the recognition it deserved. Marius Barbeau, a leading ethnologist and the National Museum in Ottawa, caught a glimpse of Emily’s work and brought it to the attention of Eric Brown. In 1927 Emily got the visit of a lifetime. As it turns out Eric Brown was the Director of Canada’s National Gallery. He personally invited Emily to become a featured artist in an exhibition on West Coast aboriginal art. Of course she accepted! She submitted 26 oil paintings along with pottery and rugs.

"Strait of Juan de Fuca" (1936). Canada's landscape was one of Emily's loves and she portrays it beautifully here.

The following spring Emily timed her trip to the exhibition so that she would be able to meet with members of the Group of Seven, Canada’s most recognized modern painters who specialized in Canadian landscape. Did I mention they were all men? Her careful, and slightly sneaky, planning paid off and she met the infamous Seven. They loved Emily’s work and she was invited to submit some work for one of the Group of Seven exhibitions. Her relationship with the group was long and successful. They deemed her the ‘Mother of Modern Arts.’ Three cheers for Emily!

"Blunden Harbour" (1930). There are so many techniques and layers used in this painting. The reflection in the water and the use of color in the sky are two are my favorites.

Due to unforeseen circumstances, Emily’s method of artistic expression changed in 1939. She suffered a stroke and had to write instead of paint. With the assistance of her friend Ira Dilworth, Emily was able to write and publish her first book, ‘Klee Wyck,’ in 1941. The title came from a nickname given to her by the Nuu-chah-nulth people. It meant ‘the laughing one.’ The book won the Governor General’s Award the same year.

"Blue Sky" (1936). Sky again! This color blue is vivid and slightly cartooon-ish, but I still LOVE it!

Emily died in Victoria on March 2, 1945. Her passing couldn’t have come at a worse time. She died just before she was to be awarded with an honorary doctorate by the University of British Columbia.

"Vanquished" (1930). There is a gloomy feeling to this painting because of the droopy clouds. Despite the cloud cover, the life of the grass is flourishing. The bright green colors make that obvious. The shadows and light are also beautiful.

Artists are normally perceived as introverts who ignore societal norms. Käthe Kollwitz fit this stereotype. Beneath her melancholy exterior hid an extremely empathetic and warm hearted woman. She was socially conscious and took the lives of the world’s forgotten people and made their hardships into works of art.

"Germany's Children Are Starving!" (1924). The pain in the eyes of these children is so real. Amazing!

Käthe Kollwitz was born in what is now Kaliningrad, Russia in 1867. She was the fifth child of Karl and Katharina Schmidt. Käthe’s household was controlled by her grandfather’s religious and socialist beliefs. Julius Rapp, Käthe’s grandfather, was a Lutheran pastor who was expelled from the official State church. After his expulsion he founded his own congregation, the Free Religious Congregational Church. Julius eventually died and Karl took over the church. From that point on Käthe was instructed by her father to obey ever command and to never show emotion. The forced lack of expression and firm religious grip choked Käthe into submission and fear. She became tormented with nightmares, tantrums, and stomach aches. As punishment for such ‘outlandish behavior’ Käthe was locked in her room for extended periods of time.

“A loving God was never brought home to us” – Käthe Kollwitz

Despite his strong hand and dominating presence, Käthe’s father recognized his daughter’s artistic talents. At the age of 12 he arranged for Käthe to begin lessons in drawing and copying plaster casts. At the age of 16, Käthe began drawing the people around her. Sailors, peasants, and others of the working class intrigued the blooming Käthe. She created her first painting the same year.

"Rest in the Peace of His Hands" (1935-6). The subject of this piece looks to peaceful. The religious reference is obvious and extremely comforting.

The following year Käthe enrolled in an art school for women in Berlin. Käthe continued her education at Munich’s School for Women Artists where she became inspired by Max Klinger. His etching technique and social concern would influence Käthe to begin her own etchings. Käthe’s introduction to Klinger was the catalyst for her transformation from painting to graphic arts.

"Downtrodden" (1900). This etching is of three victims of poverty. The 'downtrodden' members of society were often the focus of Kollwitz's work.

In 1891 Käthe married Dr. Karl Kollwitz; they had two sons, Hans and Peter. Karl was a kindhearted man who focused on providing healthcare for the poor people of Berlin. The couple moved into a large apartment not far from his practice so Käthe could have room for a studio. When in her studio, Käthe required complete silence. She rarely smiled. Not even in pictures. According to Hans, she had a less serious side.

“Mother loved laughter and often longed for opportunities to laugh.” -Hans Kollwitz

Käthe’s first series of lithographs, The Weaver’s Revolt, was influenced by a performance of Gerhart Hauptmann’s “The Weavers.” The collection was revealed to the public at the annual Berlin art show in 1898. Due to its political message and rebellious nature Käthe was never awarded the medal she rightfully won.

"Woman with Dead Child" (1903). Heart-wrenching.

As the wife of a doctor practicing in a poor area of Berlin, Käthe was able to witness the daily hardships of the working class firsthand. Hunger, death, illness, and sadness plagued the masses. Most of Käthe’s works portray such tragedy. The colors are often murky and dull. The people often had large heads and hands. The enlargement of her subjects’ appendages may be due to Käthe’s suffering from a neurological disorder called Alice in Wonderland Syndrome. It is a temporary condition associated with migraines, brain tumors, the use of psychoactive drugs, and size distortion issues.

“I am content that my art should have purpose outside itself. My course is clear and unequivocal.” – Käthe Kollwitz

In 1907 Käthe won the Villa Romania Prize by Max Klinger. The award enabled her to travel to Italy. Oddly, Käthe wasn’t moved by Italian Renaissance artists, except Michelangelo.

“The enormous galleries are confusing, and they put you off because of the masses of inferior stuff in the pompous Italian vein.” – Käthe Kollwitz

Up to this point Käthe’s life fluctuated between high point and low points quite frequently. 1913 would be no different. Käthe co-founded the Women’s Arts Union and a catalog of her work was released. The same year her son, Peter, volunteered for the German army. He was killed in battle. The death of her son forced Käthe into a deep depression. She worked diligently on a pair of statues of commemorate the fallen. The kneeling figures, The Grieving Parents, were revealed in 1932 in the Roggeveld Military Cemetery in Belgum. Later, when Peter’s grave was moved, the statues moved to Vladslo German War Cemetery.

I stood before the woman, looked at her – my own face – and I wept and stroked her cheeks. Karl stood close behind me – I did not even realize it. I heard him whisper, ‘Yes, yes.’ How close we were to one another then! – Käthe Kollwitz

Käthe’s 50^th birthday was commemorated in the summer of 1917 with a retrospective exhibition of 150 drawings in Berlin. At age 52, Käthe became the first woman elected to the prestigious Prussian Academy of Art.

"The Grieving Parents"(1932). A 'mother' and 'father' to commemorate the fallen.

The beginning of the end for Käthe’s art career began in 1933 with Hitler’s rise to power. Nazi’s forced her to resign from her career and her artwork was removed from museums. Many artists went into exile. An interview Käthe participated in earned the Kollwitz family a visit from the Gestapo. They threatened to arrest Käthe and deport her to a concentration camp if she didn’t keep her mouth shut. She and Karl agreed to commit suicide if going to a concentration camp was inevitable. On her 70^th birthday she received over 150 letters from comrades, some from people in the United States offering to house her to save her from harm. She declined out of fear. She didn’t want the harm to turn to her family. Eventually Käthe did leave Berlin. She was forced to evacuate when her house was bombed on November 23, 1943.

It is almost incomprehensible to me what degrees of endurance people can manifest. In days to come people will hardly understand this age. What a difference between now and 1914… People have been transformed so that they have this capacity for endurance…. Worst of all is that every war already carries within the war which will answer it. Every war is answered by a new war, until everything, everything is smashed. – Käthe Kollwitz

In the spring of 1945, Kollwitz felt death’s hand upon her shoulder. She died on April 22, 1945. In her final letter she wrote: “War accompanies me to the end.”