Outside of my bias of having been trained as an Italienist, The Dead Christ with Symbols of the Passion, is one of the most important Old Masters in our collection (as a mature work by one of the few female…
Becky Suss (American, b. 1980), Houseboat on Dull Lake in the Valley of K, 2019, Oil on canvas, 84 x 144 in. The Alfond Collection of Contemporary Art at Rollins College, Gift of Barbara ’68 and Theodore ’68 Alfond, 2019.2.22. Image courtesy of the artist…
Käthe Kollwitz (German, 1867–1945), Untitled (“Mob [Family] with Dead Child”), n.d., Dry point etching, Gift of Mrs. Ruth Funk, Cornell Fine Arts Museum 2001.04.09.PR Where history provides perspective and comparison, art provides context and comfort. Historical art often provides both. That is why I…
Carmen Herrera (Cuban, 1915-2022), Untitled, 2013, Acrylic on canvas, 72 3/64 x 36 7/32 in. The Alfond Collection of Contemporary Art at Rollins College, Gift of Barbara ’68 and Theodore ’68 Alfond, 2014.1.32. © Carmen Herrera. Image courtesy of the artist and Lisson Gallery, London,…
Dawoud Bey (American, b. 1953), Janice Kemp and Triniti Williams, 2012, Archival pigment prints mounted on dibond, 40 x 64 in (40 x 32 in individually), Museum purchase from the Kenneth Curry Acquisition Fund, 2015.9., Image courtesy of the artist and Rena Bransten Gallery A…
Born in Grand Rapids, Michigan, Emory Douglas moved with his mother to San Francisco when he was eight. At age 21 he began taking commercial art classes at City College, working as a designer and printer at local advertising agencies…
I recently read Jennifer Egan’s historical novel Manhattan Beach, a noir thriller that transported me to New York during World War II. The main character, Anna Kerrigan, comes of age at a time when the country grappled with war abroad and its effects at home. Resilient and determined, Anna works at the Brooklyn Naval Yard as a diver repairing ships. The rich descriptions of the naval yard, the city streets, and the dark, smoky nightclubs, paint a vivid picture of the context in which she lived and worked. Newspapers reported on the war in Europe, and she learned of individuals’ experiences through letters and friends’ accounts. While reading, I thought about how young women experienced the city at this historical moment.
This painting references the titular narrative poem by Dante Alighieri (1265-1321), a work of Italian literature originally published in 1320. Dante’s Divine Comedy chronicles the author’s supposed visit to the realms of the afterlife, narrated in first person. Towards the right of the composition, Dante the Pilgrim—the figure holding a book—traverses through Hell, indicated by the fiery orange background. Specifically, Peterson referenced the thirteenth canto of the Inferno, where Dante and his spiritual guide Virgil journey through the forest of the suicides in the seventh circle of Hell. In the Inferno, violence against oneself is punished by the transformation of the body into a tree where the mythical harpies nest. In the narrative, Dante plucks a twig from a gnarled branch, only to witness blood gush from the wound and the trunk angrily yelp at him.
Cig Harvey describes that the series examines her relationship with life itself, and it began after a critical moment in her life. Harvey was in a car accident, and though physically unharmed, she did not speak for six weeks after the event. She was overwhelmed with thoughts of what could have happened if her daughter had been in the car with her. The idea that anyone’s life can change drastically in an instant altered Harvey’s perspective significantly, especially with her role as a mother.
