Pair of eyes, bronze, marble, frit, quartz and obsidian; thought to be Greek, 5th BCE or later. Metropolitan Museum of Art, NY
A Brexit procedural vote in the Commons, UK Parliament, on April 1, 2019.
A teller read the vote count from a card and handed the card to a bewigged man who gave it to the Speaker of the House, John Bercow. He repeated the vote count.
The vote was whether or not to debate four alternatives to resolve the impasse on the shape of the Brexit. The ayes had it. The impasse continues because all alternatives were rejected.
The noise obscures the further hijacking of a democracy by a political elite, well-guarded by their own resources against the catastrophe which they are delivering to some of their compatriots. For Queen and Country, of course.
The eyes of David Bowie, 1947-2016, (from the net).
Cat and Bird, 1928, oil and ink on gessoed canvas, mounted on wood. Paul Klee, German born Switzerland. MOMA, NY
A Good Circular God, 1948-50, mixed mediums. Jeanne Reynal, 1903-1983, American. MOMA, NY
Indestructible Object, 1965 (replica of the 1923 destroyed original), metronome with photograph. Man Ray, 1890-1976, American. Philadelphia Art Museum
Gala Éluard, , 1924, oil on canvas. Max Ernst, 1891-1976, French born Germany. Metropolitan Museum, NY
Gala Éluard, was the wife of two Surrealists, Paul Éluard and Salvador Dali; and the lover of Max Ernst who painted this from a phootograph of Man Ray.
It is thought to represent the Surrealism faith that art can unravel the mysteries of the unconscious mind.
The Evil Eye, mixed media, 1947. Eric Donati, American born Italy, 1909-2008. Philadelphia Art Museum
Crying Girl, 1963, offset lithograph. Roy Lichtenstein, 1923-1977, American. Philadelphia Art Museum
The Critic Sees II, sculpmetal over plaster, glass, 1964. Jasper Johns, American born 1930. The windows of the Philadelphia Art Museum are reflected in the image.
Lover’s Eye Brooches, 1800 on the left, gold, enamel and watercolour on ivory; on the left, and early 19th century, gold, pearls and watercolour on ivory. Both probably British. Metropolitan Museum of Art, NY
LOOK! 1964, Joe Tilson, born 1928, British; oil and acrylic on plywood. Loaned by the Walker Art Center, Minneapolis to the International Pop exhibition in 2016, at the Philadelphia Museum of Art
The Jimmy Hendrix Experience, 1967, offset lithograph (with light interference). Thought to have been designed by Fantasy Unlimited. Philadelphia Art Museum
Point of View, 1967, etching. Edward Saffel, 1923-2015, American. Pennsylvania State Museum, Harrisburg
Owl, date unknown, patinated bronze. Kenneth Gordon, 1929-1998, American. Woodmere Museum, Philadelphia
Eye, 1972, acrylic paint on leather. Bettye Saar, American born 1926. On loan from by a private collector to the Brooklyn Museum, NY in 2018/19
Source, 1976, oil on canvas. Philip Guston 1913-1980, American born Canada. MOMA, NY
Window created for Magee Rehabilitation Hospital, Philadelphia, 1982, 40 porcelain tiles washed with copper salts, each handcrafted and applied to frosted glass, wood frame. Rudolf Staffel, 1911-2002, American. Philadelphia Museum of Art
To the Possible Limit, 1996, acrylic paint and conte crayon on canvas with found objects. Jose Bedia, Cuban born 1959. Hirshhorn Museum, Washington, DC. An expression of the difficulties of exile for the painter who lives in the United States.
‘Nobody’s Perfect’ chair, 2002, polyurethane based resin, nylon pins. Designed by Gaetano Pesce, Italian born 1939; made by Quatrocchio S.r.L., Alessandrio, Italy, 1919-present. Philadelphia Art Museum
Gina Beavers “Smokey eye tutorial”, 2014. Acrylic and wood on canvas, artists frame, 30 x 30 inches Photo credit: Andres Ramirez, Courtesy the artist and Clifton Benevento, New York
On view at MOMA, NY in 2019
Untitled, Botanical and detail; 2015; doghair, carbon burn-out on glass in custom steel frame. Sharyn O’Mara, Tyler School of Art, Temple University. Exhibited at the Arts Alliance, Philadelphia, 2016
One of thousands of designs of the Dutch company called Vlisco, founded in 1846 (Wax Hollandais, Dutch Wax).
Sold today primarily to west Africa whose Ghanian soldiers brought back a passion for batik from their time as soldiers in the 19th century Dutch East Indies.
Exhibited at the Philadelphia Art Museum in 2016.
Tempting Eyes, 2017, carved and stained pine wood, gouache and pigments on handmade wasili paper, plexiglass. Humaira Abid, American born Pakistan, 1977. Pennsylvania Academy of the Fine Arts, Philadelphia
A commentary on a 2011 Saudi Arabian law which permitted the covering of women’s eyes if they were found to be ‘tempting’. Also a commentary on the long fight of women to be able to drive.