Day: June 4, 2022

The Dynamics of Sharing Our Creativity

Blinders On

When I ran the Maniscalco Gallery in Grosse Pointe, I remember more than once, artists coming through the door, head down, arms full of art, mumbling something like, “I don’t want to look at anyone else’s art. That’s how I know that what I’m doing is completely original.” In virtually every case, their work was derivative and uninteresting. Working in a vacuum produces vacuous art.


Hiding Our Candle Under a Bushel

I know so many artists who hide away, afraid to share their gifts. And by share their gifts I’m talking about exposing their talent to others who may have something wonderful to teach them. We grow as artists, not in isolation, but by the process of building relationships. I believe everyone I meet has the potential to transform me and my work. It’s not always good news. Sometimes it hurts. But I would not be the

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Eighth R.L. Shep Triennial Symposium on Textiles and Dress: Lee Alexander McQueen | Cycles of Inspiration in Dance of the Twisted Bull

Eighth R.L. Shep Triennial Symposium on Textiles and Costume: Lee Alexander McQueen | Cycles of Inspiration in Dance of the Twisted Bull


Tue, 05/31/2022 – 16:15

In conjunction with the exhibition Lee Alexander McQueen: Mind, Mythos, Muse, renowned scholars will discover imagination, inventive procedure, and innovation in style and artwork to more look at the interdisciplinary impulse that outlined McQueen’s job, legacy, and sources of inspiration. 

The bullfight, or corrida, motivated McQueen’s Spanish-influenced Spring/Summer 2002 collection, The Dance of the Twisted Bull. The costume of the male matador informed the collection’s silhouettes, with accents drawn from the conventional costume of feminine flamenco dancers. McQueen interpreted the corrida from an outsider’s perspective, but adopted in the footsteps of Spanish artists Francisco de Goya and Pablo Picasso, who both equally drew on the bullfight in their own techniques. Co-curator Clarissa M. Esguerra elaborates on McQueen’s selection, even though Britt

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Playing New Roles Behind the Mask: San Luis Potosi Diary # 2

This isn’t just CosPlay.

These are the origins of the Universe, the concept of duality, the personification of diety, the reverence for the dead, the mourning of loss, and the paralyzing fear of the devil. These weighty themes and others have regularly been addressed through masks, costumes, and dance in rituals dating back to 3000 B.C. in Mexico.  During the Pre-Hispanic period, people became gods and devils, eagles and jaguars – by donning masks. 

Museo Nacional de la Mascara. San Luis Potosi, Mexico. (photo © Jaime Rojo)

Wearing a mask in ritual or celebration, one could assume powers over the harvest, influence relationships, attempt to sway health outcomes and even predict the future. Later, pagan practices were folded into western religious practices to gain new adherents (and donations) to the church, fortifying their importance in the histories re-told to future generations.

Museo Nacional de la Mascara. San Luis Potosi, Mexico.
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