Category: Y1Theory

Posted on

Bibliography

Abu Hamdan, Lawrence. “Saydnaya (the missing 19db).” 2017. http://lawrenceabuhamdan.com/saydnaya

Aluli Meyer, Manulani. “Indigenous and Authentic: Hawaiian Epistemology and the Triangulation of Meaning.” In Handbook of Critical and Indigenous Methodologies, 13-14.  SAGE Publications Inc., 2008.

Amnesty International. “Explore Saydnaya.” 2017. https://saydnaya.amnesty.org/

ArchitectureNow Editorial Desk. “Walls to Live Beside, Rooms to Own.” September 2, 2022. Accessed September 28, 2022. https://architecturenow.co.nz/articles/walls-to-live-beside-rooms-to-own/

Atomic Heritage Foundation. “Marshall Islands.” 2019. Accessed May 6, 2022. https://www.atomicheritage.org/location/marshall-islands.

Auckland Art Gallery Toi o Tāmaki employee, interview by author, Auckland, September 30, 2022.

Auckland Art Gallery Toi o Tāmaki. “Walls to Live Beside, Rooms to Own.” September 2022. Accessed September 28, 2022. https://www.aucklandartgallery.com/whats-on/exhibition/walls-to-live-beside-rooms-to-own-the-chartwell-show?q=%2Fwhats-on%2Fexhibition%2Fwalls-to-live-beside-rooms-to-own-the-chartwell-show

Auckland Art Gallery Toi o Tāmaki. “Life at home and housing in Aotearoa: A new Chartwell exhibition explores ‘home’.” August 11, 2022. Accessed September 28, 2022. https://cdn.aucklandunlimited.com/artgallery/assets/media/aag-chartwell-pressrelease-2022-08-11.pdf

Bailey, Peter. “Breaking the sound barrier: A historian listens to noise.” Body & Society 2, 2 (June 1996): 49-66. https://journals.sagepub.com/doi/abs/10.1177/1357034X96002002003

Beattie, Craig M., “Some bird in Central Park”. Photograph. New York. 2002. Accessed April 25, 2020.

Beattie, J., & Gibson, E. “Ralph and Rene Beattie Story: A Married Worker Couple” (2001). Accessed March 11, 2022. https://www.tellingthetruth.info/history_pioneering/beatties.php

Beattie, Sara K., “History”. Photograph. Hard to Find Books. 2022. Accessed March 17, 2022.

Bennett, Lucinda. “On Natasha Matila-Smith’s art of obsession, intimacy, and longing.” March 1, 2021. Accessed September 26, 2022. https://artnow.nz/essays/bedroom-diaries

Bertram, Geoff. “Story: South Pacific economic relations.” March 11, 2010. Accessed May 6, 2022. https://teara.govt.nz/en/photograph/24245/banaba-before-and-after-mining#:~:text=The%20small%20and%20beautiful%20island,to%20extract%20the%20phosphate%20rock. 

Bourdieu, Pierre. The Logic of Practice. Cambridge, UK: Polity Press, 1990.

Chumko, Andre. ”Seeing the universe in a grain of sand.” November 21, 2020. Accessed September 29, 2022. https://eds-p-ebscohost-com.ezproxy.aut.ac.nz/eds/detail/detail?vid=0&sid=bce06bc9-ad2e-4be6-8b99-082dd38f57d5%40redis&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=DOM201121A0121153549545-BZ&db=anh 

City Gallery Wellington. “More than Human: Panel Discussion.” February 4, 2021. Accessed September 30, 2022. https://citygallery.org.nz/events/more-than-human-panel-discussion/

City Gallery Wellington. “Zac Langdon-Pole: Containing Multitudes.” November 2020. Accessed September 30, 2022. https://citygallery.org.nz/exhibitions/containing-multitudes/

Cook, Roger. “Andy Warhol, Capitalism, Culture, and Camp.” Space & Culture 6, 1 (February 2003): 66-76. https://journals-sagepub-com.ezproxy.aut.ac.nz/doi/pdf/10.1177/1206331202238963

Corse, Lisa M. “The Art of Kintsugi.” June 1, 2021. Accessed September 29, 2022. https://eds-s-ebscohost-com.ezproxy.aut.ac.nz/eds/detail/detail?vid=0&sid=833b43d0-5fe2-4ffc-8cfd-7264ed806697%40redis&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=150273331&db=anh

Dibbell, Julian. “How to Handcraft an Achingly Self-Referential Virtual Commodity Fetish Object (For Fun and Profit!).” Art & Science, 11 (2012): 159-177. https://link-springer-com.ezproxy.aut.ac.nz/content/pdf/10.1007/978-94-007-2082-4.pdf

Dictionary.com. “Thesaurus.com.” 1999-. Accessed May 13, 2022. https://www.thesaurus.com/

Drozdova, Polina, Roeland van Hout and Odette Scharenborg. “Talker-familiarity benefit in non-native recognition memory and word identification: The role of listening conditions and profiency.” Attention, Perception & Psychophysics 81, 5 (July 2019): 1675-1697. https://link-springer-com.ezproxy.aut.ac.nz/article/10.3758/s13414-018-01657-5 

Harper, Douglas. “Online Etymology Dictionary.” 2001-. Accessed May 13, 2022. https://www.etymonline.com/

Hund, Wulf D. It Must Come from Europe: The Racisms of Immanuel Kant. LIT Verlag Munster, 2011. https://books.google.co.nz/books?id=pkBH3LlRYeUC&pg=PA77&lpg=PA77&dq=systematically+interwoven:+%E2%80%9CProgress%E2%80%9D+has+a+skin+colour.+It+is+seen+as+an+expression+of+the+cultural+abilities+of+the+white+race&source=bl&ots=oV0i8fhJDU&sig=ACfU3U15qHnEDQT32rwyYBn-_b28ah5EBA&hl=en&sa=X&ved=2ahUKEwj36N2K6qT5AhU5SGwGHZytClsQ6AF6BAgCEAM#v=onepage&q=systematically%20interwoven%3A%20%E2%80%9CProgress%E2%80%9D%20has%20a%20skin%20colour.%20It%20is%20seen%20as%20an%20expression%20of%20the%20cultural%20abilities%20of%20the%20white%20race&f=false

Ibrahim, Ronia. “All That Glitters is Gone.” November 22, 2021. Accessed September 26, 2022. https://www.pantograph-punch.com/posts/all-that-glitters-is-gone

Lacy, Kirsten. Walls to Live Beside, Rooms to Own. Auckland: Auckland Art Gallery Toi o Tāmaki, 2022. Published following the exhibition Walls to Live Beside, Rooms to Own at the Auckland Art Gallery Toi o Tāmaki, Auckland.

Leonard, Robert. “Zac Langdon-Pole: Containing Multitudes: Publication Essay.” November 2020. Accessed September 30, 2022. https://citygallery.org.nz/documents/zac-langdon-pole-containing-multitudes-publication-essay/

Leonard, R., T. Corballis, J. Randerson, E. Case, and O. Gasser. “More than Human.” February 4, 2022. Accessed September 30, 2022. https://citygallery.org.nz/blog/more-than-human/

Letherby, Gayle, John Scott, and Malcom Williams. Objectivity and Subjectivity in Social Research. SAGE Publications Inc., 2013. https://web-p-ebscohost-com.ezproxy.aut.ac.nz/ehost/detail?sid=a5bec52b-ea16-419b-90f4-ffe8c2b73b65%40redis&vid=0&format=EB#AN=1099403&db=nlebk

Lopesi, Lana. “Te Moana-Nui-A-Kiwa, The Great Continent.” In False Divides, 22-33. BWB Texts, 2018.

Lopesi, Lana. “Te Moana-Nui-A-Kiwa, The Great Continent.” In False Divides, 27. BWB Texts, 2018.

Marx, Karl. Capital: A Critique of Political Economy. Germany: Verlag von Otto Meisner, 1867.

Vande Viere, Frank. “The Fetish Character of the Work of Art and Its Secret.” Art & Science, 11 (2012): 93-100. https://link-springer-com.ezproxy.aut.ac.nz/content/pdf/10.1007/978-94-007-2082-4.pdf 

Muller, Jurgen. “The sound of history and acoustic memory: Where psychology and history converge.” Culture & Psychology 18, 4 (December 2012): 443-464. https://journals-sagepub-com.ezproxy.aut.ac.nz/doi/pdf/10.1177/1354067X12456716

Otto, Michael, “Famous Bookshop next to St. Ben’s”, July 23, 2018. Accessed March 17, 2022.

Outram, Dorinda. The Enlightenment. Cambridge University Press, 1995. https://www.tau.ac.il/~corry/teaching/histint/download/Outram%20-%20Enlightenment.pdf

Rao, Shakuntala, and Herman Wasserman. Global Media Ethics Revisited: A Postcolonial Critique. SAGE Publications Ltd., 2007. https://journals-sagepub-com.ezproxy.aut.ac.nz/doi/pdf/10.1177/1742766507074358

Russell Lawrence, David. “The Naturalist and his ‘Beautiful Islands’: Charles Morris Woodford in the Western Pacific.” 2014. Accessed May 6, 2022. https://www.jstor.org/stable/j.ctt13wwvg4.10?seq=6.

Seah, Naomii. “Steel the show: How Yona Lee’s new exhibition is breaking boundaries.” May 15, 2022. Accessed September 26, 2022. https://thespinoff.co.nz/society/15-05-2022/steel-the-show-how-yona-lees-new-exhibition-is-breaking-boundaries

Totua, Taualofa. “You Need to See Āhua Today.” February 9, 2022. Accessed September 26, 2022.  https://www.pantograph-punch.com/posts/see-ahua-today

Warhol, Andy. POPism: The Warhol Sixties. New York: Harcourt Brace Jovanovich, 1980.

Wasasala, Jahra. “Seeing and Feeling the Essence of Lisa Reihana.” September 11, 2022. Accessed September 26, 2022. https://www.pantograph-punch.com/posts/seeing-and-feeling-the-essence-of-lisa-reihana

Wigger, Iris, and Spencer Hadley. Angelo Soliman: Desecrated Bodies and the Spectre of Enlightenment Racism. SAGE Publications Ltd., 2020. https://journals-sagepub-com.ezproxy.aut.ac.nz/doi/10.1177/0306396820942470

Posted on

P7. W3. Artist Model Research: Lynda Benglis

Lynda Benglis is an artist who over the years has used a variation of mediums in her art. Separating herself from traditional 2-D art path, Benglis stated that “Canvas had too much of a history”(1). Instead she started to experiment with three dimensional forms with materials such as latex and wax. Over the over 50 years making art, Benglis medium use has also included polyurethane, cast metal, marble, glass, and video (2). I resonate with this opinion, as I too, find it hard to make art while being restricted to only two dimensions. Her work is also often referenced to in the Feminist art movement.

I love the use of colour and surface in Benglis’ work as it is so free flowing and natrual looking. Although gravity will inevitably play a significant part in some of her work the idea that something natrual looking is made unnaturally intrigues me.

I am intrigued in the concept of Man-made nature.

‘Night Sherbert’ 1968
‘Elephant necklace’ 2017
Bronze piece
‘Wing’ 1970 Cast aluminum
‘Now’ 1973 Video art
‘Chimera’ 1988 Cast bronze fountain

Last year, I used latex during the final board of my three panel art board, and while researching artist models I didn’t find any artists that used latex in the way that Benglis does. Researching her was very fun and i will continue to look at her work as this year progresses. I highly recommend reading some of the articles below especially the 1st one. It provides a thorough overview on Benglis’ history with the art world.

Till next time,

SR:)

feedback on this post is appreciated!

To my previous blog post! –>
https://visualarts.aut.ac.nz/2022/03/16/p6-w2-surfaces-task-piece-3/?preview_id=67558&preview_nonce=1e4e273b3e&preview=true

Resources read and/or referenced:

Remove ( ) in the 1st link when copying and searching up, as it is unable to be pasted in original format on this site

  1. (https://www.artnews.com)/art-news/artists/the-shape-shifter-how-lynda-benglis-left-the-bayou-and-messed-with-the-establishment-5897/
  2. https://www.nga.gov/collection/artist-info.6935.html
  3. https://art21.org/artist/lynda-benglis/
  4. https://artreview.com/lynda-benglis-the-erotics-of-artmaking/
Posted on

P6. W2. ‘Surfaces’ Task Piece: 3

Luckily I had the fortunate opportunity to be in the studio and create my third piece of work among my class mates.

For this body of work I worked on large A1 pieces of hard, shiny, paper board. I covered it with modelling paste and used acrylic paint for a background. On a mission to create a textured surface that would dry, I experimented and used a mix of PVA glue, Gel that’s often used in combination with oil paints for thickening purposes and acrylic paint for colour. To my surprise this created an almost slime like texture that i placed on the boards, creating what reminded me of an oversized piece of bubblegum!

Here are some process photos pictured below:

I really liked how my two pieces came out and I love the material I worked with! Only time will tell how long it’ll take to dry though hahah

Here are some pictures of the final products pictured below:

Titled: ‘Oops!’

Titled: ‘Oh you gotta be kidding me, Again?’

Depending on how these pieces dry, I hope to use these mediums or those which result in a similar texture again. I loved playing with this medium as it created such a unique surface texture.

Till next time,

SR:)

Posted on

P5. W2. ‘Surfaces’ Task Piece: 2

For this piece I took a literal approach, taking rubbings from textures around my house. I wanted to emphasise the difference in textures which live around us.

Stone stairs
Stone wall
Large leaf

After doing this, I decided to go more experimental with my rubbings and create my own shapes with the unique texture of the leaf.

I really enjoyed creating this body of work as the rubbings brought out and highlighted details in surfaces that I didn’t realise were there.

Till next time,

SR:)

Posted on

P4. W2. ‘Surfaces’ Piece:1

In this assignment we were told to focus on ‘exploring the tension between the surface of the painting and the mark-making materiality of paint.’ In this task I focused on making the most of the surfaces around me as well as encouraging myself to use materials from home.

This task was one of experimentation and an exploration of new mediums.

  1. A series: ‘Fabricated Folds’

As mentioned above, for this task I particularly wanted to use the opportunity of freedom to use materials I am not entirely familiar with. This includes fabrics and felt, which are used in this piece.

Here I have some sketches on what I’d like to achieve:

I wanted to change the shape of usually flat peices of felt to contorted folded versions. Through this I wanted to highlight the space between the surface and the piece itself. As it was my first time playing with soft materials I didn’t expect this experiment to go entirely smoothly. For this body of work I decided sinvce it was an experimental piece I would try my technique with a range of soft materials, such as tissue, felt and ribbon. In order for the pieces to keep their shape I used PVA glue and hollow objects to mould the shapes.

Some process photos pictured below:

Felt
Tissue Paper
Ribbon

After waiting a number of hours I tried to take the materials out of the cups, however I learned my lesson in realising how some materials are too delicate for this art making technique and ended up ripping. Others stayed solid, which was a relief.

Here are some of my end product photos pictured below:

Considering how this would be my first time making art with fabric I am pleased with how this experimental body of work turned out. Most of the pieces stayed in their positioned shape to an extent due to the PVA, and I think with more practice I could further develop this particular technique.

Till next time,

SR:)

Posted on

P2. W2. ‘the iterative intuition’ (all 3 pieces)

Post: 2 Week: 2

TASK: ‘Iterative Making’

Iteration

/ˈɪt(ə)rətɪv/

Iteration is the repetition of a process in order to generate a sequence of outcomes. Each repetition of the process is a single iteration, and the outcome of each iteration is then the starting point of the next iteration

Source: Wikipedia

For our first individual task in Visual Arts Core, we were assigned to create multiple pieces of ‘iterative’- based art. After listening to the discussions on this subject in class and searching online for a further insight on this art type, I created my own three art pieces which I believe all have iterative attributes. There is variation amongst the pieces as while some are more experimental in nature, others have a stronger focus on a deeper message and/or meaning. All pieces allow iterative attributes to shine through.

1. ‘Faces in places’

For this work I played around with the idea of repetition and patterns in faces. Inspired by my recent re visiting of comics like ‘The Adventures of Tintin’ and ‘Asterix and Obelix’ I read as a kid and tv. shows like ‘Clarence’, I played around with drawing simple faces like those in said shows . Sticking to a simplified drawing style to what I normally do, I focused on having a mix of curved and straight lines, colouring in areas only when needed using a 2B pencil. The individual busts are similar in size and all cut off at the neck which gives off an iterative look.


2. ‘The Recomposition of Decomposition’

During the creation process of this piece, I brainstormed ideas surrounding the natural world and how although it is constantly growing, part of that natural process is death. How upon death life grows further and is advanced by the nutrients of that which is dead and or decomposing (ie. compost). I also considered man’s impact on nature’s balance of death and life and how actions of humankind such as deforestation allow the scales to be uneven.

For this task, I wanted to make use of the natural materials around me and incorporate the dead leaves in my backyard into my medium for this art piece.

I wanted to highlight the impact of man in the natural patterns of nature by making my unnatural patterns in the leaves, cutting out the unnatural shape of squares within them of varying sizes. 

This art piece would be placed in a location which has natural elements so that the leaves at first glance do not seem out of place. However, upon a second look by a passerby these will certainly be thought provoking.

photos of piece ‘The Recomposition of Decomposition’ below:

‘The Recomposition of Decomposition’
alternate angle shot of: ‘The Recomposition of Decomposition’

One of the main ideas behind this piece is that eventually the leaves will decompose and rot away, leaving unnaturally shaped holes in them. My message regarding this piece was to emphasise to viewers how the mark of humankind on nature is long-term and will leave a visible mark.

3. ‘Illumination360’

While on Waiheke I travelled to the Stony Batter Historic Reserve with my camera and took the opportunity of working with the complete lack of light in the tunnels. Using a small torch (and the aid of others) I was able to highlight facial features in a way that couldn’t be easily done 42m above ground. In picture 3, a flash light is depicted in the top left corner, highlighting how the lighting effect was taken. The use of light in this piece is done in an iterative way as it presents viewers a new way of looking at a face, in almost a 3-D look (although it is a 2-D piece).

photos of piece ‘Illumination360’ below:

This was an experimental piece testing to what extent lighting can contort the face by highlighting certain areas and shadowing others. As shown above, lighting can distort the face in many ways depending on where it is placed. Ideally I would turn these photos into a video format to showcase the gradual change in radial lighting, however until I figure that out on this platform I will have to settle with the deconstructed version!

Until next time,

SR:)

feedback on this post is appreciated!

To my previous blog post! –> https://visualarts.aut.ac.nz/author/stella/

Posted on

P1. W1. ‘starting-off sketches’

Post 1, Week 1

To start off my blog I decided to post some of my recent sketches I have made in my own personal journal.

After hearing in class discussions and researching myself about the variations of topics which are connected to the iterative art world, I realised how I, in my own personal art have iterative tendencies. These consist of aspects in iterative art such as repetition and patterns in regards to the use of colour, shading and various concepts that (at the moment) mostly surround the human body and or distorted forms of it.

Below are some photos of a few pieces I have recently created which I will look to for inspiration when creating further work for the Iterative Making task, due on the 8th:

Pieces depicted: ‘Tooth ache’, ‘Mesmereyesed’ and ‘Creatures of the Night’

Close up of ‘Tooth ache’
‘Mesmereyesed’
Close up of ‘Mesmereyesed’
Close up of ‘Creatures in the Night’
‘Creatures of the Night’
‘Tooth ache’

Excited to share more work as more is created.

Until next time,

SR:)

@dodofrenzy

Posted on

Art Whakapapa

Sylvie Guillem

Art Whakapapa, Cathy, April, 2021
Dance Inspiration and Role Model: Sylvie Guillem

Note   Pam Boehme Simon. “Sylvie Guillem ‘Sublime Béjart’ Béjart ballet shows off her legs, extension, arches.” March 18, 2017. iMovie Made. Ballet Solo Dance Video, 2:12. https://www.youtube.com/watch?v=-uT0ei84n3M.

Sylvie Guillem Performs ‘Two’ (Movement and Light Relationships) 2016

Art Whakapapa, Cathy, April, 2021
Dance Inspiration and Role Model: Sylvie Guillem

Note   Russell Maliphant Company. “Sylvie Guillem Performs Two Choreographed by Russell Maliphant.” April 12, 2016. russellmaliphant.com Sylvie Guillem, Two. Contemporary Solo Dance Video, 7:53. https://youtu.be/ORx-fKVseiQ.

Nicolas Roeg. “Walkabout Trailer Film.” 1971.

Art Whakapapa, Cathy, April, 2021
Drama Inspiration: Film and Theatre

Note   BFI Trailers. “Walkabout (1971) Trailer.” Nicolas Roeg’s stunning debut as solo director makes breathtaking use of its Australian outback, Music Theme By John Barry, 2:01. https://youtu.be/pyMSzeXI5NE.

Jane Campion. “The Piano.” 1992.

Art Whakapapa, Cathy, April, 2021
Drama Inspiration: Film and Theatre

Note
MARCOS EC. “Best scene from ‘The Piano’ (1992).” Historical Drama directed by New Zealander Jane Campion, 1:15. https://youtu.be/Gh9yujuMYlY.

David Bowie – Song: Life On Mars? 1973

Art Whakapapa, Cathy, April, 2021
Music Inspiration: Classical/Alternative/Rock/Funk/Punk/Pop

Note
 David Bowie. “David Bowie – Life On Mars? (Official Video).” July 10, 2015. Produced and Directed by Mick Rock – London, July 1973. Copyright Mick Rock 2002. Official Music video for Life On Mars? by David Bowie, 4:10. https://youtu.be/AZKcl4-tcuo.

David Bowie – Song: Heroes 1977

Art Whakapapa, Cathy, April, 2021
Music Inspiration: Classical/Alternative/Rock/Funk/Punk/Pop

Note David Bowie. “David Bowie – Heroes (Official Video).” June 13, 2018. Official Music video for Heroes by David Bowie, 3:28. https://youtu.be/lXgkuM2NhYI.

Art Whakapapa, Cathy, April, 2021
Visual Art Inspiration: Sculpture

Note
Tate. “Barbara Hepworth – ‘A New Form for Sculpture’ | TateShots.” 10 July, 2015. Influenced by landscape and environment, 3:23. https://youtu.be/yv77WKiUxm8.

Art Whakapapa, Cathy, April, 2021
Visual Art Inspiration: Sculpture

Note
Oscar Properties. “Nybrogatan No 19 Anno MCMV and Tony Cragg Inside Compass.” 25 October, 2016. Sculptor Tony Cragg, 3:36. https://youtu.be/STgNFUVk08c.

Art Whakapapa, Cathy, April, 2021
Visual Art Inspiration: Sculpture

Note
Tate. “Peter Randall-Page – Studio Visit | TateShots.” 13 January, 2012. Stone Sculptor, 3:57. https://youtu.be/BzROL8vgT1w.

Posted on

Art Whakapapa

My art style revolves around incorporating people and myself in a way to create very personal and intimate pieces of work. I like to create a simple scene which allows the viewer to focus purely on the subject matter. I also like to show depth within poses and show movement and dimension. 

A lot of inspiration is taken from a photographer named Rebecca Cairns. She uses self-portraiture to evoke the ideas of movement and uses her body in a way to create a scene within her surroundings. I love the use of repetition and overlapping in her work due to editing and blurred effects which gives off a unique style of photography. I like to use camera technique including low shutter speed to create a ghost like feel to my work due to the blur which is inspired by Rebecca Cairns’ work. 

  • Rebecca Cairns, 2011
  • My work

Another artist which I feel really inspired by is David Hilliard. Hilliard’s work involves creating sequences and using each photo to focus on unique perspective including the foreground, midground and far ground. He enjoys photographing his life and people around him which is something very personal and that is something that is like what I try to incorporate in my photography. Hilliard uses these images to create a deeper awareness towards things including coming of age, sexuality etc. Which I think is especially important to evoke thought within my own work as last year in high school by board was revolved around the concept of Bipolar Disorder. 

During high school Hilliard was one of my artist models and I got really inspired by him as his work is an interesting way to create a story just within using a few photos. In the future as I create more personal photography, I think Hilliard’s techniques will be something which can allow me to extend my photography further. 

  • David Hilliard,” He said, she said,” 2005.  
  • my work

Yvonne Todd is another inspiration as she does a lot of portraiture and creating unique characters as her subject matter. She describes being extremely interested in portraiture and including fashion which I like to use in my photographs by wear unique pieces of clothing to further enhance my photos. In an interview she was asked what art means to her and she said “I make art because I’m compelled to” which I really resonate with as art is something which I have always been interested in and it is really helped me be creative and become the person I am today. 

  • Yvonne Todd,” Gloat Sluice “, 2006  
  • my work
  • my work

https://www.thearts.co.nz/articles/an-interview-with-yvonne-todd

Todd Yvonne,31.09.19, “An interview with Yvonne Todd” 

https://www.artistaday.com/?p=6994

Cairns Rebecca,2021,” Rebecca Cairns”, Toronto, ON, Canada” 

https://www.yanceyrichardson.com/artists/david-hilliard

Richardson Yancey, 2020, “David Hilliard Biography” 

Proudly powered by WordPress