In its’ inaugural episode, the Art Slice Museum Laboratories Division of Color Theory and Color Studies presents . . . VIRIDIAN.

Join us as we discuss VIRIDIAN’s varied and noxious history involving the Ancient Egyptians, Romans, and Paolo Veronese. We also get into the weeds regarding our associations surrounding VIRIDIAN through data compiled by the Art Slice Pantrémon from clinical participants (listeners).

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There is also a heated debate regarding a undecidedly viridian colored couch - be sure to cast your vote:

https://www.artslicepod.com/episodes/01-viridian-art-history-art-slice-laboratories-division-of-color-studies

The song featured in this episode was “I need to do it to be alive” by Soft and Furious from the album Diving in the Self which is one of a hundred incredible songs by Rrrrrose of Loyalty Freak Music. Support Rrrrrose’s mission to create queer, free music against Capitalism and Fascism on Patreon. Consider supporting their work!

Reviewing, subscribing, liking, and sharing really helps support the show:

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Stephanie and Russell are back to take you to the California desert, where they discuss the life and work of Agnes Pelton, a theosophical and occult painter of the 20th century who was relatively unknown in the Art World Mainstream until recently.

For all the clips we cut from this and other episodes, including us covering another Agnes Pelton work - Future, 1943 - head on over to our Patreon https://www.patreon.com/artslicepod

Despite similarities to Hilma af Klint and Wassily Kandinsky (both inspired by Theosophy) in terms of abstraction and often compared to painter Georgia O’ Keefe with her desert landscapes – Agnes’ work is truly unique, combining theosophical symbology with a keen eye to light filled observations resulting in otherworldly and incandescent compositions. Using oil paint and numerous layers of glazes, she achieves that mesmerizing glowing light effect present in paintings of Italian Baroque masters like Artemisia Gentileschi and (Michelangelo Merisi da) Caravaggio.

After leaving behind the bustling East Coast, Agnes sought a life in Cathedral City, located in the California desert, where she could channel her energy and focus on harnessing the incandescent visions that came to her through her meditations while also exploring her spirituality.

There, she found a community of like-minded outsiders and artists who thrived in the oasis that was Cathedral City for them too. Despite her lack of mainstream success for the most part during her life, she made a lasting impression on those who knew her – whether it was through her presence or through her stunning paintings.

Topics include sugar addiction problems, dirty windshields, studious rattlesnakes, silver tea sets, and cliffside thrift stores.

The works discussed today are Sandstorm, 1932; Orbits. 1934; and The Blest. 1941.

The featured music today is "Doug and Mike Starn" by Rob Lynch & Jonathan Hughes from the album Public / Private

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Stephanie Dueñas and Russell Shoemaker are back to take you way, WAY further back than ever - to the Giottosphere where they explore the frescoes of Italian artist and architect Giotto in the Scrovegni (Arena) Chapel - an Early Renaissance masterpiece.

Be sure to listen to all the cuts that didn’t make it into the episode on our Patreon.

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Join them as they discuss Giotto’s early life from his humble shepherd boy beginnings to his coming of age as a prodigy under the (former) GOAT painter Cimabue.

Giotto’s talent, personality, and fame landed him his most famous commission: the Scrovegni Chapel - commissioned by LendNation Loan Shark CEO Enrico Scrovegni - where he depicts the lives of the Virgin Mary and Jesus (oh, the irony).

At the end of Medieval times and on the cusp of the Renaissance, Giotto’s work reminds his audience that art can, in fact, depict actual humans through the use of attention to details like a figure’s emotional expression, babies (no, not shrunken men), the curl of a sheep’s wool or the drapery of a figure’s clothing. Giotto’s realistic and natural style would go on to inspire Renaissance masters like Michelangelo as well as stir emotions within those who experience the chapel

Topics include: medieval flyswatters, T-clinic lawn signs, Lord Farquaad haircuts, and ancient comets.

You can experience 360 VR of the Scrovegni (Arena) Chapel here.

The Art Pantry this week is Trompe L’oeil.

The song featured in this episode was “En attendant domain (Waiting for Tomorrow)” which is one of a hundred incredible songs by Rrrrrose of Loyalty Freak Music. Support Rrrrrose’s mission to create queer, free music against Capitalism and Fascism on Patreon. Consider supporting their work!

Reviewing, subscribing, liking, and sharing really helps support the show:

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Spookephanie Dueñas and Russell Cryptmaker are back for this special Creature Double Feature episode:

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Be sure to listen to all the cuts that didn’t make it into the episode (and there are plenty in this one) on our Patreon: https://www.patreon.com/artslicepod

Here to lift the spooky spirits, Spookephanie and Russell discuss - not one but two - ghoulish works, from two different continents, separated by a century, but sharing eerie similarities like gruesome stories of doomed protagonists:

A woodblock print, House of Plates, 1831-32 by Japanese Ukiyo-e master Katsushika Hokusai and the overlooked Scottish mixed media artist Margaret Macdonald Mackintosh’s painting, La Mort Parfumée (Perfumed Death) from 1921.

In Part One, they briefly discuss the environment in which Ukiyo-e blossomed in 17th - 19th century Japan, 3 ghostly prints from Katsushika Hokusai’s series One Hundred Ghost Stories and the Featured: House of Plates print while discovering that Okiku’s story ends . . . well (no bueno).

In Part Two, they introduce the 1913 play, La Pisanelle written by Gabriele D’ Annunzio* which inspired Margaret’s Featured work: La Mort Parfumée (perfumed Death). They also dive into Margaret’s life as she rejected Victorian gender roles and ideologies; her mesmerizing work, which embodied the Glasgow Style, as well as her overlooked contributions to art history, especially the Arts and Crafts and Art Nouveau movements that would inspire artists like Gustav Klimt from Vienna.

Topics include: Weird Al & Hawaiian shirts, triggering Glassdoor HR responses, playing pinball with plate-bodied ghosts and big, floppy bow ties.

The Art Pantry this week is Rhythm.

Special thanks to Bryan Knotts, https://bryanknotts.com/ designer of our Art Slice pizza box logo, for lending us his voice for the Creature Double Feature intro.

 

Check out Austin’s beautiful, lost-wax technique jewelry on Instagram: @spicywitchsoup

Check out the new Art Crime podcast Caper:

https://ochentastudio.com/caper-podcast

 

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Stephanie and Russell are back with a full serving and boy, it is piping hot.

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Be sure to listen to all the cuts that didn’t make it into the episode (and there are plenty in this one) on our Patreon: https://www.patreon.com/artslicepod

Stephanie and Russell are back (!) to discuss two prolific artists who were opposites in many ways: one was wealthy, one was not; one was cold, one was hot; one is well-known in Art History, one is not.

Marcel Duchamp is considered hugely influential to changing modern painting and sculpture through his contributions to Dada, Surrealism, eventually inspiring Pop Art. 

Maria Martins, a pioneering Brazilian sculptor making bold, sexy, and surreal works the art world had yet to see in the 1940s, is rarely ever mentioned in Modern Art History despite exhibiting with the Surrealists or she is merely mentioned as “Marcel Duchamp’s mistress” (which is incorrect).

Their paths crossed in the 1940s New York City art scene, where they mingled and fell in love, leading them to pursue an unexpected fiery romance that had a lasting and fascinating impact on their lives, their artwork, and ultimately, Art History.

Stephanie and Russell discuss elements of their relationship through Maria Martin’s The Impossible III (1946) and Marcel Duchamps’ “Etants Donnes” (1946 -1966).

Topics include: Rectangular Boys of Parlor, the Fourth Dimension, urinals, Mar-kel Du-chump, sensual samba dancers, face cleavage, runaway vaginas, Thomas Kinkade, and teeny hacksaws.

The Art Pantry this week is Bronze Casting.

The song featured in this episode was “I Hate Him So Much” by Anonymous 420 from the album This Is All A Dream which can be found here: https://chezmonplaisir.bandcamp.com/

Support Rrrrrose’s mission to create queer, free music against Capitalism and Fascism on Patreon: https://www.patreon.com/loyaltyfreakmusic

Check out AP Leslie’s Knees Turned Velvet.: https://www.amazon.com/Knees-Turned-Velvet-Poetry-Collection/dp/1980482012

Check out Telezma Studio’s Tarot Deck: https://www.etsy.com/shop/TelezmaStudios

Check out the new Art Crime podcast Caper:

https://ochentastudio.com/caper-podcast

 

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Oh jeez - this is a wild one...... Stephanie and Russell are back with another serving and boy, is it a _ROMP_.

This week, join them as they head further back into Art History than ever before – to the 16th century to introduce El Greco, a catalyst of Modern Art.

Follow along with ALL the images we discuss on our website at artslicepod.com or some of the images we discuss on Instagram @artslicepod

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Looking to make it big, El Greco left the island life of Crete for the bustling Italian cities of Venice and Rome. There, he picked up traits from Renaissance and Mannerism styles and added some hometown Post-Byzantine spice – resulting in a bizarre yet stunning combination of colors and dynamic compositions never before seen in art history. He also made some friends - and enemies - along the way.

Despite the Counter Reformation’s harsh grip on Europe, EG was still able to thrive utilizing his strange style (that echoed his eccentric personality) to continually score commissions while managing to stand out amongst his contemporaries.

After his death, he was mostly forgotten about until his rediscovery in the 19th century. Modern artists of the 20th century claimed him since he laid the groundwork for breaking visual tradition. And it was famous works like The Annunciation (1597) that caught the eye of Remedios Varo and Pablo Picasso among other art giants like Paul Cezanne.

Stephanie and Russell discuss the first iterations of abstraction present in The Annunciation (1597) in which a teenage Mary is receiving heavenly news from towering angels and a turbulent celestial cloud column with floating cherub heads.

Topics include: the rebranding of the Catholic Church (RC²), a lotta olives, trash talking Michelangelo (not us), long babies, miniature galleries for rats, time travel, and a plushie Remedios Varo mascot. There is no Art Pantry this week because Bean is missing.

The song featured in this episode was “A Forest for me and You” by Komiku from the album A Tale is Never Forgotten which can be found here. Consider supporting their work! https://chezmonplaisir.bandcamp.com/album/a-tale-is-never-forgotten

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Check out the new Art Crime podcast Caper:

https://ochentastudio.com/caper-podcast

Follow us on twitter, tiktok, youtube, and instagram all @artslicepod

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Welcome to Art Slice: an irreverent, inclusive, and Palatable Serving of Art History, brought to you by visual artists and Art Historian Stephanie Dueñas and Russell Shoemaker.

We cover Art History in a totally different way - without all the gatekeeping, privilege, and that cognitive fog called ‘art speaking’. We dig into the famous artists you may have slept through during your Art History lectures, and the ones that have been left out; possibly due to their ethnicity, gender, race, sexual identity, or lack of institutional access.

We talk about the context of the time, relate it to today and then we discuss the actual artwork: what’s in it, what it’s about, what’s it made from - is it any good? All from an artist’s perspective, and then we decide if it goes in the eclectic Art Slice Museum - which is definitely real and NOT imaginary.

Oh… and we have to keep our hungry, hungry Pantrémons satiated by feeding them practical descriptions of art mediums and movements from our Art Slice Pantry, or they might eat us.

Follow along with ALL the images we discuss on our website at artslicepod.com or some of the images we discuss on Instagram @artslicepod

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Stephanie Dueñas and Russell Shoemaker are back with another slice of Art History: they discuss Rene Magritte and his painting "The Unexpected Answer" from 1933, Giorgio “Daddy” De Chirico’s influence on Rene and the Surrealists, and De Chirico's "The Song of Love" from 1914.

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Be sure to listen to all the cuts that didn’t make it into the episode (and there are plenty in this one) on our Patreon: https://www.patreon.com/artslicepod

De Chirico’s metaphysical works were a first in art history and has since influenced generations of artists, especially the Surrealists. Both he and De Chirico evoke a sense of stimmung, or mood, that is especially unnerving when their paintings are realistically painted but Rene takes it a step further. 

While Rene is considered a Surrealist, he was not quite like the others. His compositions raise more questions than answers and were likely inspired by the tragedy and war he experienced early in life. His interest in the macabre and uncanny, taken from Edgar Allen Poe and Lewis Carroll really took off once he left Brussels and headed to Paris, to the heart of Surrealism. 

Somewhere between all of the melancholic marble statues, architectural arcades, giant chess pieces and bowler hats, Stephanie and Russell finally discuss the beginnings of Surrealism which include Andre Breton’s military career, Sigmund Freud’s ideas, and Max Ernst’s French translation skills. Lastly, they confront the Daddy in the room and discuss that disturbing, lingering sense of uneasiness Rene’s works leaves us in. And if Rene, at the end of the day, is truly a Surrealist. 

Our Art Pantry of the week are Automatic, Surrealist Techniques: Frottage, grattage, eclaboussure, fumage, and decalcomania. Topics include Belgian waffles, Surrealist bedtime stories, a forgotten Krautrock band, why your daddy doesn't listen to David Bowie, theatre, The Treachery of Images, and Daddies - lots and lots of Daddies. 

The song featured in this episode was ‘Fowl and Fruit’ by Patrick Kilpatrick , from Kill Patrick vol 1, which can be found here: https://patrickkilpatrick.bandcamp.com/ Consider supporting his work!

Check out Telezma Studio’s Tarot Deck: https://www.etsy.com/shop/TelezmaStudios

Check out the new Art Crime podcast Caper:

https://ochentastudio.com/caper-podcast

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After a summer Art History hiatus, Stephanie Dueñas and Russell Shoemaker (finally) discuss Swedish painter Hilma af Klint’s journey to abstraction, from a young girl in Navy Cadet school to an accomplished, individual, and independent female artist - a rare combination in the 19th century.

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Be sure to listen to all the cuts that didn’t make it into the episode (and there are plenty in this one) on our Patreon: https://www.patreon.com/artslicepod

Hilma is often sensationalized as a mystical hermit artist who spoke to ghosts, or as the inventor of abstract art - both of which sound sexy for an exhibition - but do a disservice to an artist who worked with such intentionality and purpose throughout her life. Hilma's interest in the unseen, science, religion, clairvoyance, and meditation would lead her to find the connective threads between representation and abstraction. For example, like in The Ten Largest ; Ten giant, powerful, and vibrant paintings, while deeply personal to her, have a universal message everyone can connect to.

Topics include Madame Helena Blavatsky, Theosophy, gweenies, God Bod, astral chore coats, ice-cream sampling, Swedish Melodic Death Metal Band De Fem, and pony parties. Our Art Pantry of the week is Automatic Drawing.

The song featured in this episode was ‘Kāra’ by Hninja which can be found here. Consider supporting their work! https://hninja.bandcamp.com/

Check out Telezma Studio’s Tarot Deck: https://www.etsy.com/shop/TelezmaStudios

Check out the new Art Crime podcast Caper:

https://ochentastudio.com/caper-podcast

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WE ARE BACK with another Art Slice Short: Stephanie Dueñas and Russell Shoemaker cover one of their favorite contemporary painters, Black artist Kerry James Marshall and his painting, “Memento #5” of his Souvenir Series.

You can find all the images we discuss today on artslicepod.com or instagram http://linktr.ee/artslicepod

They also discuss the Black Liberation Movement, the Civil Rights movement of the1960s that visually inspired the Souvenir Series: from Civil Rights leaders like Martin Luther King Jr. and Malcolm X, to the nationwide Civil Rights protests and how these events continue to impact and inspire social reform and change today.

Topics include Mambo #5, Dodge hemis, Watts Riots, political lawn signs, punky emo belts, and a tailgate party featuring blue weenies. Reviewing, subscribing, liking, and sharing really helps support the show:

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