An icon of the head of John the Baptist (c. 1680) from Yaroslavl is the focus of this last episode of 2019, prompting a discussion of how Russia has been viewed across history.
Indigenous Canadian artist Daphne Odjig’s painting Bathed in Sunlight (1983) and the larger story of Odjig’s career prompt us to think about Native art and how it is (or isn’t) included in the mainstream contemporary art world.
There are lots of different types of bodies in the world, but artist Fernando Botero focuses on the rounder kind–in this episode, Allyson tells you about Botero’s 1998 painting L’Odalisque, and talks about how it relates to body image and ideas of the “other.”
Allyson discusses Filipina artist Anita Magsaysay-Ho’s Girls with Baskets (1966), and how colonialism, class, and global politics affect even the most sentimental of art.
Allyson discusses Myra Albert Wiggins’s The Lacemaker (1899, Portland Museum of Art), workin’ hard for the money, and types of labor that we might not see as labor. This one’s for you, needleworkers!
Esther Mahlangu’s Untitled, 2008 has simple geometry, but a complex context–Allyson talks about its connections to commerce, soccer, and… BMWs?
It’s a mind-bending episode as Allyson guides you through Roberto Matta’s surreal mental landscape, Invasion of the Night (1941), and explores its connections to physics and psychology.
Allyson guides you through the eleventh-century Chinese handscroll painting Summer Mountains, (北宋 傳屈鼎 夏山圖 卷) by little-known painter Qu Ding (屈鼎).