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Art Education Studio at Home

Kohl’s Art Generation Studio at Home: Shape and Line

American artist Al Held (1928–2005) was an abstract painter, most famous for his large-scale, geometric works. His paintings are full of circles, squares, cubes, and other geometric shapes and forms that overlap. In the painting below, he used a masking technique to create lines with sharp edges. He masked (covered) the white sections with tape and painted the remaining sections black.

Al Held (American, 1928–2005), Inversion XIII, 1977. Acrylic on canvas, 96 × 144 1/4 in. (243.84 × 366.4 cm). Gift of Herbert H. Kohl Charities, Inc. M1983.208 Photo by P. Richard Eells © 2017 Al Held Foundation, Inc. / Licensed by Artists Rights Society (ARS), New York

Here’s how you can make your own geometric painting using materials you may already have at home:

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Art Education Studio at Home

Kohl’s Art Generation Studio at Home: Create a Shadow Box

American artist Joseph Cornell (1903–1972) was famous for his imaginative, mixed-media shadow boxes. A shadow box is an enclosed box, with glass on the front, that contains artistic or personal objects. Cornell purchased trinkets from secondhand stores and cut out images from magazines to use as art supplies. He then arranged these objects to create dreamlike, mysterious, and whimsical scenes. Many of his shadow boxes had themes, like outer space or birds. Cornell spent a lot of time by himself; each shadow box offers a glimpse into his private world.

Here’s how you can create your own shadow box, using objects you find at home!

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Art

Functional Fashions

*Within the disability community today, some may prefer identity-first language (e.g., “disabled person”), or person-first language (e.g., “person with a disability”). Because the curators do not know the preferences of the historical subjects in the “Functional Fashions” display, they chose to use identity-first language based on the recommendations of collaborators.

The mistaken belief that there is no history of clothing designs for disabled users has had a number of repercussions. Among them: nearly all designers treat their own iterations as inaugural, there has been a dearth of innovation as designs are continuously repeated, and disability-led innovation is written out of the historical record [1]. Not only is there a long history of clothing designed by and for disabled persons, but in some cases it sets a higher standard than the efforts that followed. “Functional Fashions,” a display in the 20th- and 21st-Century Design Galleries at the Milwaukee Art Museum, introduces the largest collaborative clothing line for disabled persons in American history.

FF 1
Installation view, “Functional Fashions,” Milwaukee Art Musuem, 2019.
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Art Curatorial Exhibitions

Curating Ho-Chunk Objects in Mrs. M.—–’s Cabinet at the Milwaukee Art Museum

Egg basket (circa 1900).
Egg basket (circa 1900).

Ho-Chunk presence and their arts contributed to the development of Wisconsin Dells tourism—and to the material and aesthetic culture of the state. While Ho-Chunk representation is not always considered by tourists beyond stereotypical art for the trade, there is still a long and well-documented history of Ho-Chunk material life in the Wisconsin Dells area. The Ho-Chunk objects currently on exhibition in Mrs. M.—–’s Cabinet, are not the expected souvenirs of the Wisconsin Dells trade, but give a glimpse into the unfamiliar Ho-Chunk objects made and used in the Dells in the late 19th century.

In the exhibition Photographing Nature’s Cathedrals: Carleton E. Watkins, Eadweard Muybridge, and H.H. Bennett, an image by Henry Hamilton Bennett illustrates the acknowledgement of the unseen Native American presence within the Wisconsin Dells landscape. Looking out from Black Hawk’s Cave is one example of Bennett labeling his photographs with fictional place names and after real historical figures. Bennett used the Sauk Chief’s name in an effort to sell a romanticized American Indian legend to tourists. 

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Art Curatorial

From the Collection–The Martyrdom of St. Justina of Padua by Domenico Brusasorci

Attributed to Domenico Brusasorci (Italian, ca. 1516–1567), Martyrdom of St. Justina of Padua, mid–16th century. Oil on slate. Milwaukee Art Museum, Gift of Myron Laskin Jr. M2016.117 Photo credit: John R. Glembin.
Attributed to Domenico Brusasorci (Italian, ca. 1516–1567), Martyrdom of St. Justina of Padua, mid–16th century. Oil on slate. Milwaukee Art Museum, Gift of Myron Laskin Jr. M2016.117 Photo credit: John R. Glembin.

Images of women martyrs have always been popular in art. Their stories are ripe with dramatic moments that capture the imaginations of both artist and audience. The subject also offers examples of moral virtue. Images of martyrs could be used as teaching tools for women in the early modern era, visually showcasing the moral ideals that they should embody.

Because of this didactic nature, female martyrs are often depicted in one of two ways: the moment of her martyrdom, or as if a portrait, surrounded by symbols. Showcasing the female martyr in the moment of her death offers the audience a dramatic story, while a portrait clearly illustrates the appropriate virtues for the viewer.

The subjects of today’s post, the Milwaukee Art Museum’s recent acquisition The Martyrdom of St. Justina of Padua, will let us look at this subject matter more closely.