There are only two rules in this boxing gym, located in the heart of old Accra.
Accra has produced some of Africa’s most famous boxers, with one of them Azumah Nelson, making the boxing hall of fame.
There’s very little support for the sport however, and most pro boxers have to work as security, butchers, bouncers, ice cream sellers or do pretty much any job they can find, as they wait for that one big chance at fame and fortune.
Photo by Nana Kofi Acquah @africashowboy (Copyright: 2014). #boxing #gym #ghana #accra
Im really enjoying animating my digital sketchbook things.
GIF play in the moments between deadlines :)
Charles Gaines, Walnut Tree Orchard, Set 4 (version 2), 1975–2014
Charles Gaines speaks about Trisha Brown Dance, Set 3, 1980-81 at LACMA in July 2011
All Things Grids: In addition to the work of Charles Gaines, this blog will highlight the work of artists who incorporate the grid. United by the theme of a “grid aesthetic”, the works featured represent a cross section of movements, generations and materials, and demonstrate the varied use of the grid in modern and contemporary art.
Ellen Gallagher, They Could Still Serve, 2001
"Gallagher has simultaneously adopted the grid and reversed its rigorous use by a former generation of Minimalist and Conceptualist artists: her patches of blue lined paper form a grid pattern, but it is liquefied, disassembled, blurred, and dematerialized with watercolor. Among the papers’ blue lines are small marks, a repeated stereotyped sign of race drawn from minstrelsy: wide eyes peering out at the viewer. These signs are paradoxically at once free floating and mapped in her grid structures. They Could Still Serve takes its title from an etching in Francisco de Goya’s series The Disasters of War (1810–20), a caustic meditation on the brutality and futility of human warfare.”
How One Artist’s Work Tackled Big Data (40 Years Before It Existed)
“There’s this whole relationship to the digital that you wouldn’t expect,” says Keith. “The grids, the numbers, the pixelation.” Moreover, Gaines “programmed” himself in order to create the number-filled grids that distinguish the works in the show, in ways that both anticipate and frustrate the viewer’s “programmed” response. The result is an almost prophetic critique of our own unexamined production and consumption of digital images. Our carefully curated information streams and carefully constructed online profiles are borne of a similar impulse to control—Gaines reveals that sense of authorship and authority to be an illusion.
Veronica Fieiras: The Disappeared.