Angela Davis (2020)

Oil on Canvas
20 x 20″
2020

See the original painting with all the Fundamental Freedoms Collection at Warehouse 416 in Oakland, May 2021 (date pending confirmation due to Covid 19 restrictions) Follow me on Instagram for updates.

“Through her activism and scholarship over the last decades, Angela Davis has been deeply involved in our nation’s quest for social justice. Her work as an educator – both at the university level and in the larger public sphere – has always emphasized the importance of building communities of struggle for economic, racial, and gender justice.

Professor Davis’ teaching career has taken her to San Francisco State University, Mills College, and UC Berkeley. She also has taught at UCLA, Vassar, the Claremont Colleges, and Stanford University. She spent the last fifteen years at the University of California, Santa Cruz where she is now Distinguished Professor Emerita of History of Consciousness, an interdisciplinary Ph.D program, and of Feminist Studies.

Angela Davis is the author of nine books and has lectured throughout the United States as well as in Europe, Africa, Asia, Australia, and South America. In recent years a persistent theme of her work has been the range of social problems associated with incarceration and the generalized criminalization of those communities that are most affected by poverty and racial discrimination. She draws upon her own experiences in the early seventies as a person who spent eighteen months in jail and on trial, after being placed on the FBI’s “Ten Most Wanted List.” Davis has also conducted extensive research on numerous issues related to race, gender and imprisonment. Her most recent book is Freedom is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement

Davis is a founding member Critical Resistance, a national organization dedicated to the dismantling of the prison industrial complex.  Internationally, she is affiliated with Sisters Inside, an abolitionist organization based in Queensland, Australia that works in solidarity with women in prison.

Like many other educators, Professor Davis is especially concerned with the general tendency to devote more resources and attention to the prison system than to educational institutions. Having helped to popularize the notion of a “prison industrial complex,” she now urges her audiences to think seriously about the future possibility of a world without prisons and to help forge a 21st century abolitionist movement. ”

Source: speakoutnow.org

Learn more:

Guardian Interview, June 15th 2020   Angela Davis: ‘We knew that the role of the police was to protect white supremacy’

 

 

 

 

 

 

 

 

 

 

 

The Incredulity of Saint Thomas (After Caravaggio)

The Incredulity of Saint Thomas (After Caravaggio) (Unfinished, 2018) Oil on Canvas 30×40″

I started this demo piece when I was teaching Oil Painting a couple of years back. I’d love to finish it one day! For now it hangs in our downstairs bathroom where I wash my brushes, and has lots of reminders in it about technique.

“The Incredulity of Saint Thomas was painted in the early years of Caravaggio’s residence and success in Rome (1602)

It is housed in the Sanssouci Picture Gallery, Potsdam, Germany. In this painting, Caravaggio depicts Thomas the Apostle’s doubting of Jesus’ resurrection as told in the Gospel of John, with Thomas looking at—and feeling—Jesus’ wounds.

This particular scene has been popularly recreated in art since the 6th century through a traditional stretching on to Caravaggio; it has since become symbolic of the conflict between Protestant and Catholic art as both traditions hold differing views of its value in teaching blind faith.

Both Rembrandt and Rubens also painted this particular episode in the 17th century. As with many of Caravaggio’s paintings, The Incredulity of Saint Thomas is swamped in theatrical darkness, bringing to life the central figures of Jesus and his apostles as if lit upon a stage. The absence of the usual halo around Jesus’ head is meant to emphasise the corporeal nature of Christ on earth. This painting has, unlike some of Caravaggio’s works, survived the Second World War when held in the Prussian royal collection.

By 1600, Caravaggio had gained considerable renown for his painting style and was commissioned by the Contarelli Chapel in the Church of St. Louis of the French (San Luigi dei Francesi) in Rome. Caravaggio delivered the Martyrdom of Saint Matthew and Calling of Saint Matthew to the Contrarelli Chapel in 1600.

The two paintings have since become a major tourist attraction. However, because of Caravaggio realism in painting heavenly themes, his paintings created a sensation in Rome as both dramatic and divisive. Caravaggio’s chiaroscuro technique was polarising to contemporary Catholic critics with some considering it vulgar.

Religious paintings had up to this point mostly been drawn from idealised imaginings of biblical and Godly themes. By contrast, Caravaggio used life models to render his work realistic, drawing the heavens down to earth and into nature.

Given the originality of this approach, Caravaggio was an instant success on the art scene; he went on to secure numerous high-profile and prestigious commissions for other religious works. However, Caravaggio was not without his own personal controversy; he was known to drink, to fight and brawl, eventually fleeing Rome for Naples in 1606 after murdering a young man, Ranuccio Tomassoni. “

Source: Caravaggio.net