We Can Do It!

J. Howard Miller's `We Can Do It!`, commonly mistaken to be Rosie the Riveter.
I can not really remember when and where I saw this poster first time but to me this would be an essence of feminish. It shows incredible power and determination. Typical mens pose and facial expression combined with colours work quite well. Perhaps no one would mess with that woman or even tried to say `no`. This is a perfect example of power and freedom.
Rosie the Riveter is a cultural icon of the United States, representing the American women who worked in factories during World War II, many of whom worked in the manufacturing plants that produced munitions and war supplies. These women sometimes took entirely new jobs replacing the male workers who were in the military. The character is considered a feminist icon in the US.
Although real-life Rosie the Riveters took on male dominated trades during WWII, women were expected to return to their everyday housework once men returned from the war. Most women opted to do this. Later many women chose to return to traditional work such as clerical or administration positions.However, some of these women continued working in the factories.

http://en.wikipedia.org/wiki/We_Can_Do_It_%28Liverpool_F.C._song%29
http://www.friesian.com/feminism.htm

Stephen Shore

Stephen Shore (born 1947 in New York City) is an American photographer known for his deadpan images of banal scenes and objects in the United States, and for his pioneering use of color in art photography. Stephen Shore was interested in photography from an early age. Self-taught, he received a photographic darkroom kit at age six from a forward-thinking uncle. He began to use a 35mm camera three years later and made his first color photographs. At ten he received a copy of Walker Evans's book, American Photographs, which influenced him greatly. His career began at the early age of fourteen, when he made the precocious move of presenting his photographs to Edward Steichen, then curator of photography at the Museum of Modern Art (MoMA). Recognizing Shore's talent, Steichen bought three of his works. At age seventeen, Shore met Andy Warhol and began to frequent Warhol's studio, the Factory, photographing Warhol and the creative people that surrounded him. In 1971, at the age of 24, Shore became the second living photographer to have a solo exhibition at the Metropolitan Museum of Art.
First thought about this photographs was why this road is so empty? Where does it lead. It looks like one of these never ending, going across US states road to nowhere. I reminds me some classic american films.

http://www.madmaxmovies.com/
http://www.samueljohnson.com/road.html

Confused Woman?

From this comparison between modern and postmodernism, the distinction between the two modes of thought is clear. However, a clear distinction between the two creates a modern-postmodern dichotomy that undermines the very principles that postmodernism promotes. Postmodernism challenges `the appeal to the meta-narrative to legitimate foundationalist claims,`(Best and Kellner) but in such a challenge a postmodern meta-narrative is created.
I came across this image some time ago and at first I did not see anything special about it but there was something... something confusing so this may be the reason why I called it confused woman. After reading more information about Sherrie Levine and origin of this artwork it became even more complicated but there is something special something that I still try to figure out what was befind that facial expression and photographers intentions.
A Sherrie Levine and/or Walker Evans Photo. In digital form the relationship between the Levine and Evans photographs is further complicated. Are these images digital reproductions of Sherrie Levine works that are rephotographs of a Walter Evans photograph. Or, are these digital reproductions of Walter Evans photographs. It is impossible to tell because there is no difference between the original Evans photo and the Levine photo.

http://www.colorado.edu/English/courses/ENGL2012Klages/pomo.html
http://www.crossroad.to/charts/postmodernity-2.htm

Liquid Sculpture

This particular image is an example of harmony, life and can not be seen without recording it using professional equipment and some knowledge and skills as well. I remember that I was trying to get similiar result but without doing proper research and studying how to set up scene I failed. Perhaps I would be able to get the same effect.
Martin Waugh combines art and science to capture nature's infinite beauty.

Throughout history, water has calmed the soul, soothed the spirit and healed the wounded. Martin's free-flowing photography evokes images from rolling, rhythmic oceans to drops of water falling upon a lake, taking one on a spiritual journey bounded only by imagination.
Martin's creative uses of high-speed photography make it possible to capture the smooth and effortless curves of liquid, eliciting a childlike sense of fun and whimsy. Interpretations of his work often reveal as much about the viewer as the artist. His images are engaging metaphors for life and are as intriguing to the eye as they are thought provoking.
By varying the size, speed and position of drops, as well as the color, viscosity, and surface tension, Martin creates a panorama of color, movement and intrigue.
Martin received his B.S. degree in Physics from Lewis and Clark College in Oregon. He lives in Portland, where he has kayaked many of the gorgeous white water rivers the region has to offer. His work can be found in museum, corporate, and private art collections.
Martin writes about his techniques, and other musings at www.martin-waugh.com

http://www.liquidsculpture.com/fine_art/