Face Painting Gallery — Materials for the Arts Halloween Party

Insane Clown Zombie

Lorraine and I painted at one of our favorite annual events last night, the Halloween Party at Materials for the Arts. Their event grows each year, this year BD Wong was the master of ceremonies. We’ve been painting at this event for a while, which means many of the folks we have seen and painted before, like this young man who very much wanted to be scarier than his brother, so I made him into an Insane Clown Zombie. At our annual New York events like this one, folks are familiar with the freedom and creativity we bring to each face and that encourages us to try new ideas, like this combination of a Monet color background with a dancing figure from an Andre Derain painting, as I continue to explore putting dancing figures on people’s faces. And I took the opportunity to do some  “sketches” for faces I’ll be painting for a Dia De Los Muertos performance by Calpulli Mexican Dance Company on Nov 3 and 4 at Pace University’s Schimmel Center.

face_painting_alien3eye_121023_agostinoartsface_painting_clowndelosmuertos_121023_agostinoartsface_painting_dancingwiththestars_121023_agostinoartsface_painting_demonholdingeyes_121023_agostinoarts
face_painting_deraindancer_monetcolors_121023_agostinoartsface_painting_diadelosmuertos_lacatrinaskull_121023_agostinoartsface_painting_insaneclownzombie_121023_agostinoartsface_painting_keralasimple_121023_agostinoarts
face_painting_moonandstars_121023_agostinoartsface_painting_okeeffeabstract_121023_agostinoartsface_painting_voodoozombie_121023_agostinoartsface_painting_zombie_121023_agostinoarts
face_painting_zombieattack_121023e_agostinoarts
Continue reading

Revolutionary Slave Masquerader from Haiti, photograph by Phyllis Galembo — from Maske

by Christopher Agostino

I want to post just one more of the exceptional photographs by Phyllis Galembo from her book Maske, found in the article in National Geographic Magazine, April 2012. See the online article and her website for more.

 

 

“The tools of modern revolutions, a gun and a phone, are held by a masked youth. Other parts of his hellish carnival attire connect to Haiti’s past. To symbolize the suffering of slaves, he’s wrapped in a rope, his skin is glazed in charcoal and molasses—an inexpensive, easy-to-make masquerade worn since colonial times.” – from the text in the article by Cathy Newman. Charcoal and molasses!

These photographs are compelling not only for the quality of the mask and costumes, but also for the way Galembo photographs the masqueraders. There is a sense of presence to the mask and costumes in these photographs different than what you get looking at a photograph of a masquerader in motion, such as dancing or participating in the ceremony the mask is meant for—and certainly the images are much more powerful than the standard textbook shot of the mask just hanging on a wall. Her photographs focus so completely on the new being created by the mask and costume, and that is what I am responding to as I admire them.

She travels to these places and “puts her ear to the ground in search of masquerade ceremonies.” To photograph the outfits she has the masquerader pose themself however they choose, in front of a wall or such as a backdrop, and shoots just 12 photos. “‘Either I have it, or I don’t,’ she says.

see the previous post about her work:

Three Boys from Haiti Become Pa Wowo — the Body Painting Photo of the Year

See my fine art bodypainting at  https://thestorybehindthefaces.com/body-painting/

Related articles

Three Boys from Haiti Become Pa Wowo — the Body Painting Photo of the Year

by Christopher Agostino

I know it’s only March, but I think I’m ready to declare this the best body painting photo I am going to see this year. Photographed by Phyllis Galembo, for her book Maske. I saw it in an article in the April 2012 National Geographic Magazine, along with ten others from the more than one hundred photos in her book of masqueraders from Africa and the African Diaspora.

 

 

Not all masquerades require masks, or occur in Africa. In the Haitian port city of Jacmel three boys become Pa Wowo—painted, coconut-leaf-skirted peasants who personify poverty—for the spring carnival.” —from the accompanying text by Cathy Newman.

This is the true art of transformation—body art and masks used to make a social statement within a cultural context—this is true art, in the original social function for why there is art, before art became a means of decoration and personal expression in a Western context. Nothing I’ve ever painted for a competition, demonstration or in the studio holds a candle to the real thing like this.

See my fine art bodypainting at  https://thestorybehindthefaces.com/body-painting/