"In my work I disrupt many of the misconceptions surrounding mental illness, specifically the idea that someone's outer appearance is indicative of whether or not they have a mental illness. I have struggled with mental illness throughout most of my life, and I use my experiences as inspiration for my art. I chose to document my life so that I could highlight the ways in which I am just like everyone else. On the surface, my images just look like I took portraits of a normal, healthy teenage girl going through her daily routine, not someone who experiences chronic depression, anxiety, and ADD. Although, within the images there are hints at what's going on behind the surface, like the medication on my bedside table. By showing myself living a seemingly normal life, I am proving that mental illness does not look one specific way. Not everyone who has depression looks like a stereotypical emo kid, in fact a lot of us look just like everyone else on the outside, and my images are reflective of that." ........................................... -- Sophie Hammond
Nan and Brian in bed in kimono, NYC, 1983
Dye destruction print
This photograph depicts artist Nan Goldin and her boyfriend at the time, seated in bed. The physical and emotional tension captured here reflects their strained relationship, one that eventually became abusive. The photograph is part of Goldin's influential work The Ballard of Sexual Dependency. In it, Goldin chronicled the struggles for intimacy and understanding within her circle of friends and lovers during the 1970s and early 1980s. Ballad was originally conceived as a slide show of more than 700 color images accompanied by a soundtrack.
Inner Coffin of Meret-it-es
Late Period to Ptolemaic Period, 30th Dynasty to early Ptolemaic Dynasty,
ca. 380-250 B.C.E.
Wood, pigment, gesso and gilding
Except for her missing mummy, almost everything buried with the noblewoman Meret-it-es is here: this inner coffin, the outer coffin that contained it (to your left), the gold that lay over the mummy (ahead to the right) and 305 statuettes (behind you). Although little is known about Meret-it-es, her funerary equipment reveals much about Egyptian religion. Remarkably thick and weighing 400 pounds, this coffin was meant to preserve Meret-it-es's mummy so that her spirit could live eternally in the hereafter. In part, to ensure that she would become a divine spirit, she is portrayed as a god with golden flesh and blue hair; her unarticulated body resembles the mummified ruler of the underworld, Osiris. In the center of the coffin the sky goddess Nut spreads her wings, protecting Meret-it-es. A bit below this, Meret-it-es appears before the ibis-headed god Thoth, having been accepted into the hereafter. High above, on the red plaque, she approaches Osiris: her journey into the next world is complete.
Cabinet, about 1890
Walnut, ebonized wood, parchment, brass, pewter, and glass
This monumental cabinet reflects the range of international architectural and design elements that inspired Carlo Bugatti. The brass roundels and minarets above the doors are based on Moorish designs from Muslim Spain. The central panel is inspired by Japanese ink painting. The extravagance of detail indicates that this cabinet was destined for an elite client. Most likely used as a centerpiece in a room, it probably held books and important documents behind lock and key.
Vincent van Gogh
"This painting comes from a series of 15 canvases that Vincent van Gogh dedicated to the subject of olive trees during his stay at the asylum of Saint-Rémy-de-Provence, where he committed himself after suffering a series of breakdowns. When free to wander the countryside, he explored the region’s olive groves. “The murmur of an olive grove,” he wrote to his brother Theo, “has something very intimate, immensely old about it.” The artist’s animated brushwork and stylized passages of broken color suggest that he painted the scene directly from nature. They communicate the essence of olive trees with their twisting trunks and heavy canopy in the light of southern France."
Castor or Pollux
Mid-2nd century c.e.
Probably Italy, marble.
"This youth is either Castor or Pollux. These two brothers were the offspring of a mortal woman. They had different fathers: Castor was the son of a mortal prince while Pollux was the son of the king of the gods, Jupiter. Thus Castor was mortal and Pollux, immortal. At the death of Castor, Jupiter offered the immortal Pollux a choice. He could remain immortal or he could divide immortality with his slain brother. They could live on alternate days in heaven and the Underworld. Out of love for his brother, Pollux chose to divide his immortality. The youths were associated with the constellation Gemini and thus they are portrayed with a star on their caps. Our figure cradles in his left arm a sheath. The statue may be an approximate copy of a famous fifth-century B.C.E. sculpture that stood at the entrance of the Acropolis in Athens."
Nine Crow Clowns, 2012
Wendy Red Star
Crow, Montana, born 1981
Pigment prints on satin canvas
Clowns have long been a part of Crow ceremonial life, and here Wendt Red Star celebrates their contemporary incarnation. The painting -- a series of nine photographic pigment prints transferred to canvas -- depicts the mischievous figures against a unifying blue background. Only men portrayed clowns in the past; now, both men and women participate. They costume themselves as elders, wear pillows to distort their bodies, and don masks to hide their faces.