DENA BERNSTEIN ART
inquiry: there is a disparity between the past we are exposed to and what exists beyond it. how can I explore the niches of history and what do they say about human condition/culure through art and my academic interests?
EXPLAINATION: From foreign history to personal past; the most impactful history, to me, involves looking beyond surface level. As an exploration of myself, I want to deeply explore what, for some reason, sticks with me. Similarly, to connect with the history that inspires me consistently, I want to understand it fully--especially the misunderstood parts.
EXPLAINATION: From foreign history to personal past; the most impactful history, to me, involves looking beyond surface level. As an exploration of myself, I want to deeply explore what, for some reason, sticks with me. Similarly, to connect with the history that inspires me consistently, I want to understand it fully--especially the misunderstood parts.DEVELOPMENT: I started this portfolio in my junior year of high school. At first I was interested in historical figures, and what taught history neglects to tell us about them. as my portfolio progressed, I realized I could not limit my inspiration to historical figures alone. I explored the past broadly, and developed an interest in the disparity between "surface level" and the unseen. Through research and natural interest, I discovered more about myself: what parts of history are impactful to me. Throughout my exploration, the history most impactful to me is often the most misunderstood.
1-"SPECIMEN"
size: 20x28
materials: watercolor paper, watercolor
ideas/how it fits inquiry:the American eugenics movement often is left untaught. But it had an irreversible impact globally. inspired by the movements tendency to deem individuals as "unfit" and treat them like specimen instead of people-- I decided to reverse the roles by having prominent advocates for the use of eugenics (David Starr Jordan, teddy Roosevelt, Mussolini, ect.) in jars. Reflecting on this piece, I realize my interest in this piece stems from a childhood love of zoology and the fear that if I were to go back in time, I would be deemed an "unfit" member of society for my religion and queer identity. This piece of history sticks with me since, as a jew, I am deeply moved by systemic persecution of minorities. So, I see America's spotty past with it.
processes:
created background with blue wash, painted on top
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2-"MOON"
size: 18x24
materials: Oil paint, wood board
ideas/how it fits inquiry: throughout history, war has been motivated by wealth, power, and women. the women in the center emulates a full moon and she sits atop a building reminiscent of the notridame to emphasize her magnetism, as violence throughout history represented by pitchforks, then calvary, then tanks and fighter jets congregate to her. The role of women as an icon or statuette throughout history is something that sticks out to me. Though women are often
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processes:
later oil paint
3-"MARYLIN"
size: 18x24
materials: gell medium, gold leaf, paper, wood, acrylic
ideas/how it fits inquiry:Marilyn Monroe- represents the fallacies of the American 50's and surrounding years. the intersection of Mccarthyianism and the boom of consumerism. Marlyn Monroe in the center of this represents americas history of mistreatment of women. Growing up in America, Marylin as an icon became a reference throughout my childhood. Through gold framing and the almost cheesey expression on Marilyn's face, I emphasize and connect with the performative aspect of being a women, which Marylin embodies.
processes:
created background from scrap paper, painted on top
7-"PRICKLY"
size: ~15X20
materials: acrylic, spray paint, pastel, cardboard
ideas/how it fits inquiry:
An exploration of personal history: growing up in Cali and spending my summers in Israel, my favorite fruit naturally became the desert staple: prickly pear. Unfortunately, I feel like I'm the only one, since most people are surprised you can eat the spiny bulbs of a cactus in the first place. The work itself is decorated with references to my heritage: sibhas, middle eastern floral designs, and a Isaeli city scape in the background represent literally, my background. The prickly pear is a perfect, distilled metaphor for finding the value in what is unseen and resonates with me deeply as part of my past.
processes:
spray paint background, acrylic figures, finish with pastel scribbles
4-"EVOLUTION"
size:8x10
materials: acrylic, spray paint, pastel, cardboard
ideas/how it fits inquiry: about cave paintings, Picasso remarked "we've learned nothing". I wanted to portray a similar sentiment about the evolution of art. while many people look at this part of history and call it mindless or primitive, we are still doing the same things. The girl in pink is a reflection of myself. As an artist, Art history is a significant interest of mine. Through childlike doodles, I also want to reflect the sense of comfort I feel connecting to my predecessors, and presenting a more optimistic interpretation of Picassos remark: we've learned nothing, because creativity has and always will be a beautiful staple of the human condition.
processes:
spray paint background, acrylic figures, finish with pastel scribbles
5-"EVOLUTION II"
size: 5x8
materials: acrylic, spray paint, pastel, cardboard
ideas/how it fits inquiry: about cave paintings, Picasso remarked "we've learned nothing". if this sentiment applies to the past, it also applies to the future. while many people believe new technology is an affront to art and art history, I wanted to portray how the past, present, and future are tandem. As an artist, the future carries a heavy weight on me. However, by having the older girl hold hands with the robot, I want to present another optimistic view of the future and the way it connects to the past. Our futures and our predecessor are friends, which aid us in creation.
processes:
spray paint background, acrylic figures, finish with pastel scribbles
6-"KHMER ROUGE"
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size: ~8x10
materials: acrylic, spray paint, pastel, cardboard
ideas/how it fits inquiry: Again,
As a Jew, the Cambodian genocide deeply resonates with me, making this aspect of history particularly stand-out. In this piece, I grapple with the idea that violence permeates innocence, exploring the disparity between inside and to through what seems to be a typical high school (a bright and hopeful place, where the scribbles again represent childlike positivity) was used as a tool for mass murder.
processes:spray paint background, acrylic figures, finish with pastel scribbles
7- process photo
9-"THE GAMBLER"
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size: 24X18
materials: gell medium, gold leaf, paper, spraypaint, acrylic
ideas/how it fits inquiry:an homage to famous author Dostoyevsky. Who's book The Gambler, offers an insight into 1800's Russia, and the persisting desire to abuse dice and drugs that persists globally.
(wip)
this historical figure particularly sticks with me, as Dostoyevski represernts the idea of "the starving artist", where impeccable work can only be created as a result of suffering. This sticks with me, since I have grappled with the idea that impactful work explores trauma and ultimately decided this isn't true and I prefer to explore optimism and childlike playfulness to make impactful art. I see Dostoyevsky not as the talented author he appears to be, but as a gambler who writes for necessity.
processes:
created background from scrap paper, painted on top
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10-"EVERDAY MARGRITTE"
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size: ~8x10
materials: acrylic, spray paint, pastel, cardboard
ideas/how it fits inquiry: History and art. As surrealism shifts the art world forever, Magritte's "son of man" stands out to me as striking representation of mystery in everyday life. the apple used to hide the mans face now resembles a heart, reflecting the invisibility of my own heart. the outside of the main figure is gray (glued on and intentionally out of place), while the rest are in color-- the feeling that everyone but you can where their heart on their sleeve. through bright scribbles, the internal and external are connected, my true colors are reviewed through childlike, bright, and optimistic connections with others.
processes:spray paint background, acrylic figures, glue main figure, finish with pastel scribbles
12-"DREAMSCAPE"
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size:
materials: cardboard, acrylic, oil pastel
ideas/how it fits inquiry: each floating image represents a famous dream. having on and off periods of frequent vivid dreams in my life, I am particularly amused by how dreams unlike our deeper subconcious. In this way, dreams separate us from what's on the surface and exemplify the despairty between our outer life
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processes: acrylic on coardboard, pastel scribbles, gold leaf soon)
11- dreamscape process
"THE GAMBLER"
size:
materials: gell medium, gold leaf, paper, spraypaint, acrylic
ideas/how it fits inquiry:an homage to famous author Dostoyevsky. Who's book The Gambler, offers an insight into 1800's Russia, and the persisting desire to abuse dice and drugs that persists globally.
processes:
created background from scrap paper, painted on top
"VETERANS"
size:
materials: canvas, oil paint
ideas/how it fits inquiry: America' history of mistreating veterans. Unlike the hero status given to the returning soldiers form World War II, the soldiers that served in Vietnam were portrayed as baby killers, psychos, drug addicts and war mongers.
painted on toned canvas with oil paint