But Jimenez spare no mercy on how the public should see him and his legacy, with the ultimatum of death. He had been no strangers to controversies – Determined to move his art out to the public, he worked on fiberglass monuments for many commissioned public installation by mixing high art with popular, and sometimes low, art. But here , unlike his provocative, rapturous public work, he presented him as an aging man, frail and vulnerable, staring outward. The double imagery that blends the living with the dead is striking, because it is visually uneasy. It is uneasy, because it is true, like his other public work that has been criticized as vulgar, violent or politically incorrect.
Maryanne Meltzer (1922-2014) is remembered as a vibrant personality and a strong voice for women in the art community. Having studied with Otis Dozier and Jerry Bywaters in her earlier years, at the age of 67 she went to complete her masters degree in Aesthetic Studies, under Argentina-born artist Kazuya Sakai. Figures are the core … Continue reading We See No Strangers, But ourselves — Maryanne Meltzer’s Stranger Series