Sanford Biggers is an interesting fellow; I like his open-minded approach to art and that he works passionately about the things that are relevant to him. (I can't personally say that I'm that interested in "the death of hip-hop," but I really like the "Ghetto Bird" and the "Blossom" and the "Mandala Dance Floor" projects.) I'm glad he explained the "Ghetto Bird" because I wouldn't have understood it otherwise. I have to say that I was pleasantly surprised to see a Black/minority artist. I honesty expected to see a white man when I first say his name, no offense. It just goes to show that name and even precedence can't always lead to accurate conclusions. I'm intrigued that he lived in Japan, and I was sort of hoping he would speak a little Japanese, for fun. Oh well. It's always good to see contemporary artists' works and learn about their ideas, since, traditionally, we do study the work of dead artists or retired artists in art classes.
Sanford Biggers is an interesting fellow; I like his open-minded approach to art and that he works passionately about the things that are relevant to him. (I can't personally say that I'm that interested in "the death of hip-hop," but I really like the "Ghetto Bird" and the "Blossom" and the "Mandala Dance Floor" projects.) I'm glad he explained the "Ghetto Bird" because I wouldn't have understood it otherwise. I have to say that I was pleasantly surprised to see a Black/minority artist. I honesty expected to see a white man when I first say his name, no offense. It just goes to show that name and even precedence can't always lead to accurate conclusions. I'm intrigued that he lived in Japan, and I was sort of hoping he would speak a little Japanese, for fun. Oh well. It's always good to see contemporary artists' works and learn about their ideas, since, traditionally, we do study the work of dead artists or retired artists in art classes.
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