Ah, the simplicity of it all. A simple tumblelog post has evolved into a Twitter meme simply named #emojiarthistory.
Edvard Munch may be the only artist blessed with his own emoji, but it appears the emoji lexicon is quite flexible, particularly when it comes to art.
Here is the original Tumblr post by ladiesupfront.tumblr.com:
Needless to say, after artist ManBartlett got his hands on this post he helped spawn a new hashtag. Here are some of our favorites:
UPDATED: Some newer contributions to the continuing story of #emojiarthistory!
And one museum gets into the game, creating emoji versions of work in their collection:
And this wouldn’t be art history if certain things weren’t contested:
And one of our readers sent this recent emoji-filled conversation she had with a friend:
A new study details the creation of a hyper-flexible material inspired by an unexpected source: the humble sea cucumber.
The extensive exhibition confronts the Netherlands’s often-forgotten colonialist legacy.
The 1,600-year-old fragment was part of a dodecahedron, a mysterious object that experts believe may have been linked to the occult.
The Renaissance work by Francesco Salviati is the museum’s first painting on marble.
The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.
The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
Who tells a tale adds a tail: Latin America and contemporary art explores contemporary Latin American art without conforming to external expectations.
Simulation Sketchbook takes as its starting point the reality that digital artists, like all artists, sketch out their work as well.
Twitter’s curbing of free API access could affect accounts posting from museum collections or the archives of long-gone artists.
How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?