Judi Werthein was born in 1967, in New York, Argentina. Werthein work of art includes designing of sneakers and manicure decals. In 2001, she launched a manicurated piece of work in a big Museum where she selected more than ten paintings to act as nail decals. She later employed professional manicurist to help her in offering services to the visitors.
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Most of these services were offered for free and they attracted a large number of audience. Werthein became famous not only because of her professional nail decoration, but because, her museum created an environment where other artists could converge to discuss more about art that went far beyond social class, race, and age differences.
Since the launching of the museum nail decals has become a significant constitute of the artwork. Other artists have joined the profession as a way of leisure and also to earn a living (The Balkans project 5).
Werthein can be considered as one of the artists who have had a major impact in the modern artwork. She is not only interested in nail decals put also takes part in media. Her work is described as one that defies classification. She works in media by challenging issues on national identity, human rights, and economic impartiality.
Her work is not only involved in contemporary art, but also other populations outside the world of art. Werthein manicurated work that was launched in 2001, in Bronx Museum formed a basis of her career in nail decals (Turvey, 2). She also realized that by inviting audiences from all races, ethnic ground and ages, she would promote peace and cooperation among the people living in Bronx.
In 2006, Werthein was requested to design a project that would investigate the relationship that existed between Southern California, and Tijuana. Her project (which she named Brinco) attracted the attention of the whole nation because of the compassion it created towards the illegal immigrants. At the same time, the nation was holding a nation debate to discuss the rights and obligation of all immigrants.
Two years after her project received nation-wide recognition, Werthein was able to design sneakers that were distributed to all the people living in Tijuana and others were sold in some of the boutiques located in New York and California (Anon. “New York, Volume 35” 86). From her work, we see that Werthein was not only concerned about making money; she was ready to help those in need.
For instance, BBC broadcasted news on a woman who was actually crying because she received a pair of shoes, something she had never had before. Werthein sneakers had American eagle embroidery indicating her royalty to her nation.
They also had a flashlight, compass, and some painkillers to help people who were crossing at night (The Balkans project 8). Werthein derives motivation from other pieces of art by other artists, such as paintings, and drawings.
Werthein sneakers were produced using some products that were imported from China as a way of emphasizing her support for global trade. These sneakers were also distributed in major countries such as China and Japan, and they attracted a wide audience because of their unique design.
Being a female, Werthein, was determined to prove that, artwork can be pursued by anyone if only they have the passion for it. All her art products were designed for women to show them that, they too can make it if they want to. Werthein was born at the time when the role of the woman was believed to be in the kitchen.
However, she was determined to fight against this perception and also to curb discrimination which was evident in almost all sectors.
Anon. “New York, Volume 35.” New York magazine Co., 2002.
The Balkans project. “Words and art from the Balkans.” Balkans project, 2010. Web.
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Turvey, Lisa. “Judi Werthein: Art in General.” Findarticles, 2007. Web.