Since 1986 Guido Daniele has been working and improving his personal usage of airbrush: he paints back-stages in different sizes (the biggest ones can be 400 square metres) for artistic and advertising pictures, tv commercials and tv programmes. He also creates trompe l’oeil, both in private houses and public buildings.
In 1990 he added a new artistic experience to his previous ones: using the body painting technique he creates and paints models bodies for different situations such as advertising pictures and commercials, fashion events and exhibitions.
I love this! Artist James Reynolds on Boarded Up: “With more and more businesses being forced to close down, the sight of bare wood across the windows and doors is now commonplace and unsightly. By pasting the wooden panels with actual images, this problem is solved.”
WE ARE DEVO! Fascinating and super scary article in Salon about W. Cleon Skousen, the late right-wing Mormon crank and author of The Five Thousand Year Leap and The Naked Communist. Although he died in 2006, thanks to Beck’s touting of The Five Thousand Year Leap (which he claims “changed his life”) Skousen’s got a #1 best seller on Amazon. The Five Thousand Year Leap serves as the philosophical underpinning of Beck’s so called 912 Project. I had never read anything about this guy before this article—having better things to read than books Glenn Beck recommends (although I did like The Coming Insurrection a lot, Glenn!)—but I’m even more convinced now that Beck and his army of idiots are shaping up to be an American version of the Taliban. Who thought life in America in 2009 would so resemble a freakin’ Jack T. Chick comic?!?!?
What has Beck been pushing on his legions? “Leap,” first published in 1981, is a heavily illustrated and factually challenged attempt to explain American history through an unspoken lens of Mormon theology. As such, it is an early entry in the ongoing attempt by the religious right to rewrite history. Fundamentalists want to define the United States as a Christian nation rather than a secular republic, and recasting the Founding Fathers as devout Christians guided by the Bible rather than deists inspired by the French and English philosophers. “Leap” argues that the U.S. Constitution is a godly document above all else, based on natural law, and owes more to the Old and New Testaments than to the secular and radical spirit of the Enlightenment. It lists 28 fundamental beliefs—based on the sayings and writings of Moses, Jesus, Cicero, John Locke, Montesquieu and Adam Smith—that Skousen says have resulted in more God-directed progress than was achieved in the previous 5,000 years of every other civilization combined. The book reads exactly like what it was until Glenn Beck dragged it out of Mormon obscurity: a textbook full of aggressively selective quotations intended for conservative religious schools like Utah’s George Wythe University, where it has been part of the core freshman curriculum for decades (and where Beck spoke at this year’s annual fundraiser).
But more interesting than the contents of “The 5,000 Year Leap,” and more revealing for what it says about 912ers and the Glenn Beck Nation, is the book’s author. W. Cleon Skousen was not a historian so much as a player in the history of the American far right; less a scholar of the republic than a threat to it. At least, that was the judgment of J. Edgar Hoover’s FBI, which maintained a file on Skousen for years that eventually totaled some 2,000 pages. Before he died in 2006 at the age of 92, Skousen’s own Mormon church publicly distanced itself from the foundation that Skousen founded and that has published previous editions of “The 5,000 Year Leap.”
As Beck knows, to focus solely on “The 5,000 Year Leap” is to sell the author short. When he died in 2006 at the age of 92, Skousen had authored more than a dozen books and pamphlets on the Red Menace, New World Order conspiracy, Christian child rearing, and Mormon end-times prophecy. It is a body of work that does much to explain Glenn Beck’s bizarre conspiratorial mash-up of recent months, which decries a new darkness at noon and finds strange symbols carefully coded in the retired lobby art of Rockefeller Center. It also suggests that the modern base of the Republican Party is headed to a very strange place.
Publicists for the show were able to provide images of two works that will appear at the museum. Both images come from Dylan’s “The Drawn Blank” series.
In the first image (above), titled “Train Tracks” (2009), Dylan revisits his obsession with railway tracks that he has depicted in numerous paintings in the past. This latest variation features a blood-red sky dominating an anonymous rural landscape. The earth seems to reflect the hues of the sky as the railway stretches into infinity.
In the second image (below), titled “Man on a Bridge” (2009), Dylan once again depicts a favorite visual subject—a man in a hat standing solitary in what appears to be a European city. The musician has created many variations on this striking composition. In a statement, the museum’s chief curator, Kasper Monrad, said that several of Dylan’s images “reveal an affinity for some of the modernist masters, not least Henri Matisse’s works from the 1920s.”
Won’t be making it to Denmark next year? Well, below you can watch a Drawn Blank slideshow. It’s set to Dylan’s exceedingly lovely, Suze (the Cough Song).
Wall Street villain Gordon Gekko is planned to return in a new sequel, entitled, er, “Wall Street 2” and set to follow Gekko as he is released from prison just in time to get involved in the 2008 collapse of Lehman Brothers. Hopefully he’ll get a new cell phone. Unfortunately, he’s also getting a new sidekick… Shia LaBeouf. Groan.
Wall Street is, in my opinion, Oliver Stone’s best movie, and a critical text of American literature and film. Watch it back to back with “American Psycho” to understand the sociopathic mentality that drives the axle of America’s wheel. Screenwriter Stanley Weiser took an incredibly complex world and made it seem storybook-simple; probably the kind of thing Americans need now to make sense of the “what the f—- just happened??” factor.
One thing that struck me, in reading about the original Wall Street, was multiple quotes from Stanley Weiser saying how many people had approached him over the years telling him that Gordon Gekko had inspired them to go into investment trading. Having known a few real-life Gekkos, and also more than a few people (of the younger generation) who took Patrick Bateman from “American Psycho” as their own personal life paragon, it seems that, well, people love bad guys… and also seem incapable of understanding satire.
Stanley Weiser, screenwriter of the original film, has complained that real-life traders looked on Gekko as more of a hero than a villain.
“After so many encounters with Gekko admirers or wannabes I wish I could go back and rewrite the greed line to this: ‘Greed is good. But I’ve never seen a Brinks truck pull up to a cemetery,’” he said last year.
I wonder how many of the people who f’ed the country this time around were living out their own private Oliver Stone fantasy?