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You know you want these knitted Morrissey dolls
12.09.2014
08:50 am

Topics:
Amusing
Art
Music

Tags:
Morrissey


 
Kate Park makes these fantastic knitted Morrissey dolls. Sad thing is, since Kate’s work has blown up on the Internet, she simply can’t fill all the orders she’s been getting. That’s a good problem to have for a small business that makes knitted Morrissey dolls, right?

If you’d like to contact Kate about her tiny open-shirt Mozzer, here’s how:

Enquiries are still arriving and I’m thinking that at this rate, I might do a mailing list next year, so if you’d like to be on that (should it happen) and get emailed when a new doll goes on sale, please email knittedmoz@gmail.com to leave your details.

Please, please, please let me get what I want!

Yesterday on his website Morrissey listed his reasons for declining to deliver Channel 4’s rival programming for Her Majesty’s annual televised Christmas Day message on BBC. The singer, well known for despising the monarchy, said that he was sympathetic of the Queen’s right to address the country, adding that she’s irrelevant anyways, so why bother?

“My view that the monarchy should be quietly dismantled for the good of England is reasonably well-known, but I don’t think Christmas Day is quite the time to be trading slaps. The Queen should be allowed the impassioned trance of her annual address to the British people, if only to once again prove that, in her frozen posture, she has nothing to offer and nothing to say, and she has no place in modern Britain except as a figure of repression; no independent thought required. The Queen very well might be the most powerful woman in England, but she lacks the power to make herself loved, and the phony inflation of her family attacks all rational intellect.

All over the world highly civilized peoples exist without the automatic condescension of a ‘royal’ family. England can do the same, and will find more respect for doing so.”


 

 

 
via Boing Boing

Posted by Tara McGinley | Discussion
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The marvelous cover art of the early ‘Star Trek’ comic books


 
Poor Gold Key Comics. Despite their stewardship of tons of familiar titles, they always ranked a tier (or three) below the A-list. While Marvel and DC had all the high-octane superhero star power, Gold Key largely got by on licensing properties from other media. They did comic book tie-ins with Hanna-Barbera, Warner Brothers, and Disney cartoons, and brought TV shows like The Man from U.N.C.L.E., The Twilight Zone, H.R. Pufnstuf (!!!), Dark Shadows and Star Trek to the comics racks. Amusingly, some of their tie-in comics outlived by years the original TV series’ upon which they were based, but the company’s fortunes waned throughout the 1970s, and after they lost the lucrative Trek license to Marvel in 1979—just months before that franchise’s cinema revival—their days were numbered. Gold Key was done for by the mid 1980s.

But though they were never the heaviest hitters, Gold Key weren’t wanting for talent. A young Frank Miller’s first pro gig was illustrating a story in The Twilight Zone, and ‘60s-‘80s sitcom deity Garry Marshall wrote scripts for some of their titles. And they had cover painter George Wilson. It’s is beyond frustrating how difficult biographical data on Wilson is to come by. Despite being as prolific as he was accomplished, he has no Wikipedia entry, and searches for his work are complicated by the existence of a pulp novel cover illustrator by the same extremely common name. But his obscurity—and I get that he was basically a jobber, but still—does nothing to diminish his gifts, and it’s just all kindsa wrong that as yet there’s been no big, lavish, coffee-table book collecting his work. He produced incredible numbers of vivid, exciting, superbly designed, impeccably rendered, ridiculously fun cover paintings for Gold Key’s sci-fi, adventure, and horror titles, including many for Star Trek. A lot of the covers that weren’t by Wilson were thrown-together photo illustrations. We suspect you’ll agree that these are far preferable.
 

 

 

 
More after the jump…

Posted by Ron Kretsch | Discussion
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Blown-glass Solar System ornament set
12.08.2014
11:06 am

Topics:
Art

Tags:
The Solar System


 
Even if you’re not putting up a tree this year or simply don’t, I’m sure you could do something else even more imaginative with this hand-blown glass Solar System ornament set. Perhaps some sort of glass planet solar system mobile? I bet it would look awesome with natural sunlight shining through each planet.

The price ain’t cheap, though. Each set goes for $375.

Admittedly I’m sucker of this type of stuff, remember those terrific Solar System lollipops a few years ago?


 

 

 

 
via Geekologie

Posted by Tara McGinley | Discussion
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‘In Drones We Trust,’ a grassroots protest of the U.S. military’s use of drones
12.08.2014
10:44 am

Topics:
Activism
Art
Economy

Tags:
money
drones


 
Joseph DeLappe is not your ordinary artist. He’s a professor of art at the University of Nevada, and some have called him the first “gamer artist.” In October 18, 2002, with the TV show Friends still on the air, he and five gamer friends staged a recreation of “The One Where No One Proposes,” the premiere episode of Season 9, in the medium of a Quake III Arena game server (that is, a massively multiplayer environment where hundreds of players compete in the same arena). The project was called “Quake/Friends.” Each character in the show was given an avatar in the violent shoot-‘em-up, and the players used the in-game messaging system to render the episode’s dialogue: “Our performers functioned as passive, neutral visitors to the game—we were constantly killed and reincarnated to continue the performance. The piece was presented a second time in 2003 using six projected points of view, multiple audio channels and microphones for each performer.” The episode they were reenacting was not quite a month old at the time of the first performance. It was kind of a big deal at the time—the New York Times gave the second performance of the piece a writeup with the title “Take That, Monica! Kapow, Chandler!

More recently, DeLappe’s work has shown a more explicitly political flavor. From 2006 to 2011, DeLappe undertook the impressively subversive “Dead in Iraq” project, which involved logging on to the U.S. Army recruiting game “America’s Army” with the username dead-in-iraq and typing in the names of all 4,484 (at that time) service persons who had died to date in Iraq. In 2013 DeLappe commenced the “Cowardly Drone” project, which was essentially an elaborate effort to fuck with Google Image search results. He would take images of e.g. MQ9 Reaper Drones and Photoshop the word “COWARDLY” on the vehicle’s side in large bold letters, then re-upload the images with unprepossessing titles like “predator drone” in the hopes that some of his images would come up as hits in Google Search. The images are intended as “a subtle intervention into the media stream of US military power.”

DeLappe’s newest idea, “In Drones We Trust,” is combining a critique of the U.S. military’s use of drones with the defacement of U.S. currency. He noticed that all U.S. bills in wide circulation (except for the $1 bill) feature an etching of an august edifice connected with the U.S. government on its reverse side. (The $2 has a reproduction of Joseph Trumbull’s painting The Declaration of Independence.) In each case the building comes with an entirely featureless, placid sky, so DeLappe figured, why not add a menacing image of a drone to them? “It seems appropriate,” writes DeLappe, “considering our current use of drones in foreign skies, to symbolically bring them home to fly over our most notable patriotic structures.” He has created a couple hundred rubber stamps with the drone image and you can get one for yourself for a nominal price that simple covers the price of postage ($3 for domestic orders). I ordered one, and I can’t wait to ... er, use it on non-currency bits of paper! (Actually, if I’m reading this right, it’s not illegal to draw on or add markings to U.S. paper currency.)
 

 

 

 

 

 

 
No video of “In Drones We Trust” that I could find, but here’s a look at “Quake/Friends”:
 

 
via Internet Magic.

Posted by Martin Schneider | Discussion
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Highlights from the world’s first Juggalo art exhibition
12.08.2014
07:17 am

Topics:
Art
Hip-hop
Music

Tags:
Juggalos
Insane Clown Posse


AWJA
 
British artist Lucy Owen put herself through a crash course on America’s most amusingly violent subculture, the magnet-bedazzled Juggalo “family” that regularly congregates around events run by Violent J and Shaggy 2 Dope, better known as Insane Clown Posse. The annual convention of the band’s facepainted fans has become a riotous annual tradition in the Midwest known as the Gathering of the Juggalos, complete with bands, standup comedy, Faygo, wrestling, helicopter rides, crystal meth, and, at a guess, third-degree burns? 

Owen became intrigued by an online forum encounter with a self-identified Juggalo who claimed to be ridiculed and mocked constantly—something I just did myself. Quoth Owen:

“The negative reaction from the other people on the forum was so intense, I was wondering if he’d just admitted to being a child molester or a mass murderer. ... So I started to research it. What I found was a subculture so profoundly bizarre—at times shocking, and other times plain funny—that I felt compelled to start exploring it through my work.”

Owen immersed herself in ICP’s music and headed for Detroit, the band’s home base, and not only attended the Gathering but also followed the band on tour for dates in the Midwest. The fruits of her research can be seen in the 27 paintings of Where the Juggalo Roam, a show that opened last Friday at Start Gallery in Detroit; it runs until December 20.

I have to say, these paintings are quite deftly turned out, a darn sight better than (no offense) whatever image the phrase “Juggalo paintings” was likely to call up.
 

Psychopathic (detail)
 

America’s Tortured Brow
 

Abomination
 

Fuck Gainsborough
 

Poster Boy
 

Paperman
 

Murder Is to Crow as Family Is to Juggalo
 

New Gotham
 
More Juggalo masterpieces after the jump…...

Posted by Martin Schneider | Discussion
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Picasso’s poetry: Painting with words
12.08.2014
06:53 am

Topics:
Art
Literature

Tags:
Surrealism
poetry
Picasso

picpoetswritpaint1.jpg
 
Pablo Picasso’s first attempt at poetry was a brief thank you note to the poet Guillaume Apollinaire written in French sometime around 1906. Picasso did not take the craft seriously until 1935 when at the age of fifty-three he began writing poems almost every day until the summer of 1959. Picasso started writing at a moment of crisis when he claimed he had given up painting after his wife Olga Khokhlova had left him and a messy divorce seemed imminent. He began by daubing colors for words in a notebook before moving on to using words to sketch images.

His writing owed much to the influence of Apollinaire and the Surrealists, and he received considerable support from writers such as the Surrealist poets André Breton and Michel Leiris, the latter describing Picasso as:

“[A]n insatiable player with words ... [who, like] James Joyce ... in his Finnegans Wake, ... displayed an equal capacity to promote language as a real thing (one might say) . . . and to use it with as much dazzling liberty.”

Artist and writer Roland Penrose said Picasso’s wrote word paintings where language was used as a painter used colors, can be seen in this poem:

...the blue memory borders white in her very blue eyes and piece of indigo of sky of silver the white white traverse cobalt the white paper that the blue ink tears out blueish its ultramarine descends that white enjoys blue repose agitated in the dark green wall green that writes its pleasure pale green rain that swims yellow green…

At first, Picasso kept his writing secret, but slowly began sending long letters and poems to his friends as his confidence grew and he developed his own distinct voice and style. His writing was mainly stream of consciousness, unpunctuated word association with startling juxtaposition of images and at times an obsession with sex, death and excrement. Picasso wrote hundreds of poems concluding with The Burial of the Count of Orgaz in 1959, and two plays Le Désir attrapé par la queue (1941), which was performed by Picasso, Jean-Paul Sartre, Simone de Beauvoir, under the direction of Albert Camus, and Les Quatre Petites Filles (1949). This is just a small selection culled from The Burial of the Count of Orgaz and Other Poems.

15 august XXXV

i am now here in the nest where the lamb and the bear—the lion and the zebra—the
wolf and the panther—the fox, the winter and the summer weasel—the mole and the
chinchilla—the rabbit and the sable weave in silence above an abandoned staircase
after the party has washed the week and wrung out the handkerchief raining a
perfume that wanders in search of its shape in a sad afternoon that has so many
reasons to stretch into the oil blue of a silk duvet the corner of his eye rips drowning in
shreds the landscape he sighed in the place where the beehive yearns to form its ice


17 august XXXV

a cup of coffee courts the aroma everlasting
that corrupts the wing shaking a harmonium
caressing her timid white flesh as
kisses breeze through the window
fill the room with goldfinch words fluttering
in the ear soundless and singing
and laughing crazy trills through his veins


8-9 november XXXV

bullfighter’s
jacket of
electric light bulbs
sewn with finest
needle
mist
invented by the bull


10 november XXXV

on the dining room table above a colossal carpet color of dry blood the ashtray
packed with butt-ends looked just like a little death’s head that stuck out its tongue at
me today this very night november tenth a quarter after ten by now which with three
more should make eleven by the clock which then will strike the hour


12 november XXXV

Young girl correctly dressed in a beige coat with violet facings 150.000 – 300 – 22 – 95
centimes a madapolam combination checked and adjusted with an allusion to
hermine fur 143 – 60 – 32 a brassiere the open edges of the wound held separated by
hand pulleys making the sign of the cross perfumed with cheese (Reblochon) 1300 –
75 – 03 – 49 – 317.000 – 25 centimes openings up to date added on every second day
set into the skin by shivers kept awake by the mortal silence of the color lure genre
Lola of Valence 103 plus the languorous looks 310 – 313 plus 300.000 – 80 francs –
15 centimes for a forgotten glance on the dresser – penalties incurred during the game
– throw of the discus between the legs by a succession of facts which for no reason at
all succeeded in making themselves a nest and in some cases transforming themselves
into the reasoned image of the cup 380 – 11 plus expenses but the so academic draw-
ing model for all of history from his birth until this morning doesn’t cry even if one
steps on the finger that points to the exit but spits out his nosegay with the drinking
glass only the smell organized in regiments and parading by flag up front only if the
tickling of desire doesn’t discover the auspicious place to transform the sardine into a
shark the shopping list gets longer only from that moment on without the inevitable
stop at the table at lunch time to be able to write while sitting in the middle of so
many mixed hyperboles with the cheese and the tomato


14 november XXXV

Eugenia fragrant
little chapel of
guitar
strings
clothed in
poppy
black
carbuncles


15 november XXXV

when the bull — opens the gateway of the horse’s belly – with his horn — and sticks
his snout out to the edge — listen in the deepest of all deepest holds — and with saint
lucy’s eyes — to the sounds of moving vans —tight packed with picadors on ponies —
cast off by a black horse — and escaping now and rising like a butterfly — the
mangled belly of the mare — a little white horse — sees inside the conduit which sings
as the blood dances trickling from a faucet in her breast — a circus horse — stands upright
on his feet rear end decked out with blue and silver — white and blue feathers set on
top atop his head — between his two ears — and a pair of hands applauding —
plucks his eyes out from in front – the team of mules that block his sight — that
bounce and drag — his guts along the sand — and screws the eye of the photographer
— somewhere above the banquet table — and pulls the wire out — a little at a time —
into the out of doors — and winds it in a ball — then draws a likeness of his face so
beautiful — onto a silver plaque — that spatters — clenched fist — clean — the sun


24-28 november XXXV

tongue of fire fans the face inside the flute the cup
that singing nibbles the blue knife wound
lightly lightly
seated in the toro’s eye
inscribed inside its head adorned with jasmines
waiting for the veil to swell
the crystal fragment
wind wrapped in fold of cape two-handled sword
caresses gushing
handing bread out to the blind man and the lilac colored dove
its wickedness crammed tight against the burning lemon’s lips
with horn contorted
spooking the cathedral with its farewell gestures
swooning in his arms without an olé
a glance that blows apart the morning radio
that in its kisses photographs a bedbug sun
sucks out the fragrance from the dying hour
and moves across a page in flight
it tears the flowers into shreds and carries them away tucked in between a sighing
wing
and fear that still can smile
a knife that jumps for joy
right now this very day left floating in whatever way it wants to
this exact and necessary moment
at the summit of the well
a cry rose-colored
for the hand that casts it down
a little act of christian love


10 october XXXVI

(I)
flesh decomposing in its miserable shagreen accordion squeezing the love-torn
body rapidly spinning the wool bleeding so in the despairing place in
the crown of thorns nest of twigs at the sound of the tambourine awakened
by the miserable memory left by the vomit that smells of jasmine
glued to the back of the eye wearing cafe tables as sashes wrapped round her
neck sounding the alarm reproducing her image in all the mirrors
with all the blows struck on the cheeks of her bells the tralalala of the
tralalalettes biting the rainbow’s neck the bra of the tempest caught
in a snare now whistles between the comb’s teeth and twists in her hands
the mirror asleep on her breast abandoned to its fate

(II)
comical alphabet letter stitched on hot coal drunk from wineskin hand
distance color deleted from the list of mortals sinks claws in the
saving copper of forehead against stone if life cooks great banquet hall
feasts of cabbage smell on its knees in a corner his stew of hopes sing
Carmen sing and you Cleopatra and mice on the big fishermen’s bodies lined up
on the bank of the canal under the table open to the lie the chairs around
it rise and attach themselves to the walls of the director’s office of the
young villa Marie-Rose waiting for the frog to lick clean the hours that make
the fabric of her pretty umbrella sticky and if the weather is clear
listen to the crack when in my chest breaks the perfume of the
stick the arrow painted on the fan tossed on the bed the luminous alarmed panther
sheen of her regard with an electric aroma a most disagreeable noise
spreading a dreadful odor of stars crushed underfoot


2 july 38

drop by
drop
hardy
pale blue
dies
between
the claws of
green almond
on the rose
trellis

This selection of Picasso’s poetry, The Burial of the Count of Orgaz and Other Poems, is available as a sampler from Ubu here. Below the complete three part documentary Picasso: Magic, Sex & Death presented by Picasso’s biographer John Richardson from 2001.
 

 
Via Ubu.

Posted by Paul Gallagher | Discussion
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Turntablism: So there’s a Spirograph record player hack
12.06.2014
09:54 am

Topics:
Amusing
Art
Design
Music
Science/Tech

Tags:
turntable
Spirograph


 
As if having a turntable didn’t already cause me and my savings account enough trouble, after seeing these videos, now I really want another one. There are some crafty people out there who’ve figured out how to make record players function as visual art tools. Specifically, drawing roulette curves, not entirely unlike Christian Marclay weilding a Spirograph. (If someone with better math-fu wants to correct me on what kind of curves these are exactly, PLEASE go for it, I’m all ears.)
 

 
I’d love to do something like this, but actually play the records, credit each drawing to the two musical artists whose albums “made” the art, and show them in such a way as to allow the viewer to hear the mashed-up musical works. Maybe go ultra-meta and use concrète artists? Spyro Gyra vs ... well, any musician named “Graff?” It could get quite ridiculous!
 
More after the jump…

Posted by Ron Kretsch | Discussion
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Space rockers Lumerians premiere their retina-burning ‘Transmissions from Telos Vol. III’
12.04.2014
01:55 pm

Topics:
Art
Music

Tags:
Lumerians
Andy Puls


 
Bay area space rockers Lumerians have a newly released full length album called Transmissions from Telos Vol. III and to premiere their new material, they’ve got a new retina-burning “live” video performance of the album in its entirety, which you can watch here first on Dangerous Minds.

Using various techniques in analog video synthesis, camera feedback loops and other sorts of in camera manipulation, “DIY pixel mystic” Andy Puls created a wholly improvised, live visual score to Lumerians pulsating intergalactic grooves. Watch it below. Transmissions from Telos Vol. III is available on regular black or electric blue vinyl from Cardinal Fuzz.
 

Posted by Richard Metzger | Discussion
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Violent hippies, punk rock and Patty Hearst: Four movies by Raymond Pettibon
12.04.2014
08:52 am

Topics:
Art
Movies
Punk

Tags:
Raymond Pettibon


 
The SST catalog used to advertise four home videos directed by in-house artist Raymond Pettibon, whose name is now arguably more famous than that of his brother, Black Flag guitarist and SST honcho Greg Ginn. The original VHS tapes are all impossibly scarce, and the DVDs are pricey. Fortunately, you can now watch all four movies for free through the good offices of YouTube user Pat Maher, who has posted them with Pettibon’s blessing.

Actually, “home movies” might be a better term than home videos: it looks like Pettibon shot these no-budget, feature-length films on camcorder at his place. For the most part, the playful, amateurish, often ridiculous videos focus on (big surprise, Pettibon fans) the violent side of the hippie era. The cast consists largely of musicians from SST bands and other figures from the LA punk/art scene. Kim Gordon and Thurston Moore play members of the Weather Underground in The Whole World Is Watching: Weatherman ‘69; Judgement Day Theater: The Book of Manson stars Redd Kross shredder Robert Hecker as Charlie; and Citizen Tania, with Pat Smear and Dez Cadena, dramatizes the Patty Hearst/Symbionese Liberation Army story. The exception to the hippie violence theme is Sir Drone, in which Mikes Watt and Kelley reenact the birth of SoCal punk. Dave Markey, the director of Desperate Teenage Lovedolls and 1991: The Year Punk Broke, worked on each video in some capacity.

Say goodbye to six hours of your leisure time!
 
The films of Raymond Pettibon, after the jump…

Posted by Oliver Hall | Discussion
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The forgotten brains of the Texas state mental hospital


 
Anatomical art generally generally depicts recognizable, perfectly formed parts or figures, flayed open to display all the beauty and genius of our design. It’s medical, certainly, but it’s usually a testament to the beauty of the human body. Photographer Adam Voorhes goes in an entirely different direction in the book Malformed: Forgotten Brains of the Texas State Mental Hospital. How he came across his evocative subjects is a surreal story. From the book’s description:

Hidden away out of sight in a forgotten storage closet deep within the bowels of the University of Texas State Mental Hospital languished a forgotten, but unique and exceptional, collection of hundreds of extremely rare, malformed, or damaged human brains preserved in jars of formaldehyde.

Decades later, in 2013, photographer Adam Voorhes discovered the brains and became obsessed with documenting them in close-up, high-resolution, large format photographs, revealing their oddities, textures, and otherworldly essence. Voorhes donned a respirator and chemical gloves, and began the painstaking process of photographing the collection.

Not only had decades worth of rare brains just been tossed aside, Voorhes learned that their abandonment followed a “Battle for the Brains,” where even Harvard attempted to get ahold of the collection. By the time Voorhes began photographing them, half were missing, and many of the remaining specimens suffered from neglect. Working with a journalist, he set out to find the rest of the brains, even renewing interest in the collection—The University of Texas is doing MRI scans on them now.

Sadly, many of the brains were likely disposed of after a lack of resources and care left them to fallow (and bureaucracy failed to record it). It was reported just yesterday that 100 of the brains were thrown out in 2002, as they had deteriorated beyond medical usage—one was rumored to be the brain of Charles Whitman, the ex-Marine who went on a shooting spree from the University of Texas at Austin clock tower that killed 16 people in 1966. Many brains remain missing, and people are still trying to track them down.
 

 

 

 

 
More after the jump…

Posted by Amber Frost | Discussion
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