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Baby and childhood photos of Frida Kahlo, taken by her photographer father Guillermo
11.21.2014
02:57 pm

Topics:
Art

Tags:
Frida Kahlo


Age 2, circa 1909
 
Much of what interests us about Frida Kahlo’s art is very personal. Themes of disability, fertility, ethnicity, sex and gender, romance, love and communism pervade her work, adding to the romantic fascination that her life inspires. Less often considered are the strange and erratic circumstances of her family life—beyond, of course, the fact that her husband Diego Rivera had an affair with her sister Cristina, pictured below. 

Frida’s photographer father Guillermo, who took these pictures, was a compelling character in his own right. He was born in Germany as Carl Wilhelm Kahlo (Frida insisted he was Jewish, though evidence indicates he was actually Lutheran), but he hispanicized the “Wilhelm” to “Guillermo” upon moving to Mexico. Guillermo’s father actually footed the travel bill because his son did not get along with his stepmother. Before marrying Frida’s mother, he had two daughters with his first wife, who died giving birth to their third child. Scandalously, Guillermo asked Frida’s maternal grandfather for permission to marry his daughter the very night his first wife died, and then sent his children from the marriage to be raised in a convent, shortly after the wedding.

Despite all of this, Frida was raised in a home of relative comfort and was close to her family. Her father appears to have been very supportive of her, even allowing her to dress in men’s clothing for a family photo. Even as a baby, her face is unmistakable—right down to the strong brows.
 

Age 4, 1911
 

Age 4, 1911
 

Date unknown
 

Age 5, 1912
 
More after the jump…

Posted by Amber Frost | Discussion
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Root down: The Incredible Jimmy Smith LIVE in concert, 1965
11.21.2014
12:27 pm

Topics:
Music

Tags:
jazz
Lalo Schifrin
Jimmy Smith


 
I became a Jimmy Smith fan by way of my love of the soundtrack for Joy House, a 1964 French Alain Delon/Jane Fonda crime drama scored by Lalo Schifrin. Later that same year Smith and Schifrin, together, recorded an album titled The Cat featuring two of the film’s main themes with the Argentinian composer/conductor orchestrating a big band supporting Smith’s inventive organ playing. The results are classic. The next Smith album I picked up was his 1965 set Monster, which featured covers of “Goldfinger” (DO click on that link and listen) and the theme tunes from The Munsters and Bewitched filtered through his mighty Hammond B-3. Along with The Sermon! and his 1972 live in concert Root Down (famously sampled by the Beastie Boys) these albums are all great places to start with Smith.

I had the great pleasure of seeing the incredible Jimmy Smith in concert sometime in the early 90s in a small basement jazz club in Manhattan (I forget the name). He was great, but he did something incredibly awkward near the start of the show: There was a group of about ten older, obviously wealthy, Japanese men seated in a VIP area next to the stage. After this first number Smith—who seemed like he had a pretty good buzz on—addressed the men and thanked his “great friends” from Japan for coming to the show and then he pulled his eyes back, made like he had buck teeth and started repeating “Hong Kong Phooey! Hong Kong Phooey!” and bowing frantically towards them like it was the funniest thing in the world. No one laughed and these gentlemen just froze with that fake smile thing that the Japanese are famous for when they’re caught in uncomfortable moments just like this one.

It was a small room and I think that—drunk or not—Smith knew that he’d made a bit of an ass of himself and showman that he was, endeavored to make the crowd forget about his little “Hong Kong Phooey!” faux pas. The rest of the set astonished and getting to see HOW he played, up close, was a revelation: Smith’s feet walked back and forth across the pedals playing the bass line the entire time. By the end of his show he was drenched in sweat, having gotten quite a full aerobic workout, I can assure you. The guy played the shit out of his organ, even hitting the keys with his nose when just two hands and two feet weren’t enough.

In this half hour set taped in front of a subdued audience in 1965, Smith and his sidemen tear the place apart to but merely “polite” applause. He doesn’t try to hide his surprise at the quiet reaction to a particularly raved up version of “The Sermon.” Watch his face, it’s like he’s wondering “What more can I do for you people?”

Set list: “Theme from Who’s Afraid of Virginia Woolf,” “The Sermon,” “Theme from Mondo Cane,” Wagon Wheels”
 

Posted by Richard Metzger | Discussion
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A gin-soaked Advent calendar for the perfect boozy X-mas season
11.21.2014
09:42 am

Topics:
Amusing
Belief
Food

Tags:
Gin


 
I’m not a religious person, nor do I really care about the holidays—I just see it as a giant excuse to eat like a damned fool—but this Ginvent calendar I could totally get on board with. 

Instead of those boring, tasteless chocolates nestled behind the cardboard “windows” why not switch it up with 30ml bottles of gin?

There are two flavors to choose from: The Botanical Ginvent Calendar and the Ginvent Calendar (which offers a selection of gins from around the world).


 

 
via Metro

Posted by Tara McGinley | Discussion
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Balloon art wizard creates a balloon art version of a Keith Haring classic
11.21.2014
07:08 am

Topics:
Art

Tags:
Keith Haring
balloons
Robert Moy
balloon art


 
I never thought much about balloon artists before, but this Robert Moy fellow has given me a whole new respect for the pastime. In this remarkable time-lapse video he twists and bends roughly 150 black balloons to pay homage to a 1987 painting by Keith Haring called Five Dancing Guys.

Garage Magazine asked Moy for a demonstration of his art, and he came up with the idea of imitating a Haring. Garage says it took Moy two days to do it. The little marks on the ground apparently aren’t balloons, or they would drive the balloon count up to 247. (Yes, I counted.)

Here’s the Haring original, you can compare the results for yourself:
 

 
Moy runs the Brooklyn Balloon Company. Of his mural, he said, “I’ve always been a big fan of Keith Haring and thought his work would translate well using balloons. ... Haring’s kidlike, playful qualities relate strongly to my balloon sculptures.”
 

 
via Vulture
 

Posted by Martin Schneider | Discussion
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Watch ‘Angel,’ the 1966 Canadian government-funded art film starring Leonard Cohen


 
Before Leonard Cohen became known as a singer-songwriter, he was a trust-fund kid struggling to be a writer and poet. This is why the 1966 short Angel (a product of the National Film Board of Canada), credits him with, “Music by poet Leonard Cohen, played by The Stormy Clovers”; The Stormy Clovers were one of Cohen’s early musical projects—here’s their version of “Suzanne”. I’ve seen the film once before, but was excited to see it on Vimeo in high definition—the clarity really highlights the the stark contrast of what looks to be overexposed film that’s been run through an old school analog video switcher.

The premise isn’t elaborate; a woman in decorative wings frolics with a man (an uncredited Cohen), and a dog. The man then tries on the wings, before they are put on the dog. A tryst is implied, then the woman leaves, much to both their resigned dismay. It’s all incredibly lovely, with a striking minimalist aesthetic and an intimate soundtrack. The film received Honourable Mention at the (Canadian) International Annual Film Festival, a Chris Certificate Award in the Graphic Arts Category at the International Film and Video Festival (US), First Prize in the Arts and Experimental category at the Genie Awards (Canada) and Special Mention at the Festival of Canadian Films.
 

Posted by Amber Frost | Discussion
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‘Bight of the Twin’: Update on Genesis Breyer P-Orridge’s Amazing African Adventures!

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As many of you know, all around icon Genesis Breyer P-Orridge has been spending much time working and filming with Hazel Hill McCarthy III on a truly eye opening project. How better to understand than in this message from Genesis in her own words:
 

“We just got back from touring followed by two weeks of filming in Benin, West Africa with Hazel Hill McCarthy III and crew. The film “BIGHT OF THE TWIN” should debunk a lot of misguided trashy Hollywood “Zombie” entertainment that has deeply generated an essentially destructive and wholly inaccurate idea/meme attached now, so strongly in many peoples minds.

We are so jet lagged yet also so inspired by Ouidah, in Benin. Statistics show something phenomenal.

As we understand it, the average number of sets of twins per thousand, worldwide comes out at four sets of twins per one thousand B-Earths. In Benin the average number of twin B-Earths per one thousand is around twenty five to forty! Nobody has yet found a genetic nor dietary explanation. So as our search for the “Mother story”, the oldest witness to intelligence and belief developing in humanEs led us there. We were already referring to “twins” in the context of PANDROGENY. Two beings make a third being that is the two individuals immersed and merged into each other. Hazel discovered that Sept-October in Ouidah is a very rare Festival of Twins, both those who die at B-Earth or soon after, and those still living who maintain by ritual, the memories of their twin (triplet,etc) into daily life. Voodu has been practiced continuously there for ten, twenty, even more thousands of y-eras ago. Their Creation myths include a Supreme Being MauLissa. Half male-half female.The male Mau is represented by a python (a serpent) the female Lissa is represented by a chameleon.

For ongoing information PLEASE go to the site http://igg.me/at/bightofthetwin. We are now in possession (no pun intended) of approximately ninety hours of incredible footage, much never witnessed or filmed before. Plus interviews with Priestesses, “DAH"s (high priests) and many many more key people. We need to raise money to edit a distribution master, and cover all those edit suite hours etc. SO PLEASE go to Indiegogo.com where we are trying to raise the needed funds asap. We used Kickstarter to raise funds to return to Benin for the twins festival and it worked. We reached our goal, thanks to all of you! Quite literally, your contributions, no matter how large or small ALL force the hand of chance so that this film can be completed and happen as a media-entity, allowing this amazing story to be told, perhaps, by learning of our early days of consciousness, of the essential origin of this bizarre, yet beautiful species, yet also a mundane and brutal species. Perhaps in the Mother story is a truth, a revelation that WILL allow us to adjust our behaviors, so we all save ourselves. Conscious evolution can only happen en masse. Small pockets of alternative are a seed, a source, a “virus” as Burroughs used to say. We will see, or future generations will curse us for our lethargy and indifference to the writing on the wall. “PLEASE DON’T PISS HERE.”   

Genesis BREYER P-ORRIDGE NYC, September 2014.”

 

Posted by Howie Pyro | Discussion
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Painting by Adolf Hitler expected to fetch over $60,000 at auction
11.21.2014
06:14 am

Topics:
Art
History

Tags:
Adolf Hitler

ahpntng321p.jpg
 
It’s strange to think that when Adolf Hitler was struggling to eke out a living as an artist in Vienna during 1913 and 1914, he was residing in the city at the same time as Joseph Stalin, Leon Trotsky and Josip Broz Tito. With this in mind, it’s not too difficult to imagine that Hitler and Stalin could have easily passed each other on the streets during their early morning walks. While Hitler painted, Stalin was in hiding as a wanted revolutionary, Trotsky was writing political tracts as editor of Pravda and Tito, the future dictator of Yugoslavia, was working as a chauffeur and part-time gigolo.

One of those paintings done by Adolf Hitler in Vienna is expected to make over $60,000 when it is sold at auction this Saturday. The picture is a 100-year-old watercolor by the future Nazi leader of Munich’s old city hall. According to Kathrin Weidler, director of the auctioneers Weidler who are handling the piece, the painting has raised considerable global interest because it is a signed work by the Nazi leader.

The painting is being sold by two elderly sisters whose father originally purchased it in 1916. The picture is being sold with its original bill of sale and a signed letter from Hitler’s adjutant, Albert Bormann, who was the brother of Hitler’s private secretary Martin Bormann.

Bidding is expected to start at around $5,000, but Ms. Weilder believes the painting will reach over $60,000 and perhaps even double this figure. However, she says the painting is of minimal artistic merit and is uncertain if bidders for the Führer’s artwork will attend the auction in person. Which raises the question, who would want to spend over $60k on for something on the level of a doctor’s office painting by such an evil man?
 
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ahpnting123.jpg
 
Via the Independent.
 

Posted by Paul Gallagher | Discussion
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The nicest Lou Reed interview you’ll ever see
11.21.2014
05:26 am

Topics:
Music
Television

Tags:
Lou Reed
Flo & Eddie
Midnight Special


 
So the story goes like this: In the spring of 1978, shortly after he’d released the amazing LP Street Hassle, Lou Reed was asked to host an episode of NBC’s late-night music program The Midnight Special. Reed was asked to submit lyrics to the songs he wished to perform, and, quelle fucking surprise, NBC balked at airing some of them. Rather than alter his work, Reed declined to appear, no harm done, except that an episode that could have been an all-time classic was instead ultimately hosted by—hold on to your lunch—Journey.

But Midnight Special did something exceptionally cool. Instead of just letting this matter pass quietly, they invited Reed on as a guest, in an interview segment hosted by Turtles/Zappa madcaps Flo & Eddie, specifically to talk about exactly why he wasn’t serving as the program’s host that night, and in the process they discussed censorship in broadcast media and the validity of “shock value” in pop music! At a generous seven and a half minutes long, the segment covered a lot of ground, and astutely at that. Perhaps because they were fellow weirdo musicians, Flo & Eddie got a genial, reflective Lou Reed, not the notoriously spiky prick who could and would unhesitatingly annihilate interviewers.
 

 
Previously on Dangerous Minds
Cranky Lou Reed interview from 1975 is full of hilariously nasty gems
‘Lou Believers’: Sonic Youth in the weirdest Lou Reed ‘tribute’ you’ll ever see
(B)Lou’s on first? Dangerous Minds sparks clash between Blue Man Group and Lou Man Group!

Posted by Ron Kretsch | Discussion
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Sister Mary Corita, nun, teacher and Pop art pioneer
11.20.2014
03:30 pm

Topics:
Art

Tags:
Sister Corita Kent
pop art
nuns


 
Corita Kent—known as Sister Mary Corita until her departure from religious servitude in 1968—is one of the great unsung trailblazers of pop art. As chair of the arts department at Immaculate Heart College in Los Angeles, Sister Mary Corita’s approach to arts pedagogy touched Saul Bass, Alfred Hitchcock, Buckminster Fuller, Charles and Ray Eames, and John Cage (whom she quotes in her famous “10 Rules for Students,” below). Her work is known for its political content and explicitly anti-war messaging, but there’s more to her artistic legacy than her identity as a radical nun.

Although her most public pieces are a really bad stamp and a giant natural gas tank of the same ilk, they pale in comparison to her larger body of work—primarily serigraphs (multi-colored screen prints). She used bright shades, thick lines, deconstructed advertising design and erratic typography. She often including literary quotes or her own poetry in scrawl, producing elegant political messaging without heavy-handedness, sanctimony or literalism. The work is bold, triumphant and sometimes spiritual, but never preachy.

Corita Kent died of cancer in 1986 in Boston, where she relocated after leaving the order. She would have been 96 today. I highly recommend you give her classroom rules below a look, and check out the short 1967 documentary, We Have No Art, at the end of the post for her brilliant insight into the creative process.
 

RULE ONE: Find a place you trust, and then try trusting it for awhile.

RULE TWO: General duties of a student — pull everything out of your teacher; pull everything out of your fellow students.

RULE THREE: General duties of a teacher — pull everything out of your students.

RULE FOUR: Consider everything an experiment.

RULE FIVE: Be self-disciplined — this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.

RULE SIX: Nothing is a mistake. There’s no win and no fail, there’s only make.

RULE SEVEN: The only rule is work. If you work it will lead to something. It’s the people who do all of the work all of the time who eventually catch on to things.

RULE EIGHT: Don’t try to create and analyze at the same time. They’re different processes.

RULE NINE: Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.

RULE TEN: “We’re breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities.” (John Cage)

HINTS: Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything — it might come in handy later.

 

“Come Alive,” 1967.
 

From the “Circus Alphabet” series, 1968. Kent made multiple prints of this particular Camus quote.
 

“Stop the Bombing,” 1967.
 
More after the jump…

Posted by Amber Frost | Discussion
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‘Beatles Electroniques’: The Beatles warped beyond recognition, 1969
11.20.2014
11:31 am

Topics:
Art
Music
Television

Tags:
Beatles
Jud Yalkut
Nam June Paik


Beatles Electroniques, 1969
 
The relationship and eventual marriage of John Lennon and Yoko Ono, looked at from a slightly unusual perspective, can be seen as an alliance between the high pop mastery of the Beatles and the playful avant-garde methods of the Fluxus group. Ono was obviously one of the major Fluxus artists of the day, and in taking up with her Lennon exposed himself to avant-garde art in a particularly intimate way—and vice versa.

It would be a stretch to say that the Beatles were authentic pioneers of electronic music, but at the same time it couldn’t be clearer that McCartney and Co.’s relentless experimental incursions into the medium of pop music had an enormous effect on what was regarded as “in bounds” for rock music. The introduction of feedback on “I Feel Fine,” the use of reversed tape loops in “Tomorrow Never Knows,” the maelstrom of nonsense in “Revolution 9,” the symphonic collision of melody in “A Day in the Life,” and so on. In 1967 McCartney contributed a 14-minute tape loop composition called “Carnival of Light” to an awesome-sounding event called the The Million Volt Light and Sound Rave that has never reached the public even to this day (Harrison and George Martin loathed the piece; Harrison vetoed releasing it every chance he got). Meanwhile, Harrison himself made a key contribution to the canon of electronic music with the release of his second album, titled simply Electronic Sound, in 1969; the album consisted solely of two loooooooong Moog compositions, as my colleague Ron Kretsch ably explained on DM a few months back. Of course, Lennon himself was burrowing into weirdo musique concrete with Yoko, in various releases like Unfinished Music No. 2: Life with the Lions, Two Virgins, and Wedding Album.

Once dubbed “The Artist Who Invented Video Art,” Nam June Paik was an incredibly prolific and amusing conceptual artist from Korea in the postwar era; he is most associated with his works incorporating the cathode ray tube (we usually call it a TV set), including “TV-Buddha,” “TV Chair,” and “Family of Robot,” the last of which is essentially a series of robots made out of TV sets. Earlier in his career Paik was associated with John Cage, particularly his notorious 1960 work “Etude for Piano,” which culminated in Paik cutting off Cage’s necktie and washing Cage’s hair with shampoo.
 

The Beatles, 1969
 
In 1969 Paik teamed up with Fluxus-associated filmmaker Jud Yalkut to create Beatles Electroniques, a three-minute video in which Beatles footage is messed with electronically. I would argue that Beatles Electroniques is an essential proto-Plunderphonics text. I’m tempted to call it the first important Plunderphonics work in everything but name—the term “Plunderphonics” was coined by composer John Oswald in 1985 to describe works stretching back no earlier than the 1970s. Oswald’s key recordings include the Plunderphonics EP (1988) and the Plunderphonics album (1989). Key inheritors of the Plunderphonics style are Negativland and Christian Marclay. The Residents fucked with Beatles source material in The Beatles play The Residents and The Residents play The Beatles, but that was fully eight years after Beatles Electroniques.
 

Nam June Paik
 
As Barbara London’s essay “Looking at Music” described it in the volume Rewind, Play, Fast Forward: The Past, Present and Future of the Music Video,
 

In October 1965, Paik screened his first videotapes as part of a series of “happening nights” at the Greenwich Village nightclub Cafe au Go Go—a venue that included Lenny Bruce and the Grateful Dead among its roster of performers. … Beatles Electroniques, 1966-69, made with the experimental filmmaker Jud Yalkut, is nothing less than an early black-and-white music video. Paik grabbed bits from the mock documentary A Hard Day’s Night (directed by Richard Lester in 1964), refilming and further distorting the footage through his video synthesizer (developed with engineer Shuya Abe). Snippets of the Beatles’ faces are caught in a loop of warped abstraction. To accompany the endlessly folding imagery, Paik created a sound track with Kenneth Lerner, which featured fragmented Beatles songs recited again and again. Whereas the original film is an upbeat paean to Beatlemania, Paik’s strategies of appropriation and repetition are conceptually closer to Andy Warhol’s silk-screened paintings of celebrities such as Marilyn Monroe, 1962, and Steve Reich’s phasing of spoken words from a publicized racial incident in his sound composition Come Out (1966). Like these works, Beatles Electroniques brought seriality into the realm of sensory overload.

 
Nobody seems to know what these “fragmented Beatles songs” actually are, so transformed are they in Paik and Yalkut’s work. Without further ado, here’s Beatles Electroniques:
 

 

Posted by Martin Schneider | Discussion
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