Across Pakistan it is common to see things with wheels ornately painted and adorned. The port city of Karachi, is the epicenter of this long-practiced tradition.
Practically every vehicle, from a garbage truck to a rickshaw, is opulently decked out with everything from colorful murals to historic or symbolic images. Sometime around 1920, the tradition of decorating a truck prior to it heading out on a long trip was born. Known as “Jingle Trucks,” Pakistan’s love affair with the Bedford, the heavy-duty truck that started the craze, came to Pakistan from UK automaker Vauxhall Motors after the first World War. To this day, the vintage vehicle is is still a vibrant part of Pakistani culture.
University of Karachi professor and artist Durriya Kazi who has studied truck art for several decades, believes that the age-old practice can be connected to Sufism; a mystical side of Islam that focuses on spirituality and body purification. Kazi says decorating the trucks is a way to obtain “religious merit,” such as the Sufi practice of embellishing a shrine or religiously significant site. In other words, by paying tribute to the truck by adorning it, the owner is ensuring that the truck will reward them by not breaking down along the highway, so to speak. Looking at photos of what may be best described as a mobile art installation, it’s not difficult to conceive that Jingle Truck owners spend a lot of cash tricking out their sweet rides.
As the years pass, things change and evolve with the times. This is especially the case when it comes to the decoration of the rear end of a Jingle Truck. Professor Kazi noted that in the past, mostly political figures would adorn the back of the truck. Now it is more common to see a portrait of a “Pashto” (a genre of popular music) pop-star or a family member on the back of a vehicle driven by a more progressive-minded Jingle Truck owner. Some folks even speculate that “Dekotora” the truck decorating craze in Japan that started
 
A cultural gold mine, the complete back catalog of radical arts magazine Variant is now available on-line.
Variant is a free cultural magazine, produced in Glasgow, which is now available in print and online editions. From its first edition in 1984, Variant has been an essential source of thought-provoking and constructive investigations into all areas of arts and ideas in contemporary society.
Variant describes itself as a magazine of “cross currents in culture”, which states:
Objectives
Variant is a constituted association.
The Association’s objects are to promote, maintain, improve and advance the education of the public particularly by the encouragement of the Arts including (but not limited to) the arts of drama, dance, music, singing, literature and visual arts. In furtherance thereof the Association shall seek:
a. to act as a consistent forum for innovative, experimental and new artistic endeavour;
b. to stimulate imaginative and progressive thinking in the arts; and
c. to promote the links between cultural practices and to place these within a wide social context.
Over the years contributors have included Ewan Morrison, Leigh French, Ian Brotherhood, Angela McRobbie, and Daniel Jewesbury, and now, all issues of this seminal and important magazine are available for downloading here.
A selection of other Variant covers, after the jump…
Rastafarians Joseph Hill, Albert Walker and Kenneth Dayes recorded one of the seminal reggae albums of all time, 1977’s deeply soulful and rootsy Two Sevens Clash. With their raw and elemental sound, Culture were a significant influence on Britain’s exploding punk and ska scene.
Propelled by the relentless grooves of Robbie Shakespeare and Sly Dunbar, Two Sevens Clash is pure reggae with a heavy dose of Rastafari gospel—one of the truly indispensable records to come out of Jamaica.
I had the pleasure of seeing Culture play in New York City in the late-80s and it was one of the most splendid live shows I’ve ever seen—passionate, powerful and uplifting.
This is a terrific performance by Culture from July 19, 1987. They’re playing in Woodbury, Connecticut. The visual quality of the video isn’t great but the audio is more than solid.
Lucian Freud, one of Britain’s most distinguished and acclaimed artists, has died at the age of 88. Described as a “great realist painter,” Freud first came to prominence when he was just twenty-one, with his first highly successful one-man-show in 1944.
Freud’s early work was illustrative - doe-eyed portraits of his wife Caroline Blackwood, or his friend, Francis Bacon, which are reminiscent of the work of Stanley Spencer, and seem almost polite representations compared to his later giant nudes. Freud was greatly impressed by Bacon, and the older artist influenced Freud’s development as a painter. Freud and Bacon exhibited alongside Frank Auerbach and Leon Kossoff, a loose grouping of London artists, whose work established the foundations for figurative painting for decades to come.
The critic David Sylvester named Bacon as the head, while Freud
“produced easily the best portraits painted in this country during the last decade.”
During the 1950s and early 1960s, Freud’s technique changed as he began to use impasto to create intense, almost physical assaults on his sitters. Freud said of his portraits:
“I paint people not because of what they are like, not exactly in spite of what they are like, but how they happen to be.”
Mr. Freud, a grandson of Sigmund Freud and a brother of the British television personality Clement Freud, was already an important figure in the small London art world when, in the immediate postwar years, he embarked on a series of portraits that established him as a potent new voice in figurative art.
In paintings like “Girl With Roses” (1947-48) and “Girl With a White Dog” (1951-52), he put the pictorial language of traditional European painting in the service of an anti-romantic, confrontational style of portraiture that stripped bare the sitter’s social facade. Ordinary people — many of them his friends and intimates — stared wide-eyed from the canvas, vulnerable to the artist’s ruthless inspection.
From the late 1950s, when he began using a stiffer brush and moving paint in great swaths around the canvas, Mr. Freud’s nudes took on a new fleshiness and mass. His subjects, pushed to the limit in exhausting extended sessions, day after day, dropped their defenses and opened up. The faces showed fatigue, distress, torpor.
The flesh was mottled, lumpy and, in the case of his 1990s portraits of the performance artist Leigh Bowery and the phenomenally obese civil servant Sue Tilley, shockingly abundant.
The relationship between sitter and painter, in his work, overturned traditional portraiture. It was “nearer to the classic relationship of the 20th century: that between interrogator and interrogated,” the art critic John Russell wrote in “Private View,” his survey of the London art scene in the 1960s.
William Feaver, a British critic who organized a Freud retrospective at Tate Britain in 2002, said: “Freud has generated a life’s worth of genuinely new painting that sits obstinately across the path of those lesser painters who get by on less. He always pressed to extremes, carrying on further than one would think necessary and rarely letting anything go before it became disconcerting.”
Amongst Freud’s great late paintings were his enormous portraits of the performance artist, Leigh Bowery. Theirs was a special relationship, as Freud’s portraits of Bowery revealed the shy humanity hidden behind the make-up and costumes of a performer who invested all in concealing himself.
As Bowery discovered, sitting for Freud was a challenge, as the sitter allowed Freud “maximum observation”, as the BBC reports:
Lucian Freud’s portraits were not concerned with flattery or modesty - disturbing was one adjective applied to them - and some were said to have compelling nastiness.
His early work was the product of “maximum observation”, Freud said
Though sometimes startling, his portraits could also be beautiful and intimate. Freud had been an admirer of the artist Francis Bacon and painted a striking portrait of him.
Freud, who lived and worked in London, said his work was purely autobiographical - he painted “the people that interest me and that I care about and think about in rooms I live in and know”.
A close relationship with sitters was important to him. He painted several affectionate portraits of his mother and his daughters Bella and Esther were also models.
Sittings could last for a year and sitters were often profoundly affected by the process. One of them once said: “You are the centre of his world while he paints you. But then he moves on to someone else.”
Freud seldom accepted commissions. His work is in a number of galleries in Britain and overseas, but much of it is privately owned.
He was one of few artists to have had two retrospective exhibitions at the Hayward Gallery in London.
The following short documentary looks at Lucian Freud’s portraits through the people who have posed for him, from David Hockney to Duke of Devonshire.
Rest of documentary plus Lucian freud speaks, after the jump…
