tag:blogger.com,1999:blog-71465270964144475032024-03-12T20:22:24.608-04:00Central Intelligence Artart and authorityUnknownnoreply@blogger.comBlogger65125tag:blogger.com,1999:blog-7146527096414447503.post-78898574034285344072020-12-28T20:10:00.002-05:002020-12-30T22:11:11.557-05:00Deborah Eisenberg: Your Duck Is My Duck<p><span style="font-family: helvetica; font-size: large;">You have to read a Deborah Eisenberg short story as carefully as you <i>should</i> have read your lease. Otherwise, the ending is like an eviction without notice. Can she do that? Um, yes.</span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-uDQuGiP_GFk/X-qBOC_yIBI/AAAAAAAAFok/y-6J0JJWB3Qak1DEQ7UkKWMy1KgqHxLXwCLcBGAsYHQ/s906/deb%2Beisenberg.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="906" data-original-width="598" height="400" src="https://1.bp.blogspot.com/-uDQuGiP_GFk/X-qBOC_yIBI/AAAAAAAAFok/y-6J0JJWB3Qak1DEQ7UkKWMy1KgqHxLXwCLcBGAsYHQ/w264-h400/deb%2Beisenberg.png" width="264" /></a></div><br /><p><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-71414752693247943662020-07-01T13:21:00.000-04:002020-07-01T13:21:02.339-04:00Perry Mason<span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; white-space: pre-wrap;">'50's TV Perry Mason was tightly scripted and elegantly choreographed - a major advance in TV drama at the time and one the best series, ever. HBO's prequel is a bloated, pandering abomination. World War I trench warfare! Murdered tots with eyes sewed open! The young Perry shellshocked and alcoholic (and vigorously heterosexual)! An origin story for Raymond Burr's Perry is completely unnecessary --- but it is worth pointing out '50's Perry was sexually ambiguous, lived alone and never had a girlfriend. Raymond Burr was in a committed gay relationship most of his adult life. Wouldn't it have been more interesting to chart Perry's development from shy, gay teenager to prominent criminal lawyer? Also, Raymond Burr solved a crime each week in 50 minutes -- looks like prequel Perry will take the whole mini-series. And, Burr was cool -here's a screen grab from S1, E15 The Case of the Fan Dancer's Horse (December 28, 1957). Perry is meeting a client in a record shop listening booth -- Miles Davis's 1957 'Round About Midnight prominently displayed.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-26279063420945578122020-06-08T17:24:00.003-04:002020-06-08T17:24:58.476-04:00More Perspective on 'Looting' from HYPERALLERGIC<div>
<span style="font-size: large;"><b>“Looting”: The Revolt of the Oppressed</b></span></div>
<span style="font-size: large;"></span><span style="font-size: large;"><i>by Vazira Fazila-Yacoobali Zamindar</i><br /><span style="font-family: Arial, Helvetica, sans-serif;">HYPERALLERGIC</span><i> (June 5, 2020)</i></span><br /><br />
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<span style="font-size: large;">"The genesis of the term “loot” in colonial India has racist origins. Now, after the US president called for the killing of those “looting,” its origins become increasingly significant .... " <i>(continue reading <a href="https://hyperallergic.com/569283/origin-of-word-looting/?utm_medium=email&utm_campaign=D060820&utm_content=D060820%2520CID_7ac1ac787b8f68b646b03814db25590d&utm_source=HyperallergicNewsletter&fbclid=IwAR2p7yk5dq54mUo_-GU9DgKsBD_AIJ5xQqeavXY4vfOV0tvqgjQ0A_qN1pE%20)">here</a> )</i></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-48856863917071942782020-06-08T16:48:00.000-04:002020-06-08T17:19:08.759-04:00Perspective on 'Looting'<a href="http://4.bp.blogspot.com/-333Q7qsE9DQ/Xt6pePIncmI/AAAAAAAAFmI/TCKkwp5al44odSyyvYdIFyvVYSmDqcrfQCK4BGAYYCw/s1600/Screen%2BShot%2B2020-06-08%2Bat%2B5.01.38%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-333Q7qsE9DQ/Xt6pePIncmI/AAAAAAAAFmI/TCKkwp5al44odSyyvYdIFyvVYSmDqcrfQCK4BGAYYCw/s320/Screen%2BShot%2B2020-06-08%2Bat%2B5.01.38%2BPM.png" width="190" /></a><span style="font-size: large;">"the real hustlers steal billions<br />From the unsuspecting millions<br />That's programmed to think they can win"<br />- <i>Jalaluddin Mansur Nuriddin a/k/a Lightnin' Rod (but I always think of Melle Mel)</i></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-50459107798063236962020-06-02T11:46:00.001-04:002020-06-02T11:46:33.100-04:00 Emory Douglas ...
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<a href="https://1.bp.blogspot.com/-nztCARfPwfY/XtZz5lY3iGI/AAAAAAAAFlg/JQtOEoRN7noZ0IO5ajsrVrqTvdiuhyN4QCLcBGAsYHQ/s1600/15rr-douglass-art-slide-KJA6-superJumbo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1056" height="200" src="https://1.bp.blogspot.com/-nztCARfPwfY/XtZz5lY3iGI/AAAAAAAAFlg/JQtOEoRN7noZ0IO5ajsrVrqTvdiuhyN4QCLcBGAsYHQ/s200/15rr-douglass-art-slide-KJA6-superJumbo.jpg" width="131" /></a><span style="background-color: white; color: #5f6368; font-family: Roboto, arial, sans-serif; font-size: 14px; font-weight: bold;">Emory Douglas</span><span style="background-color: white; color: #4d5156; font-family: Roboto, arial, sans-serif; font-size: 14px;"> (born 1943)</span></div>
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<a href="https://www.aiga.org/design-journeys-emory-douglas">https://www.aiga.org/design-journeys-emory-douglas</a></div>
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<a href="https://www.nytimes.com/2016/10/16/arts/fifty-years-later-black-panthers-art-still-resonates.html?searchResultPosition=1">https://www.nytimes.com/2016/10/16/arts/fifty-years-later-black-panthers-art-still-resonates.html?searchResultPosition=1</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-60300124136473351552020-06-02T11:32:00.002-04:002020-06-02T11:32:57.659-04:00William Gropper ...
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">William Gropper (<span style="background-color: white;">1897-1977)</span></span></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Little
Steel (c.1938) </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Oil on canvas, 33¾" x 44½"</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><a href="https://1.bp.blogspot.com/-UNzR4iHDVps/XtZw71CJnVI/AAAAAAAAFlU/3kqVOOlGfx4PwKtFZH_EDzd0X6l_F8AsQCLcBGAsYHQ/s1600/Picturex1.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="848" data-original-width="1112" height="488" src="https://1.bp.blogspot.com/-UNzR4iHDVps/XtZw71CJnVI/AAAAAAAAFlU/3kqVOOlGfx4PwKtFZH_EDzd0X6l_F8AsQCLcBGAsYHQ/s640/Picturex1.png" width="640" /></a></span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-17831963172305889192020-06-02T11:24:00.002-04:002020-06-02T11:28:35.008-04:00Louis Lozowick ....<!--StartFragment-->
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Louis Lozowick (<span style="background-color: white;">1892–1973)</span></span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Strike
Scene (1934)</span><br />
<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Lithograph, </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">11" x 9"</span><span style="color: red; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span></span><br />
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<!--EndFragment--><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-39828212912384440342020-06-02T11:14:00.001-04:002020-06-02T11:26:47.289-04:00Lynd Ward ...<!--StartFragment-->
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Lynd Ward<span style="background-color: white;"> (1905–1985)</span><a href="https://1.bp.blogspot.com/-D5s0PJiDSYk/XtZk8iZ5bRI/AAAAAAAAFk8/KRlRB9lwdHw9aklquspm0LUO9X_KyPtEACLcBGAsYHQ/s1600/Picture1.png" imageanchor="1" style="clear: right; display: inline !important; margin-bottom: 1em; margin-left: 1em; text-align: center;"><span style="color: black;"></span></a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><i><u>Untitled (Breaking up the Demonstration</u></i> (1932)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">wood engraving</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">6" x 4"</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">f<i>rom the book <u>Wild Pilgrimage</u>, consisting of 108 <span style="background-color: white;">wood engravings</span></i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="background-color: white;">"</span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><em style="background: rgb(255, 255, 255); border: 0px; box-sizing: border-box; letter-spacing: 0.025px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Wild Pilgrimage</em><span style="background-color: white; letter-spacing: 0.025px;"> (1932), perhaps</span><span style="background-color: white; letter-spacing: 0.025px;"> the most accomplished of [Ward's six wordless novels], is a study in the brutalization of an American factory worker whose heart can still respond to beauty, but whose mind is twisted in rage against the system and its shackles." -- Library of America</span></span></div>
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<a href="https://www.loa.org/books/337-lynd-ward-six-novels-in-woodcuts-boxed-set"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">https://www.loa.org/books/337-lynd-ward-six-novels-in-woodcuts-boxed-set</span></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-70517307587118788942014-12-31T10:44:00.000-05:002014-12-31T10:44:39.673-05:00New 'Redskins' Diorama for Natural History?<div class="separator" style="clear: both; text-align: center;">
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Diorama for a future Natural History Museum?<span style="mso-spacerun: yes;"> </span>('There once lived in this area a tribe that used
racial epithets to name its sports franchises. They were known as the <i>Whites
Without Faces</i>.’) </div>
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<br /></div>
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<i>(DCA, 12/25/14, Southwest Airlines gates)</i><o:p></o:p></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-86246081676192177372014-12-12T11:18:00.004-05:002014-12-12T11:34:48.776-05:00time to take another look at Leon Golub<span style="text-align: -webkit-center;"></span><br />
<div style="color: #51585d; font-family: Arial, sans-serif; font-size: 15px; line-height: 20.8250007629395px;">
<i style="background-color: white; color: #333333; font-family: Georgia, Times, serif; font-size: 14px; line-height: 20.8250007629395px;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Interrogation I (1981) </span></i></div>
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<a href="http://2.bp.blogspot.com/-OMIuEaF_fqY/VIsQGf4pEcI/AAAAAAAAErc/opPXG2lv76M/s1600/interrogation%2B1%2B1981.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-OMIuEaF_fqY/VIsQGf4pEcI/AAAAAAAAErc/opPXG2lv76M/s1600/interrogation%2B1%2B1981.jpeg" height="433" width="640" /></a></div>
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://1.bp.blogspot.com/-7rJTZeXJGQw/VIsQGaglJjI/AAAAAAAAEro/ElpNDHyPzx4/s1600/CS06_0034_Golub_OH_GCR.jpg" imageanchor="1" style="clear: left; font-size: medium; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, sans-serif;"><span style="font-size: 15.5555562973022px; line-height: 20.8250007629395px;"></span></span></a></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-ABTskNV3zJY/VIsSS3Wc37I/AAAAAAAAEr4/6lgiziHUX1Y/s1600/interrogation-1%2Bsaachi(1).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-ABTskNV3zJY/VIsSS3Wc37I/AAAAAAAAEr4/6lgiziHUX1Y/s1600/interrogation-1%2Bsaachi(1).jpg" height="450" width="640" /></a><br />
<div style="text-align: left;">
<i style="color: #51585d; line-height: 20.8250007629395px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: small;">Interrogation II (1981) </span></i></div>
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<span style="text-align: -webkit-center;"></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://1.bp.blogspot.com/-7rJTZeXJGQw/VIsQGaglJjI/AAAAAAAAEro/ElpNDHyPzx4/s1600/CS06_0034_Golub_OH_GCR.jpg" imageanchor="1" style="clear: left; font-size: medium; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, sans-serif;"><span style="font-size: 15.5555562973022px; line-height: 20.8250007629395px;"></span></span></a></td></tr>
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<a href="http://1.bp.blogspot.com/-7rJTZeXJGQw/VIsQGaglJjI/AAAAAAAAEro/ElpNDHyPzx4/s1600/CS06_0034_Golub_OH_GCR.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #51585d; font-family: Arial, sans-serif;"><span style="font-size: 15px; line-height: 20.8250007629395px;"></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: 15.5555562973022px; line-height: 20.8250007629395px;"></span></span></a></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-zG66RV9e_M0/VIsSS8j4HXI/AAAAAAAAEr8/XMH7GeNoopU/s1600/golub%2Bhorsing%2Baround%2Bdetail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-zG66RV9e_M0/VIsSS8j4HXI/AAAAAAAAEr8/XMH7GeNoopU/s1600/golub%2Bhorsing%2Baround%2Bdetail.jpg" height="640" width="520" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: 15.5555562973022px; line-height: 20.8250007629395px; text-align: left;"><span style="font-family: Georgia, Times New Roman, serif; font-size: small;"><i style="font-size: 15.5555562973022px; line-height: 20.8250007629395px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: small;"><br /></span></i></span></i>
<i style="font-size: 15.5555562973022px; line-height: 20.8250007629395px; text-align: left;"><span style="font-family: Georgia, Times New Roman, serif; font-size: small;"><i style="font-size: 15.5555562973022px; line-height: 20.8250007629395px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: small;">Interrogation III (1981) (detail)</span></i></span></i><br />
<i style="color: #51585d; font-family: Georgia, 'Times New Roman', serif; font-size: medium; line-height: 20.8250007629395px; text-align: left;"><br /></i>
<i style="font-family: Georgia, 'Times New Roman', serif; font-size: medium; line-height: 20.8250007629395px; text-align: left;">White Squad (El Salvador) IV (1983)</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-7rJTZeXJGQw/VIsQGaglJjI/AAAAAAAAEro/ElpNDHyPzx4/s1600/CS06_0034_Golub_OH_GCR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-7rJTZeXJGQw/VIsQGaglJjI/AAAAAAAAEro/ElpNDHyPzx4/s1600/CS06_0034_Golub_OH_GCR.jpg" height="504" width="640" /></a><br />
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<a href="http://www.youtube.com/watch?v=V4eLYXJIZfg">www.youtube.com/watch?v=V4eLYXJIZfg</a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-50760922222577810242014-02-14T11:07:00.001-05:002014-02-14T11:08:42.634-05:00Amazon: Gatekeeper of the art world?<div class="separator" style="clear: both; text-align: center;">
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<br />
<span class="userContent" style="background-color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;"><span style="font-size: large;"> </span>Dürer is selling his art</span><span class="userContent" style="background-color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;"> on Amazon; Helen Frankenthaler too, but Hans Haacke 'did not match any products.'</span><span style="background-color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;"> </span><span style="background-color: #fafbfb; font-family: 'lucida grande';">The
new 'gatekeepers' in the world of so-called fine art? Look at Amazon's new <a href="http://www.amazon.com/b/ref=amb_link_380637882_3?ie=UTF8&node=6685269011&pf_rd_m=ATVPDKIKX0DER&pf_rd_s=auto-sparkle&pf_rd_r=12Y1JT2M5Q8WZM4NGQ5S&pf_rd_t=301&pf_rd_p=1592849022&pf_rd_i=fine+art">beta art site</a> </span><span style="background-color: #fafbfb; font-family: 'lucida grande';">and read George Packer's New Yorker article about Amazon (2/17/2014
issue). Who, in the future, will tell us whether a given artist/work of art is
good? Will you buy an abstract painting from Amazon or Gagosian? Who will ship
it free, tax f</span><span style="background-color: #fafbfb; font-family: 'lucida grande';">ree? Moreover, Bezos can hire even more art historians to talk the talk .... and, consumer reviews will surely be very instructive. "I looked at it twice and it stopped working."</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-81938217670882388052014-02-14T10:45:00.000-05:002014-02-14T10:45:42.347-05:00Kennicott's blues<div class="userContentWrapper aboveUnitContent" data-ft="{"tn":"K"}" style="background-color: white; color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11.333333015441895px; line-height: 9.386666297912598px; margin-bottom: 15px; margin-top: 15px;">
<div class="_wk mbm" style="font-size: 13px; line-height: 18px; margin-bottom: 10px;">
<span class="userContent">Sorry to see the otherwise admirable Philip Kennicott come down with art-critico-valetudinarianism: “… for art, if there is such a thing anymore." Yikes. There’s really nothing wrong with the art world that a good revolution wouldn’t fix (or maybe just a change in the tax code).</span></div>
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<a class="shareLink _1y0 _1xw" href="http://www.washingtonpost.com/entertainment/museums/as-the-price-of-art-rises-is-its-value-plummeting/2014/02/06/54b585e8-7190-11e3-8b3f-b1666705ca3b_story.html" rel="nofollow" style="-webkit-box-shadow: rgba(0, 0, 0, 0.14902) 0px 1px 3px -1px; background-color: #f6f7f9; background-position: initial initial; background-repeat: initial initial; border: 0px; color: #3b5998; cursor: pointer; display: block; margin-bottom: 12px; text-decoration: none;" target="_blank"><div class="_1xy _1xx" style="border: 0px; float: left; height: 116px; line-height: 110px; margin-right: 12px; min-width: 72px; position: relative; text-align: center; vertical-align: top; zoom: 1;">
<img alt="" class="_42xb img" height="116" src="https://fbstatic-a.akamaihd.net/rsrc.php/v2/y4/r/-PAXP-deijE.gif" style="background-image: url(https://fbexternal-a.akamaihd.net/safe_image.php?d=AQBHd9VAeMd0K18p&w=116&h=116&url=http%3A%2F%2Fimg.washingtonpost.com%2Frf%2Fimage_2048w%2F2010-2019%2FWashingtonPost%2F2014%2F01%2F30%2FStyle%2FImages%2F12575511.jpg&cfs=1); background-position: 50% 50%; background-repeat: no-repeat no-repeat; border: 0px; vertical-align: middle;" width="116" /></div>
<div class="_1xx _1xz" style="background-color: white; border-color: rgb(222, 226, 233) rgb(219, 222, 229) rgb(210, 213, 220) rgb(222, 226, 233); border-style: solid; border-width: 1px; height: 90px; padding: 12px; vertical-align: top; zoom: 1;">
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<div class="_1x_ fwb" dir="ltr" style="font-weight: bold;">
The price of art is higher than ever. What does that mean for its value?</div>
<div class="fsm fwn fcg" style="color: #89919c;">
www.washingtonpost.com</div>
</div>
<div class="_1y1 fsm fwn fcg" dir="ltr" id="u_jsonp_2_24" style="color: #89919c; height: auto; margin-top: 14px;">
The art world has collapsed into the world of commerce, and an almost apocalyptic level of gloom now exists.</div>
</div>
</div>
</a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-15708949104340627352013-11-13T13:05:00.001-05:002013-12-02T18:49:11.321-05:00Francis Bacon triptych $142,400,000 at Christie’s <br />
<div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;">
<img border="0" height="200" src="http://4.bp.blogspot.com/-SmSZ3A1rqzU/UoO9YBmL5eI/AAAAAAAAEm4/kFQLwP0rMik/s200/bacon+i+phone+cover.jpg" width="105" /></div>
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<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 11.333333015441895px;">As to the Bacon triptych price: The money is idle, stolen capital looking for a place to hide ... a fine demonstration of the flaws of slavery-capitalism. Does profit really fuel investment and progress or does it just mindlessly accumulate? That 'value' -- the price of the picture -- represents the work of our ancestors reaped over centuries and now tucked into an oil+canvas safe. It's odd. But don't blame the painting. Don't even blame the art world. Blame the system that allows the theft and mummification of our labor through economic exploitation and obscene inequities in income distribution. </span><br />
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.333333015441895px; line-height: 11.333333015441895px;"><i><br /></i></span>
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.333333015441895px; line-height: 11.333333015441895px;"><i>Still some bargains out there. At left, iPhone cover from the <a href="http://www.francisbaconshop.com/en/products/accessories.html">Bacon Estate</a> gift shop.</i></span><br />
<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif;"><span style="font-size: 13px; line-height: 11.328125px;"><br /></span></span>
<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif;"><span style="font-size: 13px; line-height: 11.328125px;"><br /></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-48788125811377933412013-08-15T13:11:00.000-04:002013-08-15T21:21:25.347-04:00Deloitte Art Investment Program in Worst-Best Logo Finals<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-GAOz7DSvovA/Ug0IAY-JtOI/AAAAAAAAEI0/7jesn4dig_E/s1600/lu_artandfinancereport_165x220_150313.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-GAOz7DSvovA/Ug0IAY-JtOI/AAAAAAAAEI0/7jesn4dig_E/s640/lu_artandfinancereport_165x220_150313.jpg" width="480" /></a>What is a worst-best logo? It’s a logo that tells the truth
without meaning to.<span style="mso-spacerun: yes;"> </span>It’s a logo that
self-deconstructs. Using Barthes' semiological analysis, a worst-best logo fails
miserably at second order (myth) meaning.<span style="mso-spacerun: yes;"> </span>According to Barthes, the mythological content of a sign may be patently
false, but the falsehood is shrouded, obscured, sugarcoated so it goes down
without protest.<span style="mso-spacerun: yes;"> </span>A worst-best logo -- by
virtue of ham-fisted design <span style="mso-spacerun: yes;"> </span>-- triggers
simultaneous comprehension of a third (truth) meaning that negates the pernicious falsehoods
the artist meant to convey. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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The grand prize winner is still the (abandoned) logo of the
US Chamber of Commerce (see below, <a href="http://centralintelligenceart.blogspot.com/2009/11/flag-as-road-kill-uscc.html"><i>Flag as Roadkill and the USCC</i></a>). By appropriating an image of the US flag, the
organization meant to associate its work with patriotism and the interests of
US citizens. The clumsy design, however, depicted a desiccated, mangled looking flag and the words “American Free Enterprise. Dream Big.” <span style="mso-spacerun: yes;"> </span>The
unavoidable upshot was that USSC and its capitalist fantasies undermine the
values the flag represents – a truth that the client and designer wished to
conceal. For a runner up, see <i><a href="http://centralintelligenceart.blogspot.com/2010/01/maid-to-clean.html">Maid to Clean</a></i>.<o:p></o:p></div>
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Now comes Deloitte with its <a href="http://www.deloitte.com/view/en_LU/lu/industries/art-and-finance/2f576942d361d310VgnVCM2000003356f70aRCRD.htm#.UerVfGR4ZPs">Art and Finance</a> program. Though
Deloitte promises thoughtful analysis and conservative investment in top tier
markets, a more blatantly venal approach to aesthetic delectation is impossible
to imagine. Trumpeting the unregulated
nature of the art market, they are selling the idea of art works as safe and
largely off-the-books placeholders for large amounts of cash.<span style="mso-spacerun: yes;"> </span>The potential for capital appreciation is a
bonus. <span style="mso-spacerun: yes;">To convey all that in a logo requires finesse and subtlety. </span><span style="mso-spacerun: yes;">So, let's proceed ... If </span>there’s a bull market in
the arts, I guess Wall Street's bull should be represented.<span style="mso-spacerun: yes;"> </span>And, we should have something to indicate art. How about a picture frame? Let’s make it gold and ornate to suggest 19<sup>th</sup>
century oil paintings. Next … how shall we connect the bull-and-frame
dots?<span style="mso-spacerun: yes;"> </span>Obvious: Why not have the
bull-symbol ramming its horn through the art-symbol?<span style="mso-spacerun: yes;"> </span>After all, nothing whispers aesthetic
intelligence, care and prudence like a fucking bull full on fatally goring
the fragile surface of a prized work of art.<br />
<o:p></o:p></div>
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All the pretense, all the highfalutin’ conferences, the slicky
catalogs, the efforts of the unctuous, compliant art historian-consultants are undermined,
cancelled by a dreadful logo that wants to confess.<br />
<br />
“We are vandals,” says Deloitte.<br />
<i><br /></i>
<i>(image courtesy of <span style="mso-spacerun: yes;">Steve Wynn B</span>randing and Design, Inc.)</i></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-81634984936541381252013-07-21T14:06:00.000-04:002013-07-21T14:22:12.302-04:00Interference Archive, Brooklyn<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-Ly1YlexnkIk/Uewe7yxtbzI/AAAAAAAADBQ/aKHpwBImNLs/s1600/sub21jpINTERFERENCE3-articleInline.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-Ly1YlexnkIk/Uewe7yxtbzI/AAAAAAAADBQ/aKHpwBImNLs/s200/sub21jpINTERFERENCE3-articleInline.jpg" width="152" /></a><a href="http://4.bp.blogspot.com/-q9mkcSm7zug/Uewe0zkTJoI/AAAAAAAADBI/uMOdouB4d7c/s1600/strike-then-strike-now-294x460+copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-q9mkcSm7zug/Uewe0zkTJoI/AAAAAAAADBI/uMOdouB4d7c/s320/strike-then-strike-now-294x460+copy.jpg" width="204" /></a>I've been re-reading Steven Heller's <i><u>Design Literacy</u></i> and <i><u>Design Literacy (continued)</u></i> this summer in preparation for teaching a design theory class next year. Heller's <a href="http://www.hellerbooks.com/docs/books2.html">works</a>, among other things, underscore the huge contributions left-wing and counterculture publications have made to graphic design. In that regard, there's a good article in the New York Times today (Sunday, July 21,
2013, page 25) by Maya Lau about Brooklyn’s <a href="http://interferencearchive.org/"><b>Interference Archive</b></a>. The Archive
collects and stores publications, posters and other documents and ephemera generated by left and labor politics in the US.<span style="mso-spacerun: yes;"> </span>Staffed exclusively by volunteers, it also hosts
exhibitions, panels, screenings and other events. <span style="mso-spacerun: yes;"> </span>The Archive welcomes visits, participation and
donations. The <a href="http://www.nytimes.com/2013/07/21/nyregion/the-activism-files.html?pagewanted=all">Times article</a> gives some interesting background on the
organization's founders. </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-49047575218742915192013-07-20T13:28:00.000-04:002013-07-20T13:29:27.009-04:00Detroit<br />
<div class="mvm uiStreamAttachments fbMainStreamAttachment" data-ft="{"type":10,"tn":"H"}" style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11.333333015441895px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 9.333333015441895px; margin-bottom: 10px; margin-top: 10px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">
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</div>
<br />
<h5 class="uiStreamMessage userContentWrapper" data-ft="{"type":1,"tn":"K"}" style="-webkit-text-stroke-width: 0px; background-color: white; color: black; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 9.333333015441895px; margin: 0px 0px 5px; orphans: auto; padding: 0px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-break: break-word; word-spacing: 0px; word-wrap: break-word;">
<span class="messageBody" data-ft="{"type":3}" style="color: #333333; line-height: 1.38;"><div class="separator" style="clear: both; font-size: 13px; font-style: normal; text-align: center;">
<a href="http://2.bp.blogspot.com/-NT0aCPGt7a0/UerH0zCCWNI/AAAAAAAADA4/SkddRDVGUW4/s1600/rivera+detriot+mural+detail.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="277" src="http://2.bp.blogspot.com/-NT0aCPGt7a0/UerH0zCCWNI/AAAAAAAADA4/SkddRDVGUW4/s400/rivera+detriot+mural+detail.jpg" width="400" /></a></div>
<div style="font-style: normal;">
<span class="userContent"><span style="font-size: x-small;">Don’t be fooled by the rhetoric swirling around the Detroit bankruptcy. We get the sense that Detroit’s problems are a consequence of bungled public policy, bad schools, greedy public sector unions, etc., all conveyed with the usual racist undertones. Sorry, no … not the case. This is about vulture capitalists picking the bones they were never happy about leaving on the table in the first place … taxes and pensions. This is about Republicans snatching what’s left of the public sector to deliver it to their clients and cronies, who will sell it back to us in the form of privatized schools, security, bridges, roads and water. Detroit is an example of one thing only: business socializing the costs of production and keeping the profits. Modern cities didn’t sprout from the frontier like wild flowers. Detroit grew in order to serve the automobile and other industries. Every dollar the public sector and unions were able to wrench from business was marked by struggle. And, when other venues became convenient for the absorption of social costs without collective bargaining and modest contributions to the public sector, the corporations fled. Well, guess who’s back.</span></span></div>
<div style="font-size: 13px; font-style: normal;">
<span class="userContent"><br /></span></div>
<div style="font-size: 13px;">
<span class="userContent"><i>image: Detroit Industry Murals, Diego Rivera (1932-33) (detail)</i></span></div>
</span></h5>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7146527096414447503.post-54753553998396906282013-07-12T12:53:00.001-04:002017-06-07T13:30:57.755-04:00Jay-Z, Kool Moe Dee, Performance Art and Picasso<div class="MsoNormal">
As to Jay-Z’s July 10 performance of <i>Picasso Baby</i> at Pace
Gallery, two pertinent quotes: the first, from Kool Moe Dee's 1987 <a href="http://www.amazon.com/How-Ya-Like-Me-Now/dp/B00701QTCA/ref=sr_1_3?ie=UTF8&qid=1373647890&sr=8-3&keywords=kool+moe+dee"><i><u>How You LikeMe No</u></i><i style="text-decoration: underline;">w</i> </a>and the second, from Clement Greenberg’s 1956 David Smith review (where he
says Smith is the best of his generation). </div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-uysVUHIjvcc/UeAxU87rAGI/AAAAAAAADAo/Phkyithdx0A/s1600/how+ya+like+me+now.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="199" src="https://3.bp.blogspot.com/-uysVUHIjvcc/UeAxU87rAGI/AAAAAAAADAo/Phkyithdx0A/s200/how+ya+like+me+now.jpg" width="200" /></a><b>Kool Moe Dee</b>:<o:p></o:p></div>
<div class="MsoNormal">
<i>Rap is an art</i></div>
<div class="MsoNormal">
<i>And I'm a Picasso <o:p></o:p></i></div>
<div class="MsoNormal">
<i>But of course<o:p></o:p></i></div>
<div class="MsoNormal">
<i>Why else would you try so<o:p></o:p></i></div>
<div class="MsoNormal">
<i>Hard to paint a picture, <o:p></o:p></i></div>
<div class="MsoNormal">
<i>and try to get ya<o:p></o:p></i></div>
<div class="MsoNormal">
<i>Self in my shoes,<o:p></o:p></i></div>
<div class="MsoNormal">
<i>but they won't fit ya<o:p></o:p></i></div>
<div class="MsoNormal">
<i>I'm bigger and better,<o:p></o:p></i></div>
<div class="MsoNormal">
<i>forget about deffer<o:p></o:p></i></div>
<div class="MsoNormal">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<a href="http://2.bp.blogspot.com/-WcyoIWtb9xU/UeArszh4N9I/AAAAAAAAC_w/ggZvFFF5FkM/s1600/k+++c0012.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-WcyoIWtb9xU/UeArszh4N9I/AAAAAAAAC_w/ggZvFFF5FkM/s200/k+++c0012.jpg" width="182" /></a><i>Every time I rocked the mic,</i><br />
<div class="MsoNormal">
<i>I left a</i></div>
<div class="MsoNormal">
<i>Stain in your brain<o:p></o:p></i></div>
<div class="MsoNormal">
<i>that will remain....</i><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Clement Greenberg</b>:<o:p></o:p></div>
<div class="MsoNormal">
<i>Modernist sculpture’s present malady, here and abroad, is
artiness … Artiness is usually the symptom of a fear lest the work of art not
display its identity as art sufficiently....</i></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-TOfXjdv4wOs/UeAwLZfhTXI/AAAAAAAADAQ/-Zq9ftSbyPs/s1600/kool+Moe+Dee+list+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-TOfXjdv4wOs/UeAwLZfhTXI/AAAAAAAADAQ/-Zq9ftSbyPs/s200/kool+Moe+Dee+list+1.jpg" width="143" /></a>Rap, as Moe Dee says, is already art. It’s great to see Jay-Z still biting on old
school masterpieces, but rap does not need the trappings of high profile art galleries
or art world players and schmoozers (and certainly doesn’t need visual arts
critics) in order to validate its quality or art status. Rap that does require such embellishments is
insecure about its quality and status.
We won’t quarrel about whether it is or is not art. Let’s just say it’s lame
--- it displays an unsavory artiness. <br />
<br /></div>
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</div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-GqFtc9YL9Zg/UeAwLQvyc4I/AAAAAAAADAU/1V5_eU9h-9I/s1600/kool+Moe+Dee+list-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-GqFtc9YL9Zg/UeAwLQvyc4I/AAAAAAAADAU/1V5_eU9h-9I/s200/kool+Moe+Dee+list-1.jpg" width="155" /></a><i>BTW</i> Kool Moe Dee could eat Jay-Z for breakfast and still be very, very hungry. <i>Click on the</i> <i>lists from the indispensable <a href="http://www.amazon.com/Ego-Trips-Book-Rap-Lists/dp/0312242980/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1373647341&sr=1-1-catcorr&keywords=ego+trip+book+of+rap+lists">Ego Trip's Book of Rap Lists</a> (St. Martin's/Griffin, 1999)</i></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
</div>
<o:p></o:p><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-31598476933234817082013-07-04T11:45:00.005-04:002013-07-04T12:52:58.126-04:00Cuban Movies<div class="MsoNormal" style="line-height: 15.0pt; mso-hyphenate: auto; mso-layout-grid-align: none; mso-pagination: none; mso-vertical-align-alt: auto; punctuation-wrap: hanging; text-autospace: none;">
<a href="http://3.bp.blogspot.com/-iPBoTTdOMfU/UdWWF3kTC6I/AAAAAAAAC_A/108nhed3fBI/s317/Image+6.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-iPBoTTdOMfU/UdWWF3kTC6I/AAAAAAAAC_A/108nhed3fBI/s200/Image+6.jpg" width="135" /></a><a href="http://2.bp.blogspot.com/-tenud3eRpKg/UdWWFQBVWiI/AAAAAAAAC-4/3QOChbFM7Vc/s317/Image+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-tenud3eRpKg/UdWWFQBVWiI/AAAAAAAAC-4/3QOChbFM7Vc/s200/Image+2.jpg" width="135" /></a><span style="mso-bidi-font-size: 12.0pt;">In
preparation for my visit to Cuba last year, I watched a lot of great movies. Here’s
some favorites in the great and growing tradition of
post-revolutionary Cuban filmmaking. A few of these titles may be available online, but the best source is likely the public library (DC’s has most of them).<span style="mso-spacerun: yes;"> </span>The list includes only narrative drama and comedy (no documentary). It does
not include films made in<i style="mso-bidi-font-style: normal;">
</i>Cuba by international filmmakers (e.g., </span><span style="mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Agnès Varda’s 1963 <i><span style="mso-bidi-font-weight: bold;">Salut les Cubains, </span></i><span style="mso-bidi-font-weight: bold;"><span style="color: windowtext; mso-bidi-font-weight: normal; text-decoration: none; text-underline: none;">Mikhail
Kalatozov</span>’s 1964 <i style="mso-bidi-font-style: normal;">Soy Cuba, </i>or
<span style="mso-spacerun: yes;"> </span>Carol Reed’s 1959 <i style="mso-bidi-font-style: normal;">Our Man in Havana</i> … I guess that's a separate list in the making) or
any of the bizarre collection of US-made films about Cuba (e.g., John Houston’s
1949 <i style="mso-bidi-font-style: normal;">We Were Strangers</i>.) Director credits are in parens.</span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-7wAmdqNABQY/UdWWGI79nUI/AAAAAAAAC_Q/2i0An8vgHvQ/s317/Image+9.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-7wAmdqNABQY/UdWWGI79nUI/AAAAAAAAC_Q/2i0An8vgHvQ/s320/Image+9.jpg" width="182" /></a></div>
<span style="mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;"><span style="mso-bidi-font-weight: bold;"><br /></span></span>
</div>
<div class="MsoNormal">
<b><i>Retrato de Teresa</i></b>
(1979) (Pastor Vega)</div>
<div class="MsoNormal">
<b><i>Guantanamera </i></b>(1995) (<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: windowtext;">Tomás Gutiérrez Alea</span><span style="background-color: white;">, </span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: windowtext;">Juan Carlos Tabío)</span></div>
<div class="MsoNormal">
<b><i>Barrio Cuba</i></b> (<span style="color: windowtext;">2005</span>)
(<span style="color: windowtext;">Humberto
Solás)</span></div>
<div class="MsoNormal">
<b><i>Hasta cierto punto</i> </b>(<span style="color: windowtext;">1983</span>) (<span style="color: windowtext;">Tomás
Gutiérrez Ale</span>a)</div>
<div class="MsoNormal">
<b><i>Hurricanes</i></b> (<span style="color: windowtext;">2003</span>) (<i>Entre ciclones</i>) (<span style="color: windowtext;">Enrique
Colina)</span></div>
<div class="MsoNormal">
<b><i>Strawberry and Chocolate</i> </b>(<span style="color: windowtext;">1994</span>) (<span style="color: windowtext;">Tomás
Gutiérrez Alea</span>, <span style="color: windowtext;">Juan Carlos
Tabío)</span></div>
<div class="MsoNormal">
<b><i>¡Vampiros en La Habana!</i></b> (<span style="color: windowtext;">1985</span>) (<span style="color: windowtext;">Juan
Padrón)</span></div>
<div class="MsoNormal">
<b><i>Honey for Oshun</i></b> (<span style="color: windowtext;">2001</span>) (<span style="color: windowtext;">Humberto
Solás)</span></div>
<div class="MsoNormal">
<span style="line-height: 23pt;"><b><i>Memories of Underdevelopment</i></b> </span><span style="line-height: 23pt;">(<span style="color: windowtext;">1968</span>) (</span><span style="color: windowtext;">Tomás
Gutiérrez Alea)</span></div>
<div class="MsoNormal">
<b><i>La muerte de un burócrata</i></b> (<span style="color: windowtext;">1966</span>) (<span style="color: windowtext;">Tomás
Gutiérrez Alea)</span></div>
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Gutiérrez Alea)</span><br />
<span style="color: windowtext;"><b><i>Hello Hemingway</i></b> (1990) (Fernando Perez)</span><br />
<b><i>The Adventures of Juan Quin Quin</i> </b><span class="s1">(<span class="s2">1967</span>) (</span><span class="s2">Julio García Espinosa)</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-58854839619667211582012-05-07T00:12:00.002-04:002013-07-04T13:40:32.990-04:00Cincinnati Union Terminal<span style="font-family: Times, Times New Roman, serif;">Check out the huge, magnificent <a href="http://www.cincymuseum.org/unionterminal/art">social realist murals</a> by <span style="background-color: white; line-height: 24px;">German-American </span>artist, <span style="background-color: white; line-height: 24px;">graphic </span>designer and interior designer <b style="background-color: white; line-height: 24px;">F. Winold Reiss</b><span style="background-color: white; line-height: 24px;"> (1886–1953)</span><span style="background-color: white; line-height: 24px;"> depicting Cincinnati workers and industries. They are composed of </span><span style="background-color: white; line-height: 24px;">nickel-size </span><span style="background-color: white; line-height: 24px;">glass mosaic tiles. Reiss also traveled extensively in the American West and produced a series of portraits of Native Americans. His work in Harlem during the 1920's reflects an interest in jazz and African-American culture. <i>(</i></span><i><span style="background-color: white; line-height: 24px;">T</span><span style="background-color: white; line-height: 24px;">he </span>rotunda [<span style="background-color: white; line-height: 24px;">architects </span>Alfred Fellheimer<span style="background-color: white; line-height: 24px;"> and Steward Wagner]</span><span style="background-color: white; line-height: 24px;"> is the largest </span>semi-dome<span style="background-color: white; line-height: 24px;"> in the </span>western hemisphere<span style="background-color: white; line-height: 24px;">. Architect </span>Paul Philippe Cret<span style="background-color: white; line-height: 24px;"> designed</span><span style="background-color: white; line-height: 24px;"> the </span>art deco <span style="background-color: white; line-height: 24px;">interior</span><span style="background-color: white; line-height: 24px;">.)</span></i></span><br />
<span style="background-color: white; font-family: Times, Times New Roman, serif; line-height: 24px;"><embed flashvars="host=picasaweb.google.com&hl=en_US&feat=flashalbum&RGB=0x000000&feed=https%3A%2F%2Fpicasaweb.google.com%2Fdata%2Ffeed%2Fapi%2Fuser%2Frexweil08%2Falbumid%2F5373235380303343921%3Falt%3Drss%26kind%3Dphoto%26hl%3Den_US" height="192" pluginspage="http://www.macromedia.com/go/getflashplayer" src="https://static.googleusercontent.com/external_content/picasaweb.googleusercontent.com/slideshow.swf" type="application/x-shockwave-flash" width="288"></embed></span>
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<span style="background-color: white; font-family: Times, Times New Roman, serif; font-size: xx-small; line-height: 24px;"><i>photographs by rex weil</i></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-47963057596015687992012-03-04T21:52:00.001-05:002013-07-21T14:27:42.842-04:00Open Letter to the Washington Post re: Cuba<span style="font-family: Helvetica;"><span style="font-size: 21px;"><b><i><br />
</i></b></span></span><br />
<span style="font-family: Helvetica;"><i><span style="font-size: x-small;">The editors wouldn't print it; the Ombudsman didn't respond: So, for what it's worth, here's a letter to the Post. The Forero article to which it responds was repulsive - I doubt that the possibly fatal cancer of a world leader was ever reported with such obvious relish. However, I stick to his characterization of Cuba in my letter.</span></i></span><br />
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<span style="font-size: x-small;"><span style="font-family: Helvetica;">Dear Washington Post Ombudsman:</span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Helvetica;">I am very concerned about the intrusion of the journalist Juan Forero's personal political opinions into his February 26, 2012 story entitled </span><span style="font-family: Helvetica;"><i>Hugo Chavez may have aggressive tumor, cancer experts say</i></span><span style="font-family: Helvetica;"> (page A 11). I quote from the article: ''Chavez, a 57-year-old leftist firebrand who has formed alliances with pariah nations including Syria, Iran and Cuba..."</span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span style="font-family: Helvetica; font-size: x-small;">'Pariah nation' is an opinion. There is no official list of pariah nations; Mr. Forero does not cite a source for the opinion that the countries named are 'pariah' nations. The countries named are all members of the United Nations; they are parties to myriad international agreements and are recognized as legitimate governments by most other countries. None are so far removed from the community of nations and international civilized discourse that we may take for granted their 'pariah' status. Therefore, it is clearly the writer's unsubstantiated opinion that is presented as fact in a news story.</span></div>
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<span style="font-size: x-small;"><span style="font-family: Helvetica;">I take particular exception to the inclusion of Cuba on the writer's personal list of pariahs. Cuba has friendly and open relations with most countries. It hosts major international conventions, conferences, international film festivals and international visual arts exhibitions. Cuba welcomes close to two million tourists each year to its resorts, nature preserves and historic, architecturally rich cities. It trains and sends doctors and rescue workers to other countries facing natural disasters. The literacy rate in Cuba hovers near 100%. Cuba's health system, to which every single Cuban citizen has free access, has resulted in an infant mortality rate of 4 per 1000 births -- one of the lowest in the world and an amazing accomplishment for a developing country. Similarly, life expectancy, at 79, is high; HIV/AIDS is extremely low and treatment is available at no cost. Cuba's culture, music and literature are treasured the world over and have vastly enriched US culture over the last century (and continue to do so).</span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Helvetica;">It is noteworthy that the 50 year old U.S. Embargo has been condemned by the United Nations General Assembly for decades. In 2011, 186 nations voted with Cuba to condemn the embargo; only two nations voted against the resolution: the US and Israel (which freely trades with Cuba). 186 to 2: statistically speaking, it appears that Cuba is not a 'pariah.'</span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Helvetica;">True, Cuba remains on the US list of nations that sponsor terrorism. However, (1) the writer does not cite that list; and (2) the arguments in favor of that designation are demonstrably spurious. Commentators, opinion page writers, analysts and scholars across the US have called for an end to Cuba's inclusion on the list. Accordingly, Mr. Forero cannot claim that he is merely reflecting a well known fact or consensus when he voices his opinion that Cuba is a 'pariah.'</span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Helvetica;">Space considerations prevent me from (1) detailing the unwholesome story of US terrorism against Cuba, including assassination attempts, invasions and subversion; and (2) the terrible human cost of the embargo and attempts, such as Mr. Forero's, to isolate Cuba and its people.</span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Helvetica;">Suffice to say, there is no justification for a journalist casually tossing off his own political view that Cuba is a pariah nation as if it were an accepted fact.</span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Helvetica;">Thank you for reading,</span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<span style="font-family: Helvetica; font-size: x-small;">Rex Weil</span><span style="font-family: Helvetica; font-size: 16pt;"><o:p></o:p></span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7146527096414447503.post-69374029669050435042012-02-02T12:06:00.000-05:002012-02-02T12:06:16.470-05:00Geico Advertising on Neo-Nazi site?<div class="separator" style="clear: both; text-align: left;"><a href="http://1.bp.blogspot.com/-LE4BAoED7Pc/TyrB8tWo8BI/AAAAAAAACoI/YkNgQg6_Oew/s1600/L1010365.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-LE4BAoED7Pc/TyrB8tWo8BI/AAAAAAAACoI/YkNgQg6_Oew/s320/L1010365.jpg" width="320" /></a><a href="http://3.bp.blogspot.com/-VP4CgwENdTQ/TyrBIHQeAmI/AAAAAAAACoA/uHV7lvGBvlo/s1600/L1010364.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-VP4CgwENdTQ/TyrBIHQeAmI/AAAAAAAACoA/uHV7lvGBvlo/s320/L1010364.jpg" width="320" /></a></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-31974824737359440742010-12-01T14:05:00.018-05:002011-09-27T12:30:53.338-04:00Wojnarowicz Censored at SAAM (Ants Attack America, Again)<a href="http://1.bp.blogspot.com/_mNV4VSz1JdY/TPadV83FQYI/AAAAAAAAChk/pDpd9JYuERI/s1600/143869.1020.A.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5545792991593316738" src="http://1.bp.blogspot.com/_mNV4VSz1JdY/TPadV83FQYI/AAAAAAAAChk/pDpd9JYuERI/s320/143869.1020.A.jpg" style="cursor: pointer; float: left; height: 365px; margin: 0pt 10px 10px 0pt; width: 239px;" /></a><span class="fnt0"><span class="fnt0"><span style="font-style: italic;"> </span><br />
<br />
Here's a link to a four minute excerpt of the David <span class="blsp-spelling-error" id="SPELLING_ERROR_0"><span class="blsp-spelling-error" id="SPELLING_ERROR_0">Wojnarowicz</span></span> video <span style="font-style: italic;">A Fire in My Belly</span> (1987). </span></span><span class="fnt0"><span class="fnt0">On November 30, </span></span><span class="fnt0"><span class="fnt0">as everyone knows by now, the film was removed from the National Portrait Gallery's <span style="font-style: italic;">Hide/Seek: Difference and Desire in American Portraiture</span>, apparently because it displays ants crawling on a crucifix. I suggest watching the video with the sound OFF, because the YouTube version has a musical score that is distracting. Those objecting to the video are particularly incensed that it would have been displayed during the Christmas holidays. Apparently, Christ on the cross as an image of <span class="blsp-spelling-corrected" id="SPELLING_ERROR_1"><span class="blsp-spelling-error" id="SPELLING_ERROR_1">suffe</span></span></span></span><span class="fnt0"><span class="fnt0">ring and mortal death was, well, kind of <span class="blsp-spelling-corrected" id="SPELLING_ERROR_2">Grinch</span>. Better be good 'cause Santa's on his way. </span></span><span class="fnt0"><span class="fnt0">(Note that the museum edit, also about 4 minutes of the original thirty, did not have the penis segment that is included in the YouTube excerpt. However, </span></span><span class="fnt0"><span class="fnt0">by all reports, the most vociferous objections are <span class="blsp-spelling-error" id="SPELLING_ERROR_2">comi</span></span></span><a href="http://4.bp.blogspot.com/_mNV4VSz1JdY/TPZrEQIabjI/AAAAAAAAChM/_w1tCe32QWg/s1600/wojnarowicz.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5545737711947247154" src="http://4.bp.blogspot.com/_mNV4VSz1JdY/TPZrEQIabjI/AAAAAAAAChM/_w1tCe32QWg/s320/wojnarowicz.jpg" style="cursor: pointer; float: left; height: 118px; margin: 0pt 10px 10px 0pt; width: 136px;" /></a><span class="fnt0"><span class="fnt0"><span class="blsp-spelling-error" id="SPELLING_ERROR_3">ng</span> from people who have not visited the show and who have watched it only on YouTube, if they've watched it at all.) After the video link below, there are links to two Washington Post articles from this morning's paper, including Blake <span class="blsp-spelling-error" id="SPELLING_ERROR_3"><span class="blsp-spelling-error" id="SPELLING_ERROR_4">Gopnik's</span></span> opinion piece. </span></span><span class="fnt0"><span class="fnt0">BTW, my review of <span style="font-style: italic;">Hide/Seek</span> will be in the January <span class="blsp-spelling-error" id="SPELLING_ERROR_5">ARTnews</span>. It was written when the show opened, well before the controversy erupted and specifically highlights the <span class="blsp-spelling-error" id="SPELLING_ERROR_6">Wojnarowicz</span> video as an important and worthy part of the exhibition. </span></span><br />
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<a href="http://www.youtube.com/watch?v=0fC3sUDtR7U">http://www.youtube.com/watch?v=0fC3sUDtR7U</a></span></span><a href="http://2.bp.blogspot.com/_mNV4VSz1JdY/TPZrQZUwksI/AAAAAAAAChU/W8V-WpyKuYQ/s1600/08_large.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5545737920573379266" src="http://2.bp.blogspot.com/_mNV4VSz1JdY/TPZrQZUwksI/AAAAAAAAChU/W8V-WpyKuYQ/s320/08_large.jpg" style="cursor: pointer; float: right; height: 137px; margin: 0pt 0pt 10px 10px; width: 175px;" /></a><span class="fnt0"><span class="fnt0"><br />
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<a href="http://www.washingtonpost.com/wp-dyn/content/article/2010/11/30/AR2010113007227.html">http://www.washingtonpost.com/wp-dyn/content/article/2010/11</a></span></span><span class="fnt0"><span class="fnt0"><a href="http://www.washingtonpost.com/wp-dyn/content/article/2010/11/30/AR2010113007227.html">/30/AR2010113007227.html</a><br />
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<a href="http://www.washingtonpost.com/wp-dyn/content/article/2010/11/30/AR2010113006801.html">http://www.washingtonpost.com/wp-dyn/content/article/2010/11/30/AR2010113006801.html</a></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7146527096414447503.post-56784300305554857032010-09-13T10:34:00.031-04:002010-09-15T12:21:02.525-04:00Natalia Almada's El General<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mNV4VSz1JdY/TJDt5niaGII/AAAAAAAACgY/t6fulHQbToI/s1600/225px-Plutarco_Elias_Calles.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 172px; height: 200px;" src="http://3.bp.blogspot.com/_mNV4VSz1JdY/TJDt5niaGII/AAAAAAAACgY/t6fulHQbToI/s200/225px-Plutarco_Elias_Calles.jpg" alt="" id="BLOGGER_PHOTO_ID_5517171117650483330" border="0" /></a>On September 12, 2010 at the National Gallery of Art in Washington, DC, I saw Natalia Almada's new film <a href="http://www.altamurafilms.com/synopsis.html"><span style="font-style: italic;">El Genera</span><span style="font-style: italic;">l</span></a> about her great-grand father, Mexican President Plutarco Elias Calles. More than a documentary, <span style="font-style: italic;">El General</span> is a category-defying meditation on revolution, history and memory. <a href="http://www.imdb.com/video/imdb/vi245564441/"> (trailer at IMDb)</a><br /><br />A school teacher who rose to the rank of general in Mexico's 1910-1920 revolution, Calles became president in 1924 and continued to orchestrate post-revolutionary Mexican politics until his exile in 1936. He is buried next to Pancho Villa in Mexico City's Monument of the Revolution. Calles continues to be a controversial figure, who is remembered principally for his unification of Mexico and his violent confrontations with the Catholic Church.<br /><br />The project was inspired by six hours of audio cassettes made by Alma<a href="http://2.bp.blogspot.com/_mNV4VSz1JdY/TJDuV3EUtMI/AAAAAAAACgg/HgllOAx9nI8/s1600/220px-Viva_Zapata%21.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 110px; height: 168px;" src="http://2.bp.blogspot.com/_mNV4VSz1JdY/TJDuV3EUtMI/AAAAAAAACgg/HgllOAx9nI8/s200/220px-Viva_Zapata%21.jpg" alt="" id="BLOGGER_PHOTO_ID_5517171602855605442" border="0" /></a>da's grandmother (Calles' daughter) reminiscing about her childhood. However, the audio clips provide no more than a simple armature for the film, which gracefully swings between archival news footage, scans of old photos and clippings, home movies, and Chuy Chavez's brilliant cinematography of street scenes in contemporary Mexico City. Added to the mix are clips of Sergei Eisenstein's <a href="http://www.quevivamexico.com/"><span style="font-style: italic;">¡</span><em>Que viva México</em><span style="font-style: italic;">!</span></a> and Elia Kazan's<span style="font-style: italic;"> </span><a href="http://www.imdb.com/title/tt0045296/" style="font-style: italic;" title="¡Que viva México!">¡</a><a href="http://www.imdb.com/title/tt0045296/"><span style="font-style: italic;">Viva Zapata!</span></a> (with Brando playing the hero, according to a John Steinbeck script).<br /><br />The score is original music by John Zorn, Marc Ribot and Shazahd Ismaili, with Ribot's guitar figuring prominently throughout. (Ribot's new album,<span style="font-size:100%;"> </span><span style="font-size:100%;"><span style="font-style: italic;"><a href="http://www.amazon.com/gp/product/B003X2O6IO/ref=pd_lpo_k2_dp_sr_1?pf_rd_p=486539851&pf_rd_s=lpo-top-stripe-1&pf_rd_t=201&pf_rd_i=B000006OB6&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=03KF5EB5166NQABW0YW2">Silent Movies</a></span></span>, to be released later this month, will include some music from the film.)<br /><br />All this comes together as an epic tone poem under Almada 's careful direction (she won a Best Direction, Documentary award at Sundance 2009) and her intuitive, preternaturally seamless editing.<br /><br /><h1><b><br /></b></h1> <b><b> </b></b>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7146527096414447503.post-60093311184147612522010-02-21T10:58:00.004-05:002013-07-10T12:59:53.899-04:00Working Class Heroes Purchased for Permanent Exhibition at the National Labor College<a href="http://2.bp.blogspot.com/_mNV4VSz1JdY/S4Fd5mykfNI/AAAAAAAACRQ/BBjGFE8Jyq8/s1600-h/umax173.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5440733069086850258" src="http://2.bp.blogspot.com/_mNV4VSz1JdY/S4Fd5mykfNI/AAAAAAAACRQ/BBjGFE8Jyq8/s200/umax173.jpg" style="float: left; height: 200px; margin: 0px 10px 10px 0px; width: 137px;" /></a> The exhibition <strong><em><a href="http://centralintelligenceart.blogspot.com/2009/06/working-class-heroes.html">Working Class Heroes: Selected Film Posters and Stills</a></em></strong> that I organized for the <a href="http://www.aflcio.org/aboutus/history/art/index.cfm">AFL-CIO </a>international headquarters has been purchased in its entirety by the <a href="http://www.dclabor.org/ht/d/ProgramDetails/i/23256/pid/46784">DC Labor Film Festival</a>, in conjunction with the <a href="http://www.dclabor.org/ht/display/ArticleDetails/i/79076/pid/527">AFL-CIO Washington, DC Metropolitan Council</a> for display at the <a href="http://www.nlc.edu/">National Labor College’s </a>Kirkland Center in Silver Spring, Maryland. The exhibition space at the Kirkland Center is terrific and considerably larger than the space the show occupied downtown. This move not only keeps the works that I assembled together, but also provides a basis for creating an important archive for the documentation of films with workplace and organizing themes.Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-7146527096414447503.post-17922704827039760982010-01-02T21:06:00.027-05:002010-01-03T20:24:45.554-05:00Maid to Clean<a href="http://2.bp.blogspot.com/_mNV4VSz1JdY/Sz_9GsY2WxI/AAAAAAAACI8/cDX8hnlbeSw/s1600-h/maid+to+clean+edit.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 289px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5422330767813794578" border="0" alt="" src="http://2.bp.blogspot.com/_mNV4VSz1JdY/Sz_9GsY2WxI/AAAAAAAACI8/cDX8hnlbeSw/s400/maid+to+clean+edit.jpg" /></a> <em><strong>Maid to Clean</strong></em>. Very clever. I guess you can read it two ways. <em>Made</em>, as in forced, to clean. Involuntary servitude? Slavery? Diminishing opportunities? Discrimination? Or, is it <em>made</em>, as in formed, created, bred, to clean. As in, we are <em>made</em> to clean and you, customer, and you, bosses, are not – you are <em>made</em> for better things. Repulsive beyond comprehension either way. As is the appropriation of Rosie the Riveter – proud symbol of women’s mass entrance into (largely union) manufacturing jobs during World War II and subsequently adopted by the Chicana movement.<br /><em><span style="font-size:78%;">Rosie the Riveter (left)</span></em> <em><span style="font-size:78%;">¡Ya <span id="SPELLING_ERROR_0" class="blsp-spelling-error">Basta</span>! (2004) by Tina <span id="SPELLING_ERROR_1" class="blsp-spelling-error">Hernández</span> (right)<a href="http://2.bp.blogspot.com/_mNV4VSz1JdY/S0FBSFIycsI/AAAAAAAACKM/5oQfUXkd-n4/s1600-h/images%5B5%5D.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 110px; FLOAT: left; HEIGHT: 146px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5422687205203276482" border="0" alt="" src="http://2.bp.blogspot.com/_mNV4VSz1JdY/S0FBSFIycsI/AAAAAAAACKM/5oQfUXkd-n4/s200/images%5B5%5D.jpg" /></a></span></em> <a href="http://3.bp.blogspot.com/_mNV4VSz1JdY/S0FDGW4W8tI/AAAAAAAACKc/fjk75Lnpfao/s1600-h/tina+hernandez+Ya+Basta.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 101px; FLOAT: left; HEIGHT: 149px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5422689202831028946" border="0" alt="" src="http://3.bp.blogspot.com/_mNV4VSz1JdY/S0FDGW4W8tI/AAAAAAAACKc/fjk75Lnpfao/s200/tina+hernandez+Ya+Basta.jpg" /></a><br /><br /><br /><br /><br /><br /><em><span style="font-size:78%;"></span></em><br /><br /><span style="font-size:78%;"></span>Unknownnoreply@blogger.com3