Wednesday, December 30, 2015

"Kids Who Die" - Langston Hughes, 1938

This is for the kids who die,
Black and white,
For kids will die certainly.
The old and rich will live on awhile,
As always,
Eating blood and gold,
Letting kids die.

Kids will die in the swamps of Mississippi
Organizing sharecroppers
Kids will die in the streets of Chicago
Organizing workers
Kids will die in the orange groves of California
Telling others to get together
Whites and Filipinos,
Negroes and Mexicans,
All kinds of kids will die
Who don’t believe in lies, and bribes, and contentment
And a lousy peace.
Of course, the wise and the learned
Who pen editorials in the papers,
And the gentlemen with Dr. in front of their names
White and black,
Who make surveys and write books
Will live on weaving words to smother the kids who die,
And the sleazy courts,
And the bribe-reaching police,
And the blood-loving generals,
And the money-loving preachers
Will all raise their hands against the kids who die,
Beating them with laws and clubs and bayonets and bullets
To frighten the people—
For the kids who die are like iron in the blood of the people—
And the old and rich don’t want the people
To taste the iron of the kids who die,
Don’t want the people to get wise to their own power,
To believe an Angelo Herndon, or even get together
Listen, kids who die—
Maybe, now, there will be no monument for you
Except in our hearts
Maybe your bodies’ll be lost in a swamp
Or a prison grave, or the potter’s field,
Or the rivers where you’re drowned like Leibknecht
But the day will come—
You are sure yourselves that it is coming—
When the marching feet of the masses
Will raise for you a living monument of love,
And joy, and laughter,
And black hands and white hands clasped as one,
And a song that reaches the sky—
The song of the life triumphant
Through the kids who die.

- Tamar Rice and the Value of a Life. - Cahrles M. Blow NYTIMES

Tuesday, December 29, 2015

Sunday, December 27, 2015

Louise Bourgeois’s Final Act

When Joan Acocella profiled Louise Bourgeois in The New Yorker, in early 2002, the artist had just passed her ninetieth birthday, but she was very clearly, as Acocella put it, “not a dear old lady.” Bourgeois arrived at her fame late in life, and while in her early career she’d been reticent and press shy she’d in her later decades cultivated a flamboyant and confessional manner, exposing the family traumas and betrayals that served as inspiration for her deeply psychological art. By the turn of the century she was “often treated as a character, the art world’s favorite naughty old lady,” Acocella wrote. “She has colluded in this.”
The portraits that the Belgium-born photographer Alex Van Gelder made of Bourgeois in the final years of her life perhaps serve as evidence of this collusion. The two friends first met in Paris in the nineteen-seventies, when Van Gelder was a collector of African art. After keeping in touch with Bourgeois sporadically through the years Van Gelder made a series of visits to the artist’s townhouse in Chelsea beginning in 2008, and fell into a routine of photographing her. (Bourgeois died in 2010, at the age of ninety-eight.) In a new collection of his portraits entitled “Mumbling Beauty,” Van Gelder writes that he and Bourgeois “became more and more inspired by each other,” and “she became a consummate performer in front of the camera.” Under Van Gelder’s direction she is exhibitionist, childlike, savagely playful; she’s shown as a knife-wielding bandit, wearing a sailor’s cap or wraparound sunglasses; she allows pigeons to flap around her head, dons a voluptuous fur coat, bares her teeth and shoves her face right up into the camera’s lens. (By comparison, Robert Mapplethorpe’s famous portrait of Bourgeois wielding her phallic sculpture “Fillette” looks positively polished and demure.) New Yorker article and slideshow here.

Blue: Alchemy of a Colour

One of the most highly prized and sought-after of the colour spectrum, its rarity and the laborious process often used to extract and create the colour, secured its place in some of the finest works of art. Its incorporation was laiden with meaning – from signifying prestige in the Chinese court, to symbolising the infinity of the Hindu god Vishnu – blue in all its guises, from Prussian to cobalt and indigo it has long been a powerful hue in art. 
Exhibition info here. 
Persian, Tile, 13th century –14th century, Kashan, Iran; earthenware, underglaze cobalt blue, lustre glaze. Felton Bequest, 1906 (601-D2)

Saturday, December 26, 2015

The Queens of Botswana’s Metal Scene

Beavis and Butt-head, in their AC/DC and Metallica t-shirts, might best sum up the stereotypical metalhead in the popular Western imagination: a young white dude who likes headbanging and hates authority, found mostly in American cities or in Nordic countries with long, dark winters and plenty of old churches to burn. But South African photographer Paul Shiakallis’s series Leather Skins, Unchained Hearts provides a visual alternative to this image. He documents the leather-clad women of Botswana’s metal subculture, called “Marok,” which translates to “rocker” in Setswana.
- via Hyperallergic

Sunday, December 20, 2015

Tuesday, December 15, 2015

Free to be... flashback

Thursday, December 10, 2015

Charles Bradley’s Soul Cover of Black Sabbath’s “Changes”

thelma golden

Thelma Golden Reflects on 10 Years at the Helm of the Studio Museum, and Harlem’s Changing Face- Artsy

Mary Reed Kelley Tate Live Stream

Published on Nov 20, 2015
Mary Reid Kelley, in collaboration with her partner Patrick Kelley, presented a new work 'This is Offal', inspired by Thomas Hood’s 1844 poem The Bridge of Sighs in which the narrator laments the apparent suicide of a young woman, whose body he pulls from the Thames.

Friday, December 4, 2015

Humans and Animals

A bird of prey in rescue and rehabilitation at the Marine Science Center in Ponce Inlet, Fla. 2012.Credit Jayanti Seiler
The relationship between the taxidermist and the deer is quite unlike like that of the woman and the elderly dog she was bathing. While each image can stand alone, Ms. Seiler said, the complexity of the animal-human relationship is evident when the photos are seen as a collection. NYTIMES

Wednesday, November 25, 2015

Why do 18th c paintings...

1757 Joseph Badger (American artist, 1708-1765). Rebecca Orne (later Mrs. Joseph Cabot)
1770 Attributed to Cosmo Alexander (American artist, 1724-1772).
1526 Hans Holbein the Younger (1498–1543) Lady with a Squirrel on a chain

Friday, November 20, 2015

Tuesday, November 10, 2015

moustache cup c.1870

George Takei has, over the years, lent his gently charismatic presence to many stages — the original Star Trek soundstage, where he played the USS Enterprise's Mr. Sulu, then the social media stage, where he emerged as a leading activist for gay and lesbian rights. Now, Takei is making his Broadway stage debut in Allegiance, a musical inspired by his childhood experience in Japanese-American internment camps during World War II. - NPR story here.

Monday, November 9, 2015

Indigo Bunting

Via: GAR

Monday, November 2, 2015

Mr. Rogers TV Hall of Fame

Beer with a Painter: Thomas Nozkowski and Joyce Robins

Tom Nozkowski and Joyce Robins are married, and I have admired the work of both for years. When I asked them to be the first Beer with a Painter subjects interviewed jointly as a couple, they were completely game. My visit to their upstate New York home began with lunch: tomato and bread soup served with a swirl of pesto, green salad with avocado and blood oranges. This layering and intermingling of textures, flavors, and colors pervades their home and work as well. Even in the midst of crisply renovated rooms for living and working, traces of a life in art are everywhere. In Nozkowski’s studio, cat food cans, long ago repurposed as paint containers, and now dry, were stacked into an impressive pyramid. Full article here.
Joyce Robins, “Pink Oval” (2014), clay, glaze, paint, 9 x 8 x 4 inches (courtesy Theodore:Art, New York)
Thomas Nozkowski, “Untitled (L-45)” (2014), oil on paper 22 x 30 inches (photo by Kerry Ryan McFate, © Thomas Nozkowski, courtesy Pace Gallery)

Tuesday, October 27, 2015

Margaret Meehan: Every Witch Way but Loose

Margaret Meehan; Ruth Gordon, 2015; gouache, pencil, archival photo on paper; 10 x 8 in
Images are up and show is open till Nov 14th at David Shelton Gallery.

Monday, October 26, 2015

Notorious RBG: The Supreme Court Justice Turned Cultural Icon

Supreme Court justices are generally robed and mysterious figures. Their faces are not emblazoned on T-shirts, painted on fingernails, tattooed on arms and shoulders, and their characters are not parodied on TV programs ranging from Saturday Night Live to Scandal. At least not until Justice Ruth Bader Ginsburg became a cultural icon at about the same time she turned 80. Much of that iconic status is attributed to a Tumblr called "Notorious R.B.G.," which now has been transformed into a graphic nonfiction book due out Tuesday.
Enraged by the Supreme Court ruling in 2012 that gutted the Voting Rights Act, Shana Knizhnik created an online tribute for the equally furious dissenter in that case: Justice Ginsburg. The "Notorious R.B.G." Tumblr took off like a bobsled on ice. Full story here.

Saturday, October 24, 2015

Friday, October 23, 2015

If only...

If you buy it for me I will give you amazing art!

An Androgynous Suffragette Portrait, Rediscovered

Marie Høeg, “Untitled” (1896–1905), photograph printed from glass negative (photo courtesy Preus Museum)

Thursday, October 22, 2015

Inside the Salem Witch Trails

 "What exactly was a witch? Any seventeenth-century New Englander could have told you. As workers of magic, witches and wizards extend as far back as recorded history. The witch as Salem conceived her materialized in the thirteenth century, when sorcery and heresy moved closer together. She came into her own with the Inquisition, as a popular myth yielded to a popular madness. The western Alps introduced her to lurid orgies. Germany launched her into the air. As the magician molted into the witch, she also became predominately female, inherently more wicked and more susceptible to satanic overtures. An influential fifteenth-century text compressed a shelf of classical sources to make its point: “When a woman thinks alone, she thinks evil.” As is often the case with questions of women and power, elucidations here verged on the paranormal. Though weak willed, women could emerge as dangerously, insatiably commanding." Full New Yorker Article here.


Wednesday, October 21, 2015

Photo Rosemarie Trockel: A Cosmos Works by this artist and others are at the New Museum

In “Rosemarie Trockel: A Cosmos” she seems to blow art history apart, to make it porous and open-ended, fomenting a bigger, wilder history that ranges beyond traditional art on several fronts, including science and nature. At least that seems to be what’s happening in the mix of objects and images by Ms. Trockel and others that she has orchestrated at the New Museum in collaboration with Lynne Cooke, former chief curator and deputy director at the Museo Reina Sofía in Madrid, where this exhibition was mounted last summer. It includes works by imposing outsider artists like Morton Bartlett, James Castle and Judith Scott, along with early-18th-century botanical illustrations by Maria Sibylla Merian; exacting late-19th-century glass models of invertebrate sea life, by Leopold and Rudolf Blaschka; and quite a bit more. Full NYTimes article here.

Tuesday, October 20, 2015

HALF-HANGED MARY- Margaret Atwood

"Half-hanged Mary" was Mary Webster, who was accused of witchcraft in the 1680's in a Puritan town in Massachusetts and hanged from a tree - where, according to one of the several surviving accounts, she was left all night. It is known that when she was cut down she was still alive, since she lived for another fourteen years.) One of Mary Webster’s descendants is the now well-known Canadian novelist and poet, Margaret Atwood, who wrote a poem, “Half-Hanged Mary,” (1995) about her notorious ancestor, and one of her most popular novels, The Handmaid’s Tale (1985), is dedicated to her.  The poem has also been made into several stage productions and interpretations.  Atwood’s poem is in sections, each chronicling an hour of Mary’s hanging from the tree, beginning at 7 at night and concluding at 8 the next morning.  Click here to find more information on some of the topics touched on in Bill Moyers' conversation with Margaret Atwood.
Rumour was loose in the air 
hunting for some neck to land on. 
I was milking the cow, 
the barn door open to the sunset. 

I didn't feel the aimed word hit 
and go in like a soft bullet. 
I didn't feel the smashed flesh 
closing over it like water 
over a thrown stone. 

I was hanged for living alone 
for having blue eyes and a sunburned skin, 
tattered skirts, few buttons, 
a weedy farm in my own name, 
and a surefire cure for warts; 

Oh yes, and breasts, 
and a sweet pear hidden in my body. 
Whenever there's talk of demons 
these come in handy.

Full Poem here.

Broom Stick Bunny

Sunday, October 18, 2015

Woman convicted of witchcraft to get retrial 300 years on

Sketch of the Toldini execution by Aldo Ripamonti from the book I Brentonicani by Franco Ottaviani
When the council in Brentonico, an idyllic hamlet nestled in the foothills of the Italian alps, met two weeks ago, the usual debates over school autonomy and use of public land were temporarily shoved aside for a far more intriguing agenda item: whether a 60-year-old woman who was condemned to death as a witch nearly 300 years ago deserved to have another day in court.
Overwhelmingly, the council decided that she did. Full Guardian article here.

Wednesday, October 14, 2015


Monday, October 12, 2015

Saturday, October 10, 2015

Wednesday, October 7, 2015

Monday, October 5, 2015

Jean Fick (1876-19??).

"FICK JEAN BORN 23.11.1876 – HOSPITAL – SOLDIER. 13.10.1898 – 13.9.1900 – RM 57 – WESE WAR 9.14 – SAINTE INJURED – INVALID FICK J MARRIAGE ABANDONED HUSBAND . MODES 29.4.1902 HOSPITAL BORN 8.9.1874. FICK ALISE 24.2.1903. MARRIED. A. 1.2.1904. JEAN. K. 22.05. MAGU. 11.6.10". On the cover : “Jean Fick my God/world [mondieu] ambassador N. 23". The notebook was apparently in Fick’s possession when he was a soldier. via:Outsider Art

Hand-drawn flyer for Huggy Bear, Bikini Kill UK Tour 1993

Friday, October 2, 2015

Marilyn Minter

Pretty/Dirty at MCA Denver.

Nobody seemed to give them any more, so what had happened to them all? Luckily, Nancy Drew is on the case.

Thursday, October 1, 2015

Fear of FEAR


1981 appearance on Saturday Night Live
Spheeris' documentary brought the band to the attention of John Belushi, who lobbied successfully to get the band a spot as a musical guest on the 1981 Halloween episode of his former show Saturday Night Live. Belushi had originally offered Fear the soundtrack for his major motion picture Neighbors. The film's producers eventually forced Fear off the project, and Belushi got them the infamous SNL gig as compensation. The band's appearance included a group of moshers, among them Belushi, Ian MacKaye of Minor Threat (and later Fugazi), Tesco Vee of The Meatmen, Harley Flanagan and John Joseph of the Cro-Mags, and John Brannon of Negative Approach. The show's director originally wanted to prevent the dancers from participating, so Belushi offered to be in the episode if the dancers were allowed to stay. The end result was the shortening of Fear's appearance on TV. They started their second song by saying, "It's great to be in New Jersey", drawing boos from SNL's New York live audience. Fear played "I Don't Care About You", "Beef Bologna", "New York's Alright If You Like Saxophones", and started to play "Let's Have a War" when the telecast faded into commercial. The slamdancers left ripe pumpkin remains on the set. Cameras, a piano and other property were damaged.

After their SNL appearance, which resulted in $20,000 in damage, some clubs chose not to hire the band. A New York Post article later reported the figure to be $500,000. This is believed to have originated from Ving, who told the Post that "...we caused $500,000 worth of damage, a cool half a million dollars worth of damage, ‘cause we’re professionals, and I counted the damage myself."

Tuesday, September 22, 2015

Monday, September 21, 2015

Sunday, September 20, 2015

Saturday, September 19, 2015


Untitled, 2014
Acrylic and graphite powder on canvas
6 1/8" x 6 1/8" x 1 1/2"

Friday, September 18, 2015

shame shame shame

I don't know who did this but,