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I've paid my dues
Time after time
I've done my sentence
But committed no crime
And bad mistakes
I've made a few
I've had my share of sand
Kicked in my face
But I've come through
And we mean to go on and on and on and on
We are the champions, my friends
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions of the World
- We Are The Champions, Queen
HER
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Candid street shot, Hoi An Vietnam.
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Candid shots don't give your subject time to compose themselves. So sometimes you get this sort of Mid-sentence look.
Sun Enters Capricorn -The Solstice (December 21, 2015)
Apotheosis
The Sacred Path, the Pathway to Perfection…
These are the Four Sacred Directions:
You Rise in the East, as Aries,
You Turn to the South, in Cancer,
You Bow in the West, through Libra…
And so now you will take this Fourth Way,
Look to the North as you enter Capricorn.
The Twelve Signs of the Zodiac are the Living Waters of Life-Consciousness-Spirit.
These Four of the Twelve are the Realms of Awareness-Action, they are the Signs of Identity:
Aries is your Self-Awareness; Libra your Awareness of the Other.
Cancer is your Sacred Center; and Capricorn is your Destiny.
These four corners form the Cross of Purpose; this is the Axis that leads to Apotheosis. In Aries you are Inspired by the Flame of Spirit of being a “one”, you are Self-Aware. In Libra you Know by Mindful Air, you are for one another, you are Inter-Dependent. In Cancer you Feel through the Waters of Life, you are centered and anchored by your Source. In Capricorn you are made Manifest by Earth, you assume your responsibilities as you seek to fulfill your Destiny.
These Sacred Four form what is known as the Cardinal Cross; held together they are the whirling wheel that creates the Sacred Path-Way of Praxis. For this is “the Way”, that by this Integral Path that combines Inspiration, Thought, Feeling made Real, it is by this that your wondrous Journey of the Divine-that-is-the-Self-Becoming is made manifest.
For you are an Immortal moving through mortal realms and forms. You move into Worlds, Bodies and Lives, but forever and ever you will always “walk on” through and beyond any one world, body or life. You are the self-becoming more and more of what you will be as you unfold the Spark of the Divine that resides at the Core of you in each and every life.
And in each life you will grow and become what you are meant to be through “Trial & Error”. You will succeed at times, and you must and will also stumble. For it is by these “failures” and your adjustments that you climb the spiral path of conscious redemption. And, it is by this that you will come to understand, accept and become more of what you are here to be…a fully conscious co-creator of this Cosmos.
Yes you are climbing, higher and higher, and at each turning you face again the ancient questions and fundamental truths that were there at the beginning…oh so long ago.
Today, as Winter begins, when the shadows have stretched to their greatest extent, and the light seems to be fading away, it is now that you and the world will hold your breath…and you will pray. It is time once again, to face the darkness and believe, that Light and Truth and Goodness will not fade away. It is time to remember who you are, where you came from, who is before you, and why you are here…it is time once again to have a living faith in your destiny.
For though it may seem that your world is falling into shadows, that your life and world is in dire peril…you will find a way through. As the familiar forms of self-realization are cracking and crumbling, whether in the realms of Religion, or Government, or Education or the Economy…you will come to know that this is merely the wheel of life turning again, for an old world is passing so that a new and better one shall rise…as it has done many, many times before.
And this change, this re-birth, does not come from on high, it will not come by Fiat or by the will of the temporal holders of Power. No, the change in every world, form and life starts in the center of each and every one of you, from within each and every individual heart that hears the “Wind of the Spirit” and answers to the angels of our better nature. It is the "Voice of the Silence", your Higher Self abiding in the Intuitive Knowing that a better world is coming to be…and that you must be its Creator.
Each year, at this time of Capricorn, you are asked to examine quite simply this one question, “What is the Responsible thing to do, what is my Responsibility?" To understand this you need but turn that word around. Your responsibility is always and forever about your “ability to respond”. To what, you might ask. What or to who are you responding? How can you know? How?
Know Thyself!
You are a Spark of the Divine, moving now through this Kingdom of being Human. It is in this time of your Spiritual Education that you are to learn what is “the good”, for you are endowed with the gift of choice, (and angels and those greater than they envy you this choice). You are given this gift so that you might learn to choose what is good, or better or loving. So that you can become a conscious, loving co-creator of creation.
For today, in this time, you are here to respond to the needs of yourself, your family, your friends and to all of those with whom you journey. For you have come far and learned much, and you are only here now because you have taken care of one another, helped one another, and loved one another so as to create and form these living-loving spaces for one another that can preserve, protect and promote Life-Consciousness-Spirit. Remain focused upon this, and you will keep to the pathway of Spirit.
There is much work to do when a world is passing away and another is coming into being. Your responsibility is great, but so is your reward. Preserve what you can, for many lives and loves fashioned this world and much in it is good. Be guided by your heart and know that the changes you must face and make should be guided always by the fundamental truth that you are here for one another, you are made by one another, and to harm any other inevitably means that you injure yourself equally too.
Today you need remember, that even in the darkest hour, there remains a Light that will not go out, a Love that will not fail, and a Promise that will be Fulfilled. And this is so because you stand within a shining Hierarchy of Light that stretches from the Heart of Creation to the furthest reaches of this Cosmos. Every being within this Company of Brave Souls is slowly awakening to the truth, that all are sparks of the Divine, and in the heart of each soul there is found the Alignment and Attunement to one another. All of Creation is of the One, and every particle, life, planet, star and galaxy are At-Onement through and by the Love of the One, and by your love for one another too.
At each and every turning, you will face your destiny. It is right, proper and good to align yourself with those like you who seek to bring about a better tomorrow. As we move from one world into the next, keep in your heart the Great Invocation:
THE GREAT INVOCATION
From the point of light within the Mind of God
Let Light stream forth into our minds
Let LIGHT descend on Earth.
From the point of love within the Heart of God
Let Love stream forth into our hearts
May LOVE increase on Earth.
From the center where the Will of God is known
Let purpose guide our wills
The PURPOSE which the masters know and serve.
From the center which we call Humanity
Let the Plan of Love and Light work out
And may it seal the door
where evil dwells.
Let Light and Love and Power restore the Plan on Earth.
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Charles Burns was sentenced to 3 months at Newcastle City Gaol for the crime - false pretences.
Age (on discharge): 19
Height: 5.5
Hair: Dark
Eyes: Hazel
Place of Birth: Liverpool
Status: Single
Occupation: Miner
These photographs are of convicted criminals in Newcastle between 1871 - 1873.
Reference:TWAS: PR.NC/6/1/1253
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
Partial view from my computer. Dad's old police badge, Len Hutton, Zaggi, Power Without Glory (in my top 10 all time favs), Bleak House (unbeatable first sentence ... "London."), Playing For England (plain honest bio from the great DC), and a host of my fav characters (Snoopy just out of view).
STORY TIME! This is a continuation of the story from my Eastern Front AR-15. You're in it for the long haul if you read past this sentence.
Fallsten, Jason T. - Staff Sergeant - Eastern Front Joint Armed Forces (EF)
"Sic Semper Tyrannis"
June 19th, 2014 - 5 months before Jay and Dmitri's previous conversation
Allentown, PA, USA
Even though I couldn't hear a damned thing thanks to a stray grenade that found it's way towards me, I knew one of those "things" was hot on my tail. I could feel it's breath on the back of my neck, causing all of the hairs in my body to stand on end.. Why did they still breathe? I've seen one of their severed heads chew through a mans leg before, so they obviously don't need oxygen. Maybe they do it just to fuck with us, make us think they're still alive. Hell, maybe they do it to trick themselves into thinking they're still human. Whatever the reason, it didn't matter to me. The only thing I was concerned with at the moment was getting this damn thing off my tail so I could figure out how I was going to get back to the convoy.
As I continued down the alleyway, the creature still in tow, I noticed a lone trash can to the side of me. Passing it by, I extended my free hand and pulled it to the ground. The thing doesn't notice it and falls to the ground. I turn and ready shotgun, lining the sight post up with my would-be killers flaring nostrils. I pull the trigger only to hear a faint "click". Oh of course, my hearing comes back just in time to hear myself die. I know I'm as good as gone at this point, but in a last ditch effort to survive I flip my shotgun around and grab it by the barrel in hopes that I can swing it hard enough to pierce the creatures skull. I ready my impromptu hammer while the thing lifts itself off of the ground. Now on it's feet, the bloated husk of a man lets out a shriek of rage and charges me. Before I even have the chance to swing, a shot rings out down the alley and passes right through the things forehead. It falls backwards into a pile of trash as a putrid black liquid pours out of the hole left by my saviors bullet.
I turned to face the mystery shooter who just saved my sorry-ass. "Do not make a move. Identify yourself" grumbled the gunman in a gravelly Russian accent. "Staff Sergeant Fallsten, E.F." I said as I laid my empty shotgun on the ground. "Eastern Front? Well my friend, it looks like you are in luck!" shouted the Russian as he lowered his rifle, revealing the EF rank badge on his jacket. "Lance Corporal Dmitri Seminoff, at your service." Looks like I found my ticket home. "Phew! You had me going there man! I thought you were a wanderer who was gonna pop one in me and take my shoes or some shit!" I responded, thankful that my luck had finally taken a turn for the better. "HAHAHAH! That is a good one comrade! Though from the looks of it, you don't have much to lose. Here, take my sidearm" chuckled my new friend as he threw me a small PDW-like weapon. "She may not look like much, but she is light and accurate. I loaded her with .45 +P rounds for that extra *umph*. Just do not expect to mow down a crowd with her or anything, I have installed a semi-auto only conversion to save on ammunition." exclaimed Dmitri proudly as I looked over my new weapon. "Alright, thanks. You know how to get back to the convoy?" I asked as I flicked off the safety and chambered a round. "You bet your ass I do, comrade!"
We climbed into the back of the rusted prison bus that'd been converted to a troop transport. While Dmitri sat down on one of the stiff vinyl benches, a young private with a radio on his lap called out to the rest of the group: "Who's ranking? Command wants to talk to the CO". I surveyed the rest of the bus and noticed that most of these soldiers were kids. Since nobody else stood up, I took the call. "I'll take it kid. This is Staff Sergeant Jason T. Fallsten" I sternly said into the receiver, putting on my *official* voice. "Staff Sergeant?!?!? God dammit, I told that kid to get me the commanding OFFICER, not some goddamned jarhead!" spouted command on the other end. "With all due respect sir, there's nothing BUT jarhead's here, and among them, I'm ranking. Now what did you so urgently need that you had to interrupt our evacuation efforts?" I barked back. While I generally have respect for authority, I recognized the voice on the other end of the radio: Major Ashland. Back when the EF was first formed, he decided to feed a scared 15 year old kid to the things as punishment for trying to desert. I knew this fucker didn't deserve my respect. After some grunting and groaning, Major Asshole was able to tell me what he wanted. "The evacuation needs to be stopped. The eggheads in California think the outbreaks down here were caused by a different strain of the virus, which means that it has to be contained, not spread westward. DO NOT, under any circumstances, let those survivors on the buses. Load you men up and get the hell out of dodge."
I tried not to cause a panic, but unfortunately, chain link fences don't allow for much discretion when you're trying to abandon 1,000+ survivors. After a while people started to realize that we had no plans to take them with us, and that caused a panic. The panic led to anger, and the anger led to a riot. A few crazy assholes overpowered a nervous group of privates and got a hold of their rifles. That led to a firefight. Soon the evacuation area was a full on warzone. The worst part of it all was that this chaos was my fault. Sure, command gave the order, but I carried it out. Each and every one of these evacuees would probably be dead within 3 months, and that was my doing. Though the moral side of me wanted to take these people with us, I knew that doing so would only lead to more deaths if a even single person was carrying the mutated strain. Now might be our only chance to get out alive. "WE'VE GOTTA MOVE! GET THESE BUSES OUT OF HERE, NO MATTER WHAT YOU HAVE TO DO!" I shouted out the cracked window towards the other bus drivers. As we pulled off, the barriers holding back the rioters broke. Their efforts to sprint after the buses were in vain. We were about a mile down the road when it happened.
A low hum could be heard as we drove away from the evac zone. The hum became a rumble. And soon after, I heard an explosion. It wasn't any normal explosion, like the grenade that had deafened me earlier today. This was something bigger. I looked back to see the city being devoured by a ball of flames. That son of a bitch. Ashland had failed to mention that the plan was to bomb most of the east coast with FOAB's seized from the Russians. I guess I should be thankful he had the sense to get us out of there first, but that was probably more of a legal issue than a judgment call. Dmitri pulled out a flask from his jacket pocket. After taking a large swig of what I could only guess was vodka, he somberly exclaimed "Compliments of my homeland...sorry, comrade". With that, all sense of feeling left my body. I could only move my lips enough to mutter but five words: "It needed to be done."
An anti-establishment view or belief is one which stands in opposition to the conventional social, political, and economic principles of a society. The term was first used in the modern sense in 1958, by the British magazine New Statesman to refer to its political and social agenda. Antiestablishmentarianism (or anti-establishmentarianism) is an expression for such a political philosophy.
In the UK anti-establishment figures and groups are seen as those who argue or act against the ruling class. Having an established church, in England, a British monarchy, an aristocracy, and an unelected upper house in Parliament made up in part by hereditary nobles, the UK has a clearly definable[citation needed] Establishment against which anti-establishment figures can be contrasted. In particular, satirical humour is commonly used to undermine the deference shown by the majority of the population towards those who govern them. Examples of British anti-establishment satire include much of the humour of Peter Cook and Ben Elton; novels such as Rumpole of the Bailey; magazines such as Private Eye; and television programmes like Spitting Image, That Was The Week That Was, and The Prisoner (see also the satire boom of the 1960s). Anti-establishment themes also can be seen in the novels of writers such as Will Self.
However, by operating through the arts and media, the line between politics and culture is blurred, so that pigeonholing figures such as Banksy as either anti-establishment or counter-culture figures can be difficult. The tabloid newspapers such as The Sun, are less subtle, and commonly report on the sex-lives of the Royals simply because it sells newspapers, but in the process have been described as having anti-establishment views that have weakened traditional institutions. On the other hand, as time passes, anti-establishment figures sometimes end up becoming part of the Establishment, as Mick Jagger, the Rolling Stones frontman, became a Knight in 2003, or when The Who frontman Roger Daltrey was made a Commander of the Order of the British Empire in 2005 in recognition of both his music and his work for charity.
Anti-establishment in the United States began in the 1940s and continued through the 1950s.
Many World War II veterans, who had seen horrors and inhumanities, began to question every aspect of life, including its meaning. Urged to return to "normal lives" and plagued by post traumatic stress disorder (discussing it was "not manly"), in which many of them went on to found the outlaw motorcycle club Hells Angels. Some veterans, who founded the Beat Movement, were denigrated as Beatniks and accused of being "downbeat" on everything. Lawrence Ferlinghetti wrote a Beat autobiography that cited his wartime service.
Citizens had also begun to question authority, especially after the Gary Powers U-2 Incident, wherein President Eisenhower repeatedly assured people the United States was not spying on Russia, then was caught in a blatant lie. This general dissatisfaction was popularized by Peggy Lee's laconic pop song "Is That All There Is?", but remained unspoken and unfocused. It was not until the Baby Boomers came along in huge numbers that protest became organized, who were named by the Beats as "little hipsters".
"Anti-establishment" became a buzzword of the tumultuous 1960s. Young people raised in comparative luxury saw many wrongs perpetuated by society and began to question "the Establishment". Contentious issues included the ongoing Vietnam War with no clear goal or end point, the constant military build-up and diversion of funds for the Cold War, perpetual widespread poverty being ignored, money-wasting boondoggles like pork barrel projects and the Space Race, festering race issues, a stultifying education system, repressive laws and harsh sentences for casual drug use, and a general malaise among the older generation. On the other side, "Middle America" often regarded questions as accusations, and saw the younger generation as spoiled, drugged-out, sex-crazed, unambitious slackers.
Anti-establishment debates were common because they touched on everyday aspects of life. Even innocent questions could escalate into angry diatribes. For example, "Why do we spend millions on a foreign war and a space program when our schools are falling apart?" would be answered with "We need to keep our military strong and ready to stop the Communists from taking over the world." As in any debate, there were valid and unsupported arguments on both sides. "Make love not war" invoked "America, love it or leave it."
As the 1960s simmered, the anti-Establishment adopted conventions in opposition to the Establishment. T-shirts and blue jeans became the uniform of the young because their parents wore collar shirts and slacks. Drug use, with its illegal panache, was favored over the legal consumption of alcohol. Promoting peace and love was the antidote to promulgating hatred and war. Living in genteel poverty was more "honest" than amassing a nest egg and a house in the suburbs. Rock 'n roll was played loudly over easy listening. Dodging the draft was passive resistance to traditional military service. Dancing was free-style, not learned in a ballroom. Over time, anti-establishment messages crept into popular culture: songs, fashion, movies, lifestyle choices, television.
The emphasis on freedom allowed previously hushed conversations about sex, politics, or religion to be openly discussed. A wave of radical liberation movements for minority groups came out of the 1960s, including second-wave feminism; Black Power, Red Power, and the Chicano Movement; and gay liberation. These movements differed from previous efforts to improve minority rights by their opposition to respectability politics and militant tone. Programs were put in place to deal with inequities: Equal Opportunity Employment, the Head Start Program, enforcement of the Civil Rights Act, busing, and others. But the widespread dissemination of new ideas also sparked a backlash and resurgence in conservative religions, new segregated private schools, anti-gay and anti-abortion legislation, and other reversals. Extremists[clarification needed] tended to be heard more because they made good copy for newspapers and television.[citation needed] In many ways, the angry debates of the 1960s led to modern right-wing talk radio and coalitions for "traditional family values".
As the 1960s passed, society had changed to the point that the definition of the Establishment had blurred, and the term "anti-establishment" seemed to fall out of use.
In recent years, with the rise of the populist right, the term anti-establishment has tended to refer to both left and right-wing movements expressing dissatisfaction with mainstream institutions. For those on the right, this can be fueled by feelings of alienation from major institutions such as the government, corporations, media, and education system, which are perceived as holding progressive social norms, an inversion of the meaning formerly associated with the term. This can be accounted for by a perceived cultural and institutional shift to the left by many on the right. According to Pew Research, Western European populist parties from both sides of the ideological spectrum tapped into anti-establishment sentiment in 2017, "from the Brexit referendum to national elections in Italy." Sarah Kendzior of QZ opines that "The term "anti-establishment" has lost all meaning," citing a campaign video from then candidate Donald Trump titled "Fighting the Establishment." The term anti-establishment has tended to refer to Right-wing populist movements, including nationalist movements and anti-lockdown protests, since Donald Trump and the global populist wave, starting as far back as 2015 and as recently as 2021.
Sentenced to 3 months, Catherine Kelly was found guily of stealing bed linen and was sent to Newcastle Gaol.
Age (on discharge): 17
Height: 5.1
Hair: Brown
Eyes: Grey
Place of Birth: Nottingham
Married or single: Single
These photographs are of convicted criminals in Newcastle between 1871 - 1873.
Reference:TWAS: PR.NC/6/1/1260
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
"Sentences" is a new project with Triplets (photo-philosophy.net/triplets/ )
How could I tell you what I hope. I already said about us finally being in a place where we could really be happy for each other, and it's not a lie. Trust me. Now, enough about me..but questions-How about you? How have you been? Why did you do that?-are not allowed so I just write sentences here left alone.
Av. Mª Cristina - Barcelona (Spain).
Barcelona Harley Days: 18-19-20 Jun 2010.
Better seen in Fluidr.
Se ve mejor en Fluidr.
Love finished. The Spanish State finally does not accept the wish of the Catalan people approved by General Court and authenticated by himself in the ballot boxes.
Se acabó el amor. El Estado Español finalmente no acepta la voluntad del pueblo catalán aprobada por las Cortes Generales y refrendada por él mismo en las urnas.
ENGLISH
The Statute of Autonomy of Catalonia provides Catalonia's basic institutional regulations. It defines the rights and obligations of the citizens of Catalonia (Spain), the political institutions of the Catalan nationality, their competences and relations with the rest of Spain and the financing of the Government of Catalonia.
This Law was approved by referendum 18 June 2006 and supplants the Statute of Sau, which dated from 1979.
Catalonia is an Autonomous Community within the Kingdom of Spain, with the status of historical region in the Spanish Constitution of 1978. In September 2005, the Parliament of Catalonia approved the definition of Catalonia as a 'nation' in the preamble[4] of the new Statute of Autonomy (autonomous basic law). The 120 delegates of all parties (CiU, PSC, ERC, ICV-EA) with the exception of the 15 delegates of the Partido Popular approved this definition. In the opinion of the Spanish Government this has a 'declaratory' but not a 'legal' value, since the Spanish Constitution recognises the indissoluble "unity of the Spanish Nation".
The Generalitat de Catalunya is the institution in which the self-government of Catalonia is politically organised. It consists of the Parliament, the President of the Generalitat and the Executive Council or Government of Catalonia.
The Statute of Autonomy gives the Generalitat of Catalonia the powers which enable it to carry out the functions of self-government. These can be exclusive, concurrent and shared with the Spanish State or executives. The Generalitat holds jurisdiction in various matters of culture, education, health, justice, environment, communications, transportation, commerce, public safety and local governments. Catalonia has its own police force, the Mossos d'Esquadra, although the Spanish government keep agents in the region for matters relating to border control, terrorism and immigration.
Most of the justice system is administered by Spanish judicial institutions. The legal system is uniform throughout Spain, with the exception of so-called "civil law", which is administered separately within Catalonia.
The Statute has been legally contested by the surrounding Autonomous Communities of Aragon, Balearic Islands and the Valencian Community, as well as by the Partido Popular (the main opposition party at the Spanish Parliament). The objections are based on various topics such as disputed cultural heritage but, especially, on the Statute's alleged breaches of the "solidarity between regions" principle enshrined by the Constitution in fiscal and educational matters. The Constitutional Court of Spain is currently assessing the constitutionality of the challenged articles and its binding assessment is expected sometime in 2010.
The Catalan political arena has largely viewed this debate as a sort of cultural war waged by "Spanish nationalists" (espanyolistes in Catalan). In response, four of the six political parties represented at the Catalan parliament--Convergence and Union, the Catalan Socialists, Republican Left of Catalonia, and Catalan green party--reached an agreement to fight together at the Spanish Senate to reform the Constitutional Court of Spain, and hopefully nullify the possibility of an overturn of the Catalan Statute of Autonomy. This pact is particularly interesting because, aside from the fact that they all pertain to various degrees of Catalan nationalism, the four parties differ greatly in political ideology, and together, they form nearly 80% of the Catalan Parliament.
The June 28 of 2010, the Constitutional Court, in view of the resource of unconstitutionality presented by deputies of the Popular Party, and after 4 years of controversial deliberations, solved by 6 votes to favor and 4 against the constitutionality of most of the text, doing to observe the “legal inefficiency” of the Introduction (where the term consisted nation when talking about Catalonia) although the failure it maintains the definition of Catalonia like nation, and declared 14 inconstitucionales articles.
These articles treat about the language, the managing organs and judicial organs of the Generalitat of Catalonia, on competences in the matter of bank, savings banks and insurance and on the level and calculation of the participation of Catalonia in the yield of the state tributes and equilibrators and solidarity, that is, the basic axis of the self-government of Catalonia.
More info: en.wikipedia.org/wiki/Statute_of_Autonomy_of_Catalonia
----------------------------
CASTELLANO
El "Estatuto de Autonomía de Cataluña" es la norma institucional básica de Cataluña que las Cortes Generales de España han aprobado en 1932, 1979 y 2006 para otorgar la autonomía y fijar los márgenes del autogobierno de este territorio. El Estatuto de autonomía de 2006 fue aprobado por las Cortes Generales y posteriormente refrendado por los ciudadanos de Cataluña el 18 de junio de 2006. Incluye, entre otros aspectos, el sistema institucional en que se organiza la Generalidad de Cataluña, las competencias que le corresponden y su tipología, derechos y deberes de los ciudadanos, el régimen lingüístico, las relaciones institucionales de la Generalitat y la financiación de la Generalidad.
El 21 de enero de 2006, el Presidente del Gobierno de España, José Luis Rodríguez Zapatero y el jefe de la oposición de Cataluña, Artur Mas llegaron a un preacuerdo sobre la definición de Cataluña en el nuevo Estatuto y sobre el modelo de financiación. El nuevo Estatuto de Cataluña fue aprobado en el Congreso de los Diputados el 30 de marzo de 2006, tras lo cual fue remitido al Senado, que lo aprobó en la Comisión General de Comunidades Autónomas el 5 de mayo de 2006 y en el pleno el 10 de mayo de 2006. En la votación final, el texto contó con el apoyo de todos los grupos políticos, salvo del PP, que votó en contra, y con la abstención de ERC.
Tras entrar en vigor el 18 de junio de 2006, el Estatuto fue recurrido por considerarlo inconstitucional en siete ocasiones por siete instancias distintas: el Partido Popular a través de la firma de sus diputados y senadores contra 187 artículos y disposiciones ; el Defensor del Pueblo contra 112 artículos y cuatro disposiciones adicionales, y cinco comunidades autónomas (Comunidad de Murcia, contra el artículo 117, La Rioja contra 12 artículos y siete disposiciones adicionales, Gobierno de Aragón contra una disposición adicional, Generalidad Valenciana contra ocho artículos y cuatro disposiciones transitorias, Gobierno de las Islas Baleares contra lo que establece el Estatuto sobre el Archivo de la Corona de Aragón).
El 28 de junio de 2010, el Tribunal Constitucional, ante el recurso de inconstitucionalidad presentado por diputados del Partido Popular, resolvió por 6 votos a favor y cuatro en contra la constitucionalidad de la mayor parte del texto, haciendo observar la "ineficacia jurídica" del Preámbulo (donde constaba el término nación al referirse a Cataluña) aunque el fallo mantiene la definición de Cataluña como nación, y declaró 14 artículos inconstitucionales.
La ponencia fue redactada finalmente por la Presidenta, María Emilia Casas, y la votación se realizó por bloques: el primero respecto al Preámbulo, en la que se resolvió por 6 votos a favor y 4 en contra mantener el término nación, si bien se advirtío de su falta de eficacia jurídica, ya que no forma parte del texto normativo; el segundo bloque afecto a los artículos a declarar inconstitucionales, siendo una mayoría de 8 magistrados contra 2 los que han votado por la inconstitucionalidad de 14 de ellos; los otros dos bloques, que eran los preceptos ajustados a la Constitución y la interpretación de los artículos sobre los que existía conformidad, fueron avalados por 6 votos a cuatro. Cuatro de los magistrados, pertenecientes al denominado sector conservador, manifestaron que presentarían un voto particular: Ramón Rodríguez Arribas, Jorge Rodríguez Zapata, Vicente Conde y Javier Delgado.
El Tribunal Constitucional declaró 14 artículos inconstitucionales: el artículo 6 sobre lengua y nombres cooficiales, el 76 sobre el carácter vinculante de los dictámenes del Consejo de Garantías Estatutarias, el 78 sobre algunas funciones del Síndico de Agravios de Cataluña, el 95.5 sobre el Presidente del Tribunal Superior de Justicia de Cataluña, el 97, 98, 99, 100 y 101 sobre el Consejo de Justicia de Cataluña, el 111 sobre las competencias compartidas entre el Estado y la Generalidad de Cataluña, el 120.2 sobre competencias de la Generalidad en cajas de ahorro, el 126.2 sobre competencia compartida en materia de crédito, banca, seguros y mutualidades no integradas en el sistema de seguridad social y el 206.3 sobre el nivel y cálculo de la participación de Cataluña en el rendimiento de los tributos estatales y mecanismos de nivelación y solidaridad.
Más info: es.wikipedia.org/wiki/Estatuto_de_autonom%c3%ada_de_Catal...
"Sentences" is a new project with Triplets (photo-philosophy.net/triplets/ )
Liz by Andy Warhol. Ken C. Arnold Art Collection Andy Warhol
From Wikipedia, the free encyclopediaJump to:navigation, search
For the song by David Bowie, see Andy Warhol (song)
Andy Warhol
Warhol in 1977
Birth name Andrew Warhola
Born August 6, 1928(1928-08-06)
Pittsburgh, Pennsylvania, U.S.
Died February 22, 1987 (aged 58)
New York City, U.S.
Nationality American
Field Painting, Cinema
Training Carnegie Mellon University
Movement Pop art
Works Chelsea Girls (1966 film)
Exploding Plastic Inevitable (1966 event)
Campbell's Soup Cans (1962 painting)
Andrew Warhola (August 6, 1928 – February 22, 1987), known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and public figure known for his membership in wildly diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy patrons.
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame." In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.
The highest price ever paid for a Warhol painting is $100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market." $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Gustav Klimt and Willem de Kooning have achieved.[1]
Contents [hide]
1 Childhood
2 Early career
3 1960s
4 Attempted assassination
5 1970s
6 1980s
7 Sexuality
8 Religious beliefs
9 Death
10 Works
10.1 Paintings
10.2 Films
10.3 Factory in New York
10.4 Filmography
10.5 Music
10.6 Books and print
10.7 Other media
10.8 Producer and product
11 Dedicated museums
12 Movies about Warhol
12.1 Dramatic portrayals
12.2 Documentaries
13 See also
14 References
15 Further reading
16 External links
Childhood
Warhol's childhood home at 3252 Dawson Street in the South Oakland neighborhood of Pittsburgh, PennsylvaniaAndy Warhol was born in Pittsburgh, Pennsylvania.[2] He was the fourth child of Ondrej Warhola (died 1942)[3] and Julia (nee Zavacka, 1892-1972),[4] whose first child was born in their homeland and died before their migration to the U.S. His parents were working-class immigrants from Mikó (now called Miková), in northeastern Slovakia, then part of Austro-Hungarian Empire. Warhol's father immigrated to the US in 1914, and his mother joined him in 1921, after the death of Andy Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.[5] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers, Ján and Pavol, who were born in today's Slovakia. Pavol's son, James Warhola, became a successful children's book illustrator.
In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness.[6] He became a hypochondriac, developing a fear of hospitals and doctors. Often bed-ridden as a child, he became an outcast among his school-mates and bonded strongly with his mother.[7] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[8]
Early career
Warhol showed early artistic talent and studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania (now Carnegie Mellon University).[9] In 1949, he moved to New York City and began a successful career in magazine illustration and advertising. During the 1950s, he gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.[10]
Campbell's Soup I (1968)1960s
His first one-man art-gallery exhibition as a fine artist[11][12] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked the West Coast debut of pop art.[13] Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time John Giorno who would star in Warhol's first film, Sleep, in 1963.[citation needed]
It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor. He founded "The Factory", his studio during these years, and gathered around himself a wide range of artists, writers, musicians, and underground celebrities. He began producing prints using the silkscreen method. His work became popular and controversial.
Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products. He also used as imagery for his paintings newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[14]
New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.[citation needed]
Campbell's Tomato Juice Box (1964)A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is (or of what is art and what is not).[citation needed]
As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).[15]
During the '60s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Edie Sedgwick, Viva, Ultra Violet, and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.
Attempted assassination
On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio.[16] Before the shooting, Solanas had been a marginal figure in the Factory scene. She founded a "group" called S.C.U.M. (Society for Cutting Up Men) and authored the S.C.U.M. Manifesto, a separatist feminist attack on patriarchy. Over the years, Solanas' manifesto has found a following.[17] Solanas appears in the 1968 Warhol film I, A Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script, apparently, had been misplaced.[18]
Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art.[19][20]
Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." She was eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene became much more tightly controlled, and for many this event brought the "Factory 60s" to an end.[20] The shooting was mostly overshadowed in the media due to the assassination of Robert F. Kennedy two days later.
Warhol had this to say about the attack: "Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television." [21]
1970s
Andy Warhol and Jimmy Carter in 1977Compared to the success and scandal of Warhol's work in the 1960s, the 1970s proved a much quieter decade, as Warhol became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson.[22][citation needed] Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."[cite this quote]
Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the '70s, Studio 54.[23] He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."[24]
1980s
Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of '80s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.
By this period, Warhol was being criticized for becoming merely a "business artist".[25] In 1979, unfavorable reviews met his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. This criticism was echoed for his 1980 exhibit of ten portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who exhibited no interest in Judaism or matters of interest to Jews – had described in his diary as "They're going to sell."[25] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."[25]
Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."[26]
Sexuality
Warhol never married or had children.[27] Many people think of him as asexual and merely a "voyeur"; however, it is now well-established that he was homosexual (see biographers such as Victor Bockris, Bob Colacello,[28] and art historian Richard Meyer[29]). The question of his sexuality aside, Warhol stated in a 1980 interview that he was still a virgin.[30] The question of how Warhol's sexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist, and is an issue that Warhol himself addressed in interviews, in conversation with his contemporaries, and in his publications (e.g. Popism: The Warhol Sixties).
Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli, Judy Garland, and Elizabeth Taylor, and films like Blow Job, My Hustler, and Lonesome Cowboys) draw from gay underground culture and/or openly explore the complexity of sexuality and desire. Many of his films premiered in gay porn theaters. That said, some stories about Warhol's development as an artist revolved around the obstacle his sexuality initially presented as he tried to launch his career. The first works that he submitted to a gallery in the pursuit of a career as an artist were homoerotic drawings of male nudes. They were rejected for being too openly gay.[31] In Popism, furthermore, the artist recalls a conversation with the film maker Emile de Antonio about the difficulty Warhol had being accepted socially by the then more famous (but closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In response to this, Warhol writes, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't want to change anyway, that I didn't think I 'should' want to change... Other people could change their attitudes but not me".[32][33] In exploring Warhol's biography, many turn to this period – the late 1950s and early 1960s – as a key moment in the development of his persona. Some have suggested that his frequent refusal to comment on his work, to speak about himself (confining himself in interviews to responses like "Um, No" and "Um, Yes", and often allowing others to speak for him) – and even the evolution of his Pop style – can be traced to the years when Warhol was first dismissed by the inner circles of the New York art world.[34]
Religious beliefs
Images of Jesus from The Last Supper cycle (1986). Warhol made almost 100 variations on the theme, which the Guggenheim felt "indicates an almost obsessive investment in the subject matter."[35]Warhol was a practicing Byzantine Catholic. He regularly volunteered at homeless shelters in New York, particularly during the busier times of the year, and described himself as a religious person.[36] Several of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). In addition, a body of religious-themed works was found posthumously in his estate.[36]
During his life, Warhol regularly attended Mass, and the priest at Warhol's church, Saint Vincent's, said that the artist went there almost daily,[36] although he never took communion or made confession and sat or knelt in the pews at the back.".[30] The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Roman Catholic church crossing himself "in the Orthodox way" (right to left instead of the reverse).[30]
His art is noticeably influenced by the eastern Christian iconographic tradition which was so evident in his places of worship.[36]
Warhol's brother has described the artist as "really religious, but he didn't want people to know about that because [it was] private." Despite the private nature of his faith, in Warhol's eulogy John Richardson depicted it as devout: "To my certain knowledge, he was responsible for at least one conversion. He took considerable pride in financing his nephew's studies for the priesthood".[36]
Death
Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia.[37] Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication.[38]
Warhol's grave at St. John the Baptist Byzantine Catholic CemeteryWarhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono also made an appearance. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. Weeks later a memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.
Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million. His total estate was worth considerably more, due in no small part to shrewd investments over the years.[citation needed]
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts was founded. The Foundation not only serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."[39]
The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[40] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[41] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.[42]
The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[43] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.[44]
Works
Paintings
This section needs references that appear in reliable third-party publications. Primary sources or sources affiliated with the subject are generally not sufficient for a Wikipedia article. Please add more appropriate citations from reliable sources. (February 2009)
By the beginning of the 1960s, Warhol was a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. These illustrations consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop Art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first Pop Art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.[45] Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On 23 November 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.[46] For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.[47]
He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.[48]
In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.[49]
Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques– silkscreens, reproduced serially, and often painted with bright colors – whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series. The Death and Disaster paintings (such as Red Car Crash, Purple Jumping Man, and Orange Disaster) transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving mass media.
The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." [50]
His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":
Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint.' Andy always had a little extra bounce in his walk as he led them to his studio...[51]
Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".
After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.[52][53] Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.[54]
The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"[55] but by others as “wishy-washy, religiose” and “spiritless."[56] It is also the largest series of religious-themed works by any U.S. artist.[55]
At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz. [57]
Films
Warhol worked across a wide range of media – painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films [58], plus some 500 short black-and-white "screen test" portraits of Factory visitors.[59] One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called Trio for Strings and subsequently created his famous series of static films including Kiss, Eat, and Sleep (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance.[60]
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.
His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.
Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art.[61][62] Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.
After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.
In the early '70s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.
Factory in New York
Factory: 1342 Lexington Avenue (the first Factory)
The Factory: 231 East 47th street 1963-1967 (the building no longer exists)
Factory: 33 Union Square 1967-1973 (Decker Building)
Factory: 860 Broadway (near 33 Union Square) 1973-1984 (the building has now been completely remodeled and was for a time (2000–2001) the headquarters of the dot-com consultancy Scient)
Factory: 22 East 33rd Street 1984-1987 (the building no longer exists)
Home: 1342 Lexington Avenue
Home: 57 East 66th street (Warhol's last home)
Last personal studio: 158 Madison Avenue
Filmography
Main article: Andy Warhol filmography
Music
In the mid 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.[citation needed]
Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy In Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.[citation needed] One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.[63]
Warhol was also friendly with many recording artists, including Deborah Harry, Grace Jones, Diana Ross and John Lennon (with whom he posed for an infamous photograph[64]) - he designed the cover to Lennon's 1986 posthumously released Menlove Ave. Warhol also appeared as a bartender in The Cars' music video for their single "Hello Again", and Curiosity Killed The Cat's video for their "Misfit" single (both videos, and others, were produced by Warhol's video production company).[citation needed] Warhol featured in Grace Jones' music video for "I'm Not Perfect (But I'm Perfect for You)".
Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, but this version wasn't officially released until the VU album appeared in 1985. He recorded a new version for his 1972 solo album Transformer, produced by Bowie and Mick Ronson.[citation needed]
Cover of copy no. 18 of 25 Cats Name [sic] Sam and One Blue Pussy by Andy Warhol given in 1954 to Edgar de Evia and Robert Denning when the author was a guest in their home in the Rhinelander Mansion.[citation needed]Books and print
Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.
The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987[65] and the original was auctioned in May 2006 for US $35,000 by Doyle New York.[66]
Other self-published books by Warhol include:
A Gold Book
Wild Raspberries
Holy Cats
After gaining fame, Warhol "wrote" several books that were commercially published:
a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.[citation needed]
The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.[citation needed]
Popism: The Warhol Sixties (1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the sixties and the role of Pop Art.
The Andy Warhol Diaries (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[67]
Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.[68]
Other media
As stated, although Andy Warhol is most known for his paintings and films, he has authored works in many different media.
Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and (of course) Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.[69]
Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of "grocery carton" sculptures that also included Heinz ketchup and Campbell's tomato juice cases.[70] Other famous works include the Silver Clouds– helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–69) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).[71]
Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his "Invisible Sculpture", a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[citation needed]
Time Capsules: In 1973, Warhol began saving ephemera from his daily life– correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food– which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.[72]
Television: Andy Warhol dreamed of a television show that he wanted to call The Nothing Special, a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, Andy Warhol's TV in 1982 and Andy Warhol's Fifteen Minutes (based on his famous "fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".[73]
Fashion: Warhol is quoted for having said: "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"[cite this quote] One of his most well-known Superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.[citation needed]
Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.[74]
Theater: Andy Warhol's PORK opened on May 5, 1971 at LaMama theater in New York for a two week run and was brought to the Roundhouse in London for a longer run in August, 1971. Pork was based on tape-recorded conversations between Brigin Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as "Vulva" and Cherry Vanilla as "Amanda Pork".[citation needed] In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas.
Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous amount of photographs of Factory visitors, friends.[citation needed]
Computer: Warhol used Amiga computers to generate digital art, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.[75] (video)
Producer and product
Warhol had assistance in producing his paintings. This is also true of his film-making and commercial enterprises.[citation needed]
He founded the gossip magazine Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from Love Boat to Saturday Night Live and the Richard Pryor movie, Dynamite Chicken).[citation needed]
In this respect Warhol was a fan of "Art Business" and "Business Art"– he, in fact, wrote about his interest in thinking about art as business in The Philosophy of Andy Warhol from A to B and Back Again.[citation needed]
Dedicated museums
Two museums are dedicated to Andy Warhol. The Andy Warhol Museum, one of the Carnegie Museums of Pittsburgh, is located at 117 Sandusky Street in Pittsburgh, Pennsylvania. It is the largest American art museum dedicated to a single artist, holding more than 12,000 works by the artist.[citation needed]
The other museum is the Andy Warhol Museum of Modern Art, established in 1991 by Andy's brother John Warhola, the Slovak Ministry of Culture, and the Warhol Foundation in New York. It is located in the small town of Medzilaborce, Slovakia. Andy's parents and his two brothers were born 15 kilometres away in the village of Miková. The museum houses several originals donated mainly by the Andy Warhol Foundation in New York and also personal items donated by Warhol's relatives.[citation needed]
Movies about Warhol
Dramatic portrayals
Warhol (right) with director Ulli Lommel on the set of 1979's Cocaine Cowboys, in which Warhol appeared as himselfIn 1979, Warhol appeared as himself in the film Cocaine Cowboys.[76]
After his passing, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by David Bowie in Basquiat, a film by Julian Schnabel, and by Jared Harris in the film I Shot Andy Warhol directed by Mary Harron (1996). Warhol appears as a character in Michael Daugherty's 1997 opera Jackie O. Actor Mark Bringleson makes a brief cameo as Warhol in Austin Powers: International Man of Mystery (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Andy's life. Sean Gregory Sullivan depicted Warhol in the 1998 film 54. Guy Pearce portrayed Warhol in the 2007 film, Factory Girl, about Edie Sedgwick's life.[77] Actor Greg Travis portrays Warhol in a brief scene from the 2009 film Watchmen.
Gus Van Sant was planning a version of Warhol's life with River Phoenix in the lead role just before Phoenix's death in 1993.[78]
Documentaries
The 2001 documentary, Absolut Warhola was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.[79]
Andy Warhol: A Documentary Film is a reverential four-hour 2006 movie by Ric Burns.[80]
Andy Warhol: Double Denied is a 52 minute movie by lan Yentob about the difficulties in authenticating Warhol's work.[81]
Visualize the U.S. rustbelt as brick buildings with sooty-looking black stains, their sides exposed by vacant lots: Imperative sentence!
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In downtown New Kensington, Pennsylvania, on July 9th, 2020, a building at the southeast corner of 9th Street and 4th Avenue (Pennsylvania Route 56), within the New Kensington Downtown Historic District, 98000904 on the National Register of Historic Places.
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Getty Thesaurus of Geographic Names terms:
• New Kensington (2091262)
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Art & Architecture Thesaurus terms:
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Wikidata items:
• 9 July 2020 (Q57396809)
• all caps (Q3960579)
• ghost sign (Q3410466)
• July 9 (Q2690)
• July 2020 (Q55281154)
• National Register of Historic Places (Q3719)
• New Kensington Downtown Historic District (Q7009644)
• Pennsylvania Route 56 (Q1052984)
• Pittsburgh metropolitan area (Q7199458)
• Rust Belt (Q781973)
• Treaty of Fort Stanwix (Q246501)
• Western Pennsylvania (Q7988152)
Library of Congress Subject Headings:
• Brick wall signs (sh89002392)
• Brick walls (sh85016796)
• Buildings—Pennsylvania (sh85017803)
• Concrete masonry (sh85030722)
“After serving a prison sentence, farmer Matt Calder (Robert Mitchum) returns to his 19th-century Pacific Northwest gold rush town and retrieves his adolescent son, Mark (Tommy Rettig). Meanwhile, good-hearted barroom singer Kay (Marilyn Monroe) is heading downriver with her boyfriend, Harry (Rory Calhoun), to explore a potential gold claim. When their raft sinks, Harry robs Matt of his gun and horse to continue without Kay on land. Sailing downriver toward the claim, the trio plan their revenge.”— Google
“River of No Return” is a classic Western set in the Northwestern United States in 1875. White-water rafting sequences were filmed on the Salmon River in Idaho, while other scenes were shot in Alberta, Canada, in regions such as Banff National Park, Lake Louise, Jasper National Park, and the Bow and Maligne Rivers. These locations provide a breathtaking backdrop of rugged wilderness, majestic mountains, and pristine rivers.
The presence of Marilyn Monroe and other cast members in the small Canadian town of Jasper in the summer of 1953 was unforgettable. The Jasper Yellowhead Museum mounted an exhibition called “Remembering Marilyn” that ran in 2013, built around the town’s vivid memories of Monroe and Robert Mitchum filming “River of No Return” in the area. The exhibit emphasized how deeply Monroe’s presence imprinted itself on the town’s collective memory — so much so that even 60 years later, Jasperites were still sharing stories, comparing recollections, and celebrating the moment when Hollywood descended on their quiet mountain community.
Jasper Canada Remembers Marilyn Monroe: www.youtube.com/watch?v=oofq7aij8MQ
Movie trailer: www.youtube.com/watch?v=SxjBl9obZJc
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The phrase “river of no return” predates the movie. By the early 1900s, the Salmon River had a reputation among miners, trappers, and early river travelers as a place where boats could float down, but could not be rowed back upstream through the deep, narrow canyons. Hence, the river of no return.
Tommy Rettig, who plays Matt Calder’s 9-year-old son in “River of No Return,” was a gifted child actor whose early fame came with “The 5,000 Fingers of Dr. T” (1953) and, most famously, as Jeff Miller in the first three seasons of “Lassie” (1954–1957).
38 years old Rohingya form Teknaf.
Met him in the street, then shared a tea and start talking about the Burmese Bangladesh political issue. Had served a 3 years sentence in Burma for mobile phone trafficking !
Running a small business in Teknaf, but dreaming of a better life abroad, thinking of using the illegal, paying brokers to smuggle by boat to Malaysia and beyond Australia. His sister got married with a bangladeshi, a more common trend these last years.
Came across this sentence from @erickimphoto "learn from the master of street photography -v7" "if you have a photography which is weak without a compelling story, ditch the shot." How true. #bkk #bangkok #thailand #river #peace #pray #serenity #klongsuan #filmcamera #film #filmisnotdead #filmphotography #filmlove #keepfilmalive #lomography #twentytwopotatoes #fm2 #nikon #afgactprecisa #afga #kodak_photo #thefilmcommunity #filmphotographic @filmphotographic #filmphotographer #yourshot #travelphotographer #natgeotravel #guardiantravelsnap
Self Portrait
©Nourhan Refaat Maayouf
All rights reserved. My work is not to be edited, distributed, sold or uploaded anywhere without my written permission.
© 2013 Lechatbon/LGS All Rights Reserved
This photo taken in the (downtown) Seattle Public Library Evelyn W. Foster Learning Center, which houses the library's literacy, ESL and world languages collection.
The maple-wood floor was created by artist Ann Hamilton. It contains 556 lines of text (in reverse) from the first sentences of books in 11 languages and alphabets found in the collection.
{telling me a joke after his shower}
my favorite portrait crop is square. something good about it, no?
oh...and i know...one post a day, but i couldn't hold back on this one after i processed. he's just so cute (says his biased momma).