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Cut-up video utilising footage from ludicous anti-drugs film "Drugs Are Like That" and "Strait-jacket" (1964) starring Joan Crawford, amongst others... Video created: 28/12/09. Music: Karlheinz Stockhausen: "Studie I"
Collaboration with dou_ble_you. Original montage (utilising cartoons by Luis Drayton) by dou_ble_you; 16/04/10. Completed by Luis Drayton; 25/05/10.
In this work, I’m abstracting participatory behaviors related to solitary confinement. I’m looking at solitary confinement as the punishment system inside of any American prison; an internal punishment routine that helps American prisons incarcerate people with an ‘easier process’ for creating a ‘more successfully managed incarcerated population'. . . Currently somewhere around 80,000 people in the American prison system are held in solitary confinement, as a method of controlling the behavior of all imprisoned persons.
Abstracting, what does that mean? There is an inherent trauma in reducing a person to a number, placing that person into the penal system and, later, solitary confinement. When I sample audio recordings of people in this system saying numbers, and lift those words from their context in full sentences, the accumulated samples of people saying numbers shows us the entrenched habits, the habitual ‘how’ of the system re-inscribing itself in its day to day process through ritual participatory behaviors around numbers.
I do not show actual prisoners in the work, connecting their personal identity to this situation. As audience members, we want to think we have empathy. We also have deeply conditioned avoidance when we are confronted with the image of a stranger in pain. We want to turn away from seeing the prisoner’s dehumanized condition inside the system.
As such, I pull the image of the person being dehumanized out of the work, so that we can experience only evidence of the behaviors applied to dehumanize them. We examine [ The Devil’s Abacus ].
Viewer-participants will discover other isolated aspects of routines and learned behaviors associated with solitary confinement. There will be reference to the traumatic self-harm this system encourages among its subjects. I am employing a variety of cutup techniques to found media, and mixing it with created content using generative computer approaches, i.e. creating a systemic consideration of the evidence of the behaviors that re-inscribe the system in question.
It will be disorienting, atmospheric, dark, and surprising. The media content? Projected light and sound sculpture, live instrumental performance, and audience participation.
August 26, MLE fringe fest, multimedia interactive performance with #PresentMusic at Vogel Theater 5:45 PM
I hope to see you there!
still image from animation for the multimedia artwork The Devil's Abacus (c) 2018 Jessica Fenlon
Burroughs discovered the cutup in 1959 in Paris through his friend Brion Gysin , a painter. When Gysin began experimenting with cutups in his own work, Burroughs immediately saw the similarity to the juxtaposition technique he had used in Naked Lunch and began extensive experiments with text, often with the collaboration of other writers. (Although Burroughs has credited Gysin with discovering the cutup, he has also acknowledged similar literary experiments in the works of Tzara, Stein, Eliot, and Dos Passos.) In 1960 Burroughs published his initial cutup experiments in Paris in Minutes To Go (with Brion Gysin, Sinclair Beiles, and Gregory Corso) and in San Francisco in The Exterminator (with Brion Gysin), works that were partially intended to introduce the technique to the public.
Built in 1871, Souter Lighthouse, Marsden, UK.
In its day, Souter was the most technologically advanced lighthouse in the world, the first to be powered by electricity.
MORT WALKER
Mort's Biography
Beetle Bailey, the world's most famous work-shirking private, must envy the comfortable lifestyle now enjoyed by his creator, celebrated cartoonist Mort Walker. But making it to the top of the competitive newspaper comics field took plenty of hard work, which was never popular in Beetle's bailiwick.
The year 2000 marked the completion of "Mort Walker's Private Scrapbook". For half a century Beetle has lived up to his reputation for sowing laziness in the ranks, while Walker earned his rank as the world's most prolific cartoonist, along with stacks of prestigious honors and awards.
In May 2000, Walker was honored by the United States Army at the Pentagon with The Decoration for Distinguished Civilian Service, the highest award the Secretary of the Army can bestow on a civilian. He was also lauded at the Pentagon ceremony by the Association of the United States Army, the National World War II Memorial Campaign and the Non Commissioned Officers Association for his efforts to help build awareness and raise funds for the National World War II Memorial. A Twilight Tattoo sunset parade, hosted by the Army Office of Public Affairs and the Military District of Washington, was performed in his honor.
The University of Missouri, Walker's alma mater, mounted a Beetle Bailey 50th anniversary exhibition in the grand concourse of the Elmer Ellis Library from Sept. 1-30, 2000. The exhibition included original daily and Sunday strips, copies of published reprints of the strips, and poster-size lithographs of selected strips. The retrospective also includes a section on Walker's days on campus, focused primarily on his editorship of a campus humor magazine that was regularly in trouble with the campus administration. And the exhibition looks back at a visit Walker paid to the campus in 1992 for the dedication of a life-sized Beetle Bailey statue, which resides in front of the University alumni center on a busy campus street.
Beetle, in a proud military salute, was featured as a 45-foot tall helium parade balloon that made its television debut in the 2000 Fourth of July Parade in Philadelphia. The Beetle balloon also highlighted the Thanksgiving parade on Nov. 19, 2000 and in 2005, in Stamford, Conn.
Born in 1923 in El Dorado, Kan., Walker published his first comic when he was 11. He sold his first cartoon at 12, and at 14 he was selling gag cartoons regularly to Child Life, Inside Detective and Flying Aces magazines. At 15, he was comic-strip artist for a weekly metropolitan newspaper. At 18, he became chief editorial designer at Hall Bros., ushering in a light, playful style for the company's Hallmark Cards line.
The following year, 1943, Walker was drafted into the Army. He served in Italy as an intelligence and investigating officer and was also in charge of a German POW camp. He was discharged as a first lieutenant four years later, and graduated from the University of Missouri in 1948. While at M.U., he was editor of the school magazine.
He then went to New York City to pursue his cartooning career. In order to survive he worked as editor of three magazines for Dell Publishing Company. His first 200 cartoons were rejected, but he persisted, and editors started to recognize his talent and in two years he was the top-selling magazine cartoonist.
His first big break came in 1950, when King Features picked up "Beetle Bailey" for syndication.
Beetle, who was originally called "Spider," began as a college cutup. When he stumbled into an Army recruiting post in 1951 during the Korean War, circulation began to climb.
The comic strip experienced two other notable jumps in circulation. In 1954, when the Tokyo edition of Stars & Stripes dropped the strip because it supposedly engendered lack of respect for officers, the U.S. press had a field day attacking the maneuver, and 100 more newspapers enlisted "Beetle Bailey." Then in 1970, when Lt. Jack Flap first marched into Sarge's office, "Beetle Bailey" became the first established strip to integrate a black character into a white cast. Stars & Stripes and some Southern newspapers quickly discharged the strip, but 100 other newspapers joined up.
King Features now distributes "Beetle Bailey" to roughly 1,800 newspapers, to over 50 countries with a combined readership of over 200 million every day.
Walker's comic strip "Hi and Lois," which he created with Dik Browne, began in 1954 as a spin-off of "Beetle Bailey," when Beetle went home on furlough to visit his sister Lois and brother-in-law Hi.
Walker also created "Boner's Ark" in 1968 under the name "Addison," and created "Sam & Silo" with Jerry Dumas in 1977.
Walker has been recognized not only for the wide and enduring popularity of his work but also for his stylistic innovations and his leadership in the comics field. His use of high-contrast, deceptively simple imagery and compact gags became the standard for a generation of cartoonists and endures today.
Walker also recognized the historic contributions of his predecessors and contemporaries and in 1974, he founded the Museum of Cartoon Art, the first museum dedicated to the preservation and elevation of the art of comics. The museum now houses the largest complete collection of its kind, making it the premier showcase for one of America's few indigenous art forms. Walker was inducted into The Hearst Hall of Fame in 1989.
The museum started in a mansion in Greenwich, Connecticut, then moved to a castle in Rye Brook, New York.
In 1992 it relocated to Boca Raton, Florida. It's new name is The National Cartoon Museum. Walker's dedication to the project is tireless. He organizes exhibitions, creates fund-raising campaigns and is involved in all facets of the museum. A retrospective exhibit commemorating "50 years of Beetle Bailey" opened at the Museum on Veteran's Day, November 11, 2000 and ran through February 2001. The exhibition featured original comic strips and character art, special interactive exhibits for children, animated Beetle Bailey cartoons, Beetle and Sarge costumed character appearances, and a 16-foot-high birthday cake display, complete with animatronic Beetle and Sarge characters.
Walker has written several books on the art and history of comics, as well as children's books. He has published numerous collections of his comics work, including 92 "Beetle Bailey" and 35 "Hi and Lois" paperbacks. Available here, online or in bookstores is Walker's autobiography, "Mort Walker's Scrapbook: Celebrating a Life of Love and Laughter". An animated "Beetle Bailey" television special was created for CBS in 1989 and "Beetle" animated shorts are available on DVD.
Walker still oversees the 9-to-5 work of the staff at his Connecticut laugh factory studio, which was unofficially dubbed "King Features East" because the work generated there once rivaled the combined output of the entire King Features Syndicate comics department.
Walker and his wife, Catherine, have 9 children between them from previous marriages. Six of his children, as well as the son of his former collaborator Dik Browne, contribute to the funny business, along with several other artists and writers. The shop uses only the best gags -- there are more than 10,000 unused gags in the vault -- and in 55 years, the studio has never missed a deadline, keeping King Features happy and comics fans in stitches.
Some of Walker's many awards:
1953: "Cartoonist of the Year, "National Cartoonists Society" ("The Reuben").
1955: Banshee Award, Silver Lady, "Outstanding Cartoonist."
1966: "Best Humor Strip, "National Cartoonists Society."
1969: "Best Humor Strip, "National Cartoonists Society."
1972: Il Secolo XIX Award, Italy.
1975: Adamson Award, "Best International Cartoonist," Sweden.
1977: Power of Printing Award.
Elzie Segar Award, "Lifetime Achievement."
1978: Fourth Estate Award, American Legion.
1979: The Jester, Newspaper Features Council.
Inkpot Award, San Diego Comic Convention.
1980: Faculty Alumni Award, University of Missouri. Scholar in residence.
1981: Doctor of Letters, William Penn College.
1987: "Man of the Year," Kappa Sigma Fraternity.
1988: Adamson Award Platinum ( Sweden
1990: U.S. Army Certificate of Appreciation for Patriotic Civilian Service
1999: Golden T-Square, National Cartoonists Society ( 50 years of service
(Second ever to receive award)
1999: Order of Chevalier, French Minister of Culture and Communication
1999: Elzie Segar Award
2000: The Decoration for Distinguished Civilian Service
2005: The Connecticut Legend Award
MORT WALKER MILESTONE
Here’s a milestone we passed a while back and should have taken notice of. As of September 4, 2006, Mort Walker achieved a record: 56 years doing a syndicated daily comic strip, Beetle Bailey. I was jolted into this realization while proofing the last chapter of my biography on Milton Caniff, in which I asserted that he had been doing a syndicated daily comic strip for 55 years, a record that, at the time of his death, had not been surpassed by anyone. Well, now it has been exceeded. Congratulations, Mort—many happy returns. R.C. HARVEY
SPORTS ILLUSTRATED
August 16, 1994
This Week's Sign That The Apocalypse Is Upon Us
Edited by Hank Hersch, Richard O'Brien
Artist David Barsalou has created an exhibit at the Holyoke (Mass.) Community College art gallery entitled 4,256: The Rose Garden, which consists of 4,256 identical images of Pete Rose reproduced across 700 square feet of wall space as a way to "visualize Rose's career hit total."
vault.sportsillustrated.cnn.com/vault/article/magazine/MA...
#FacePaint #BodyPaint #DiamondFX #makeup #artist #art s #designs #ArtandBodyStudios #BodyPaintingMichigan #bodyandartstudios #FacePaintStore #cheapfacepaints #makeupartist #BodyPaintingKalamazoo #MichiganBodyPainter #BodyPainter
MORT WALKER
Beetle Bailey
Mort's Biography
Beetle Bailey, the world's most famous work-shirking private, must envy the comfortable lifestyle now enjoyed by his creator, celebrated cartoonist Mort Walker. But making it to the top of the competitive newspaper comics field took plenty of hard work, which was never popular in Beetle's bailiwick.
The year 2000 marked the completion of "Mort Walker's Private Scrapbook". For half a century Beetle has lived up to his reputation for sowing laziness in the ranks, while Walker earned his rank as the world's most prolific cartoonist, along with stacks of prestigious honors and awards.
In May 2000, Walker was honored by the United States Army at the Pentagon with The Decoration for Distinguished Civilian Service, the highest award the Secretary of the Army can bestow on a civilian. He was also lauded at the Pentagon ceremony by the Association of the United States Army, the National World War II Memorial Campaign and the Non Commissioned Officers Association for his efforts to help build awareness and raise funds for the National World War II Memorial. A Twilight Tattoo sunset parade, hosted by the Army Office of Public Affairs and the Military District of Washington, was performed in his honor.
The University of Missouri, Walker's alma mater, mounted a Beetle Bailey 50th anniversary exhibition in the grand concourse of the Elmer Ellis Library from Sept. 1-30, 2000. The exhibition included original daily and Sunday strips, copies of published reprints of the strips, and poster-size lithographs of selected strips. The retrospective also includes a section on Walker's days on campus, focused primarily on his editorship of a campus humor magazine that was regularly in trouble with the campus administration. And the exhibition looks back at a visit Walker paid to the campus in 1992 for the dedication of a life-sized Beetle Bailey statue, which resides in front of the University alumni center on a busy campus street.
Beetle, in a proud military salute, was featured as a 45-foot tall helium parade balloon that made its television debut in the 2000 Fourth of July Parade in Philadelphia. The Beetle balloon also highlighted the Thanksgiving parade on Nov. 19, 2000 and in 2005, in Stamford, Conn.
Born in 1923 in El Dorado, Kan., Walker published his first comic when he was 11. He sold his first cartoon at 12, and at 14 he was selling gag cartoons regularly to Child Life, Inside Detective and Flying Aces magazines. At 15, he was comic-strip artist for a weekly metropolitan newspaper. At 18, he became chief editorial designer at Hall Bros., ushering in a light, playful style for the company's Hallmark Cards line.
The following year, 1943, Walker was drafted into the Army. He served in Italy as an intelligence and investigating officer and was also in charge of a German POW camp. He was discharged as a first lieutenant four years later, and graduated from the University of Missouri in 1948. While at M.U., he was editor of the school magazine.
He then went to New York City to pursue his cartooning career. In order to survive he worked as editor of three magazines for Dell Publishing Company. His first 200 cartoons were rejected, but he persisted, and editors started to recognize his talent and in two years he was the top-selling magazine cartoonist.
His first big break came in 1950, when King Features picked up "Beetle Bailey" for syndication.
Beetle, who was originally called "Spider," began as a college cutup. When he stumbled into an Army recruiting post in 1951 during the Korean War, circulation began to climb.
The comic strip experienced two other notable jumps in circulation. In 1954, when the Tokyo edition of Stars & Stripes dropped the strip because it supposedly engendered lack of respect for officers, the U.S. press had a field day attacking the maneuver, and 100 more newspapers enlisted "Beetle Bailey." Then in 1970, when Lt. Jack Flap first marched into Sarge's office, "Beetle Bailey" became the first established strip to integrate a black character into a white cast. Stars & Stripes and some Southern newspapers quickly discharged the strip, but 100 other newspapers joined up.
King Features now distributes "Beetle Bailey" to roughly 1,800 newspapers, to over 50 countries with a combined readership of over 200 million every day.
Walker's comic strip "Hi and Lois," which he created with Dik Browne, began in 1954 as a spin-off of "Beetle Bailey," when Beetle went home on furlough to visit his sister Lois and brother-in-law Hi.
Walker also created "Boner's Ark" in 1968 under the name "Addison," and created "Sam & Silo" with Jerry Dumas in 1977.
Walker has been recognized not only for the wide and enduring popularity of his work but also for his stylistic innovations and his leadership in the comics field. His use of high-contrast, deceptively simple imagery and compact gags became the standard for a generation of cartoonists and endures today.
Walker also recognized the historic contributions of his predecessors and contemporaries and in 1974, he founded the Museum of Cartoon Art, the first museum dedicated to the preservation and elevation of the art of comics. The museum now houses the largest complete collection of its kind, making it the premier showcase for one of America's few indigenous art forms. Walker was inducted into The Hearst Hall of Fame in 1989.
The museum started in a mansion in Greenwich, Connecticut, then moved to a castle in Rye Brook, New York.
In 1992 it relocated to Boca Raton, Florida. It's new name is The National Cartoon Museum. Walker's dedication to the project is tireless. He organizes exhibitions, creates fund-raising campaigns and is involved in all facets of the museum. A retrospective exhibit commemorating "50 years of Beetle Bailey" opened at the Museum on Veteran's Day, November 11, 2000 and ran through February 2001. The exhibition featured original comic strips and character art, special interactive exhibits for children, animated Beetle Bailey cartoons, Beetle and Sarge costumed character appearances, and a 16-foot-high birthday cake display, complete with animatronic Beetle and Sarge characters.
Walker has written several books on the art and history of comics, as well as children's books. He has published numerous collections of his comics work, including 92 "Beetle Bailey" and 35 "Hi and Lois" paperbacks. Available here, online or in bookstores is Walker's autobiography, "Mort Walker's Scrapbook: Celebrating a Life of Love and Laughter". An animated "Beetle Bailey" television special was created for CBS in 1989 and "Beetle" animated shorts are available on DVD.
Walker still oversees the 9-to-5 work of the staff at his Connecticut laugh factory studio, which was unofficially dubbed "King Features East" because the work generated there once rivaled the combined output of the entire King Features Syndicate comics department.
Walker and his wife, Catherine, have 9 children between them from previous marriages. Six of his children, as well as the son of his former collaborator Dik Browne, contribute to the funny business, along with several other artists and writers. The shop uses only the best gags -- there are more than 10,000 unused gags in the vault -- and in 55 years, the studio has never missed a deadline, keeping King Features happy and comics fans in stitches.
Some of Walker's many awards:
1953: "Cartoonist of the Year, "National Cartoonists Society" ("The Reuben").
1955: Banshee Award, Silver Lady, "Outstanding Cartoonist."
1966: "Best Humor Strip, "National Cartoonists Society."
1969: "Best Humor Strip, "National Cartoonists Society."
1972: Il Secolo XIX Award, Italy.
1975: Adamson Award, "Best International Cartoonist," Sweden.
1977: Power of Printing Award.
Elzie Segar Award, "Lifetime Achievement."
1978: Fourth Estate Award, American Legion.
1979: The Jester, Newspaper Features Council.
Inkpot Award, San Diego Comic Convention.
1980: Faculty Alumni Award, University of Missouri. Scholar in residence.
1981: Doctor of Letters, William Penn College.
1987: "Man of the Year," Kappa Sigma Fraternity.
1988: Adamson Award Platinum ( Sweden
1990: U.S. Army Certificate of Appreciation for Patriotic Civilian Service
1999: Golden T-Square, National Cartoonists Society ( 50 years of service
(Second ever to receive award)
1999: Order of Chevalier, French Minister of Culture and Communication
1999: Elzie Segar Award
2000: The Decoration for Distinguished Civilian Service
2005: The Connecticut Legend Award
MORT WALKER MILESTONE
Here’s a milestone we passed a while back and should have taken notice of. As of September 4, 2006, Mort Walker achieved a record: 56 years doing a syndicated daily comic strip, Beetle Bailey. I was jolted into this realization while proofing the last chapter of my biography on Milton Caniff, in which I asserted that he had been doing a syndicated daily comic strip for 55 years, a record that, at the time of his death, had not been surpassed by anyone. Well, now it has been exceeded. Congratulations, Mort—many happy returns. R.C. HARVEY
SPORTS ILLUSTRATED
August 16, 1994
This Week's Sign That The Apocalypse Is Upon Us
Edited by Hank Hersch, Richard O'Brien
Artist David Barsalou has created an exhibit at the Holyoke (Mass.) Community College art gallery entitled 4,256: The Rose Garden, which consists of 4,256 identical images of Pete Rose reproduced across 700 square feet of wall space as a way to "visualize Rose's career hit total."
vault.sportsillustrated.cnn.com/vault/article/magazine/MA...
#icrysparkles #motd #bleeding #cutup #paleasfuck #dontcallmehannah #bleedglitter #alien #noreally #pastelhair #sparkles #blonde #glitter #girlswithpiercings #blue #pastel #greeneyes #face #pinkhair #tears #dyedhair #eotd #lotd #funny #lilbro #likeaboss #posing #moustache #painting #FacePaint #Supplies #BodyPaint #Instructor #DiamondFX #rainbowcake #low #bestprice #cheap #sale #makeup #artist #art #neon #fan #rake #sponges #designs #Kalamazoo #Michigan #Clash #ArtandBodyStudios #BodyPaintingMichigan #bodyandartstudios #FacePaintStore #cheapfacepaints #makeupartist #neonboypaintin #BodyPaintingKalamazoo #MichiganBodyPainter #BodyPainter
An image of a large cluster of white flowers, cut into small squares and sorted by "whiteness".
Made with Processing.org .
* "Monster" also means "sample" in Dutch.
Cut Piece from a colour C-print
Cut piece from a found silver gelatin photo
Piece of text from a 1964 weekly magazine
Piece of black plastic from a holding bag for silver gelatin Ilford paper
Velpon glue
Acid free paper
The sad remains of 40042 are seen in Derby Works during a private visit. Only two Whistlers were cut up at Derby, the other being 40045 during March 1977.
We were in Derby courtesy of a railtour called "The Solent Dove" that also featured a visit to the open day at Crewe. The tour was supposed to feature a pair of Cromptons as haulage throughout but sadly we had 47537 instead!
40042 was taken from traffic on the 14th December 1980. I think it's safe to say this image shows pretty much her last days. RIP.
This was now the third time old man Walters the pharmacist
gave Doris the wrong prescription.
She wanted to call someone, but forgot how to use the phone.
From the charity ep with Digital Skunk...
"I will not tear people apart. I will put them back together." That's what the paper says.
This is my friend Kelly, it's her birthday today.
Long disused UID British Rail(ways) rolling stock frames during demolition on the scrap line at Toton TMD (Traction and Maintenance Depot) near Long Eaton in the County of Nottinghamshire (UK).
The best way to ID these frames from someone more knowledgeable than me would be through the bogie design type.
Note the under frame air compressor reservoir tanks.
www.flickr.com/photos/stuart166axe/tags/toton/
Photograph taken by and copyright of my occasional photostream contributor Mr David Lewis and is posted here with very kind permission.
Description
Great booklet filled with celebration cakes by Baker's Coconut.
Cut-up cakes aren't just for children - though good children deserve them occasionally. Cut-ups are cakes for everybody - for the man who has everything and the friends who are finally jetting to Spain. Cut-ups are for marking family milestones and holidays. In fact, the right Cut-up turns any ordinary occasion inta a super celebration!
Cut-ups are a breeze to make because you never need special pans or tolls. And you can be your own creative decorator. All it takes is a little whimsey and assorted candies!
Contents: Cannonball Express, Space Ship, Clown, Beautiful Balloon, Umbrella, Racer, All Star Sports, Man's Best Friend, Cuckoo, Social Lion, Tiger, Perfect Doll, House for all Seasons, Pair of Hearts, Honey Bunny, The Witch, Turkey-Lurkey, Santa, Christmas Tree, Helpful Hints, Frostings.
Copyright General Foods, this is a 1971 2nd edition.
Softback Measures 5.5" x 8.5".
43 pages.
Scuffs and light staining to covers. See photo.
Frida Kahlo's paintings are frequently approached through the narratives that surround them. Illness, love, politics, “mexicanity” and biography have become the dominant interpretative framework through which her work is encountered, often preceding the paintings themselves. Such readings risk collapsing the distinction between artist and artwork, reducing a highly sophisticated pictorial practice to visual evidence of a life already narrated. To examine Kahlo's work art historically instead requires attention to the formal decisions through which meaning is constructed.
Kahlo's pictorial language is characterised by extraordinary compositional discipline. Her paintings are built through frontal organisation, carefully calibrated symmetry and an economy of spatial depth that privileges the image as an object rather than as an illusionistic window. Figures, animals, botanical forms and anatomical details are arranged within highly stable structures where every element occupies a precise visual function. Rather than relying on expressive brushwork, Kahlo establishes intensity through the relationships between forms, colour and scale. The surface remains remarkably controlled, allowing symbolic complexity to emerge from composition rather than painterly gesture.
Equally significant is her negotiation between multiple visual traditions. Kahlo does not simply appropriate Mexican popular painting, Catholic devotional imagery, scientific illustration or European portraiture; she places these traditions into dialogue, producing a pictorial language that resists straightforward stylistic categorisation. Her paintings move between naturalistic observation and symbolic construction without allowing either mode to dominate. This instability is not evidence of psychological ambiguity but of visual sophistication, demanding that the viewer negotiate several representational systems simultaneously.
The repetition of self-portraiture should likewise be understood less as autobiography than as a sustained formal investigation. The face becomes a stable compositional anchor through which variations in costume, iconography, scale and spatial organisation can be explored. Identity functions here not primarily as confession but as pictorial structure. The repeated self-image allows Kahlo to examine the relationship between body, object, landscape and symbol within a consistently recognisable visual framework.
From this perspective, Kahlo's significance lies not only in the subjects she painted but in the precision with which she constructed images that remain resistant to singular interpretation. Her paintings invite symbolic reading while simultaneously frustrating definitive iconographic closure. It is precisely this balance between visual clarity and interpretative openness that has enabled the works to circulate across multiple ideological and cultural contexts, becoming available for successive reinterpretations without exhausting their formal complexity.
To return to the paintings themselves is therefore not to reject biography but to suspend its explanatory privilege. Kahlo's achievement resides in the construction of a pictorial language whose formal coherence has too often been eclipsed by the narratives attached to her image. An art-historical reading begins not with the myth of Frida Kahlo, but with the material intelligence of the paintings.
The canonization of "Frida" is not only built on biography; it is enabled by an exceptionally consistent visual grammar. As William S,”. Burroughs points out in “Electronic Revolution” - a cut-up is needed.
ink, watercolor on paper
contact ibarraloana@gmail.com
Freightliner liveried 47150 drags 87012 onto the Earlestown Station freight only avoiding line towards Winwick Junction with the diverted 1A57, the 13.20 Liverpool Lime Street to Euston, on Sunday the 18th July 2004. 47150 was the only non 478xx loco I saw on the drags that day.
47150 was never named and once TOPS came into being it was only renumbered once, to 47399, for 16 months from 03/94, before reverting back to 47150. It has not survived being cutup at Thomsons, Stockton in 10/10.
#icrysparkles #motd #bleeding #cutup #paleasfuck #dontcallmehannah #bleedglitter #alien #noreally #pastelhair #sparkles #blonde #glitter #girlswithpiercings #blue #pastel #greeneyes #face #pinkhair #tears #dyedhair #eotd #lotd #funny #lilbro #likeaboss #posing #moustache #painting #FacePaint #Supplies #BodyPaint #Instructor #DiamondFX #rainbowcake #low #bestprice #cheap #sale #makeup #artist #art #neon #fan #rake #sponges #designs #Kalamazoo #Michigan #Clash #ArtandBodyStudios #BodyPaintingMichigan #bodyandartstudios #FacePaintStore #cheapfacepaints #makeupartist #neonboypaintin #BodyPaintingKalamazoo #MichiganBodyPainter #BodyPainter
SEATTLE STREET ART BOOK
A Visual Time Capsule Beyond Graffiti (Volume 1)
By A. Tarantino
Publisher: Createspace
Pages: 104, Full Color
Language: English
ISBN-13: 978-0615451909 (paperback)
ISBN-10: 061545190X (paperback)
Product Dimensions: 8.25 x 6 x 1 inches
BISAC: Category: Art / Popular Culture
Book Introduction:
Aside from its rain and coffee, Seattle, Washington is known for many things subversive, from Grunge music to the activist driven WTO riots. This region of America raised the likes of Jimi Hendrix and Bruce Lee. Today, there is a culture here that is only represented anonymously in the reclaimed public spaces of the city. Images dot the urban landscape in the typical street mediums that are used across the globe; spray paint, stickers, paste-ups, stencils, wheatpasting, posters, video projection, art intervention, guerrilla art, flash mobbing, installations, post-graffiti, mosaic tiling, murals, wood-blocking, LED art, reverse-graffiti and yard bombing.
You will see that these are not commercial enterprises or vandalism graffiti, but individual creative statements... something we can all relate to. Street art as a medium has been popularized internationally by the likes of Shepard Fairey, Banksy, D*Face, Paul Insect, Swoon, Twist, Neck face, Faile, Space Invader and WK Interact. It can take on many purposes and sometimes involves activism, phenomenology, repetition, attention capture, culture jamming, direct action, guerrilla messaging, propaganda, subvertising, decoration and territory claiming.
The following is a small window into this temporary world that's constantly being revised in a flux of new symbols. It's a snapshot of work on the Seattle streets over about a 3 year period, a visual capsule in time, not a comprehensive representation of Seattle street art and the people involved over the years. Some of the work only existed for a day before it was written over by other artists or removed by the city... a reminder that nothing is permanent, and control is an illusion in the chaos of a city. Enjoy.
I'm heading back to Australia in a few days, so won't be uploading much for a few weeks. First it's off to Auckland for a wedding, then i'll be catching some much-needed sunshine on Melbourne's beaches, before heading into the hotbed of Yemen for a week, then back to drizzly 'ol Londontown.
It's funny how quickly time fills up. Most of my photos lately have been pretty old, but I like that. I like looking back at older photos and reliving the memories. It's something we don't really have time for these days - we shoot and shoot and don't cherish what we already have taken.
Like this shot - Chich and I did a shoot in this warehouse a few years earlier and it was great to return there with added experience and start using the environment to add ambience to our shots. We went a bit overboard - 3 flash units, a wardrobe of outfits and gear for a weeks worth of shooting on a remote island. In the end, the simplest things won out - most shots used natural light and one strobe as fill.
It's when things reach that point of ease and flow that you know you're on the right track - when you look at the result and it makes your heart skip a beat for a second. Usually it's experience which helps that along, which means you need a few wrong turns to realise the right ones. But damn it's worth it.
View large on black.
ISO640, 46mm, ƒ3.2, 1/100sec - one 430EX used as a bit of fill