View allAll Photos Tagged existential
Puscifer (Existential Reckoning Tour 2.0 - Let the Probing Continue) @ Warner Theatre, Washington, DC on Friday, November 4, 2022.
Existential Reckoning Tour 2.0 - Let the Probing Continue Setlist:
Intro: Agent Dick Merkin Video (Spam)
Act 1
Bread And Circus
Postulous
Fake Affront
The Underwhelming
Grey Area
Theorem
Upgrade
Agent Dick Merkin Video (Celebrity Clone)
Act 2
Apocalyptical
The Remedy
Personal Prometheus
Momma Sed (Versatile Mix)
Horizons
The Humbling River (Nagual Del Judith Mix)
Intermission
Agent Dick Merkin Video (Afflictions)
Act 3
Bullet Train To Iowa
Man Overboard
Flippant
Conditions Of My Parole
Bedlamite
Outro: Agent Dick Merkin Video (Tour Announcement)
Some time ago, the last two M&Ms in a bag I had seemed bent on asserting their existence, however ephemeral it might be. (I ate them shortly thereafter.)
A representative of the Republic of Kazakhstan addresses the plenary segment of the High-level plenary meeting of the General Assembly on the theme "Addressing the threats posed by sea level rise". The General Assembly adopted draft resolution A/78/L.35 on holding a High-Level plenary meeting on addressing the existential threats posed by sea-level rise.
This meeting focused on building common understanding, mobilizing political leadership, and promoting multisectoral, multi-stakeholder collaboration and international cooperation towards addressing the threats posed by sea-level rise. The purpose of the meeting aimed to deliver action-oriented solutions for affected States and frontline communities and enhancing action on sea-level rise.
UN Photo/Laura Jarriel
25 September 2024
New York, United States of America
Photo # UN71067152
12:00 pm - 12:50 pm
Hotel Jerome Ballroom
Tristan Harris
Interviewer: Charles Duhigg
Property of the Aspen Institute / Photo Credit: Ian Wagreich
12:00 pm - 12:50 pm
Hotel Jerome Ballroom
Tristan Harris
Interviewer: Charles Duhigg
Property of the Aspen Institute / Photo Credit: Ian Wagreich
12:00 pm - 12:50 pm
Hotel Jerome Ballroom
Tristan Harris
Interviewer: Charles Duhigg
Property of the Aspen Institute / Photo Credit: Ian Wagreich
A representative of the Republic of the Philippines addresses the opening and plenary segment of the High-level plenary meeting of the General Assembly on the theme "Addressing the threats posed by sea level rise". The General Assembly adopted draft resolution A/78/L.35 on holding a High-Level plenary meeting on addressing the existential threats posed by sea-level rise.
This meeting focused on building common understanding, mobilizing political leadership, and promoting multisectoral, multi-stakeholder collaboration and international cooperation towards addressing the threats posed by sea-level rise. The purpose of the meeting aimed to deliver action-oriented solutions for affected States and frontline communities and enhancing action on sea-level rise.
UN Photo/Laura Jarriel
25 September 2024
New York, United States of America
Photo # UN71067151
This photo represents a number of deeper existential questions, such as…
- Whose glasses are these?
- Do they know that they've lost them and where?
- Are they going to come back for them?
- Will they look as funky on their owner as they do on their own?
I found them on the ground next to a closed sidewalk café, and put them on the nearest table after checking that the focal length couldn't possibly set anything on fire even in direct sunlight. If I'm wrong, they'll find themselves minus a table when they open tomorrow.
📷 Nikon D7200 + Nikkor 70-300mm
1/1000s, f/8, ISO 220, 300mm APS-C (≈450mm FF)
A representative of Japan addresses the opening and plenary segment of the High-level plenary meeting of the General Assembly on the theme "Addressing the threats posed by sea level rise". The General Assembly adopted draft resolution A/78/L.35 on holding a High-Level plenary meeting on addressing the existential threats posed by sea-level rise.
This meeting focused on building common understanding, mobilizing political leadership, and promoting multisectoral, multi-stakeholder collaboration and international cooperation towards addressing the threats posed by sea-level rise. The purpose of the meeting aimed to deliver action-oriented solutions for affected States and frontline communities and enhancing action on sea-level rise.
UN Photo/Laura Jarriel
25 September 2024
New York, United States of America
Photo # UN71067140
L'existentialisme est un courant philosophique et littéraire mettant en avant la liberté individuelle, la responsabilité ainsi que la subjectivité. L'existentialisme considère chaque personne comme un être unique qui est maître de ses actes et de son destin.
Puscifer
at The Greek Theatre
Los Angeles, CA
June 12, 2022
All photos © Kaley Nelson Photography - www.KaleyNelson.com
Puscifer (Existential Reckoning Tour 2.0 - Let the Probing Continue) @ Warner Theatre, Washington, DC on Friday, November 4, 2022.
Existential Reckoning Tour 2.0 - Let the Probing Continue Setlist:
Intro: Agent Dick Merkin Video (Spam)
Act 1
Bread And Circus
Postulous
Fake Affront
The Underwhelming
Grey Area
Theorem
Upgrade
Agent Dick Merkin Video (Celebrity Clone)
Act 2
Apocalyptical
The Remedy
Personal Prometheus
Momma Sed (Versatile Mix)
Horizons
The Humbling River (Nagual Del Judith Mix)
Intermission
Agent Dick Merkin Video (Afflictions)
Act 3
Bullet Train To Iowa
Man Overboard
Flippant
Conditions Of My Parole
Bedlamite
Outro: Agent Dick Merkin Video (Tour Announcement)
On the right wall is a "stained glass" window made from a piece of a plastic strawberry basket with glass stains. The stand with Oriental figurine was made from a piece of mahogany filler wood from a cigar box. Both paintings are original watercolors, done in miniature.
A surprisingly existential statue in the 'fountain'.
View on black, courtesy of B l a c k M a g i c
(Best viewed as part of Las Vegas area set)
Existence turns in slow cycles—
where form loosens its meaning,
and being learns how to disappear without ending.
Living in Transit: The Thinkers of a World in Turmoil
War looms over Europe, uncertainty seeps into everyday life, and the weight of history presses upon the present. The world is burning, and yet—there are those who seek understanding, those who bury themselves in the quiet refuge of books, the dim glow of libraries, the solitude of knowledge.
This series captures the introspective minds of young academic women—readers, thinkers, seekers. They wander through old university halls, their fingers tracing the spines of forgotten books, pulling out volumes of poetry, philosophy, and psychology. They drink coffee, they drink tea, they stay up late with ink-stained fingers, trying to decipher the world through words.
They turn to Simone Weil for moral clarity, Hannah Arendt for political insight, Rilke for existential wisdom. They read Baudrillard to untangle the illusions of modernity, Byung-Chul Han to understand society’s exhaustion, Camus to grasp the absurdity of it all. They devour Celan’s poetry, searching for beauty in catastrophe.
But they do not just read—they reflect, they question, they write. Their world is one of quiet resistance, an intellectual sanctuary amidst the chaos. In their solitude, they are not alone. Across time, across history, across the pages they turn, they are in conversation with those who, too, have sought meaning in troubled times.
This is a series about thought in transit—about seeking, reading, questioning, about the relentless pursuit of knowledge when the world feels on the brink.
Where the Thinkers Go
They gather where the dust has settled,
where books whisper in the hush of halls.
Pages thin as breath, torn at the edges,
cradling centuries of questions.
They drink coffee like it’s ink,
trace words like constellations,
follow Rilke into the dusk,
where solitude hums softly in the dark.
Outside, the world is fraying—
war threading through the seams of cities,
the weight of history pressing forward.
Inside, they turn pages, searching
for answers, for solace, for fire.
And somewhere between the lines,
between time-stained margins and fading ink,
they find the ghosts of others who
once sought, once wondered, once read—
and they do not feel alone.
Three Haikus
Night falls on paper,
books stacked like silent towers,
thoughts burn in the dark.
Tea cools in the cup,
a poem lingers on lips,
war rumbles beyond.
Footsteps in silence,
the scent of old ink and dust,
pages turn like ghosts.
ooOOOoo
Reading as Resistance
These young women do not read passively. They underline, they take notes, they write in the margins. They challenge the texts and themselves. They read because the world demands it of them—because, in a time of conflict and uncertainty, thought itself is an act of resistance.
Their books are worn, their pages stained with coffee, their minds alive with the urgency of understanding.
1. Political Thought, Society & Liberation
Essays, theory and critique on democracy, power and resistance.
Chantal Mouffe – For a Left Populism (rethinking democracy through radical left-wing populism)
Nancy Fraser – Cannibal Capitalism (an urgent critique of capitalism’s role in the destruction of democracy, the planet, and social justice)
Étienne Balibar – Citizenship (rethinking the idea of citizenship in an era of migration and inequality)
Silvia Federici – Caliban and the Witch (a feminist Marxist analysis of capitalism and gender oppression)
Didier Eribon – Returning to Reims (a deeply personal sociological reflection on class and identity in contemporary Europe)
Antonio Negri & Michael Hardt – Empire (rethinking global capitalism and resistance from a leftist perspective)
Thomas Piketty – Capital and Ideology (a profound analysis of wealth distribution, inequality, and the future of economic justice)
Mark Fisher – Capitalist Realism (on why it’s easier to imagine the end of the world than the end of capitalism)
2. Feminist & Queer Theory, Gender & Body Politics
Texts that redefine identity, gender, and liberation in the 21st century.
Paul B. Preciado – Testo Junkie (an autobiographical, philosophical essay on gender, hormones, and biopolitics)
Judith Butler – The Force of Nonviolence (rethinking ethics and resistance beyond violence)
Virginie Despentes – King Kong Theory (a raw and radical take on sex, power, and feminism)
Amia Srinivasan – The Right to Sex (rethinking sex, power, and feminism for a new generation)
Laurent de Sutter – Narcocapitalism (on how capitalism exploits our bodies, desires, and emotions)
Sara Ahmed – Living a Feminist Life (a deeply personal and political exploration of what it means to be feminist today)
3. Literature & Poetry of Resistance, Liberation & Exile
European novels, poetry and literature that embrace freedom, revolution, and identity.
Annie Ernaux – The Years (a groundbreaking memoir that blends personal and collective history, feminism, and social change)
Olga Tokarczuk – The Books of Jacob (an epic novel about alternative histories, belief systems, and European identity)
Édouard Louis – Who Killed My Father (a deeply political and personal exploration of class struggle and masculinity)
Bernardine Evaristo – Girl, Woman, Other (a polyphonic novel on race, gender, and identity in contemporary Europe)
Maggie Nelson (though American, widely read in European academia) – On Freedom: Four Songs of Care and Constraint (a poetic, intellectual meditation on freedom and constraint)
Benjamín Labatut – When We Cease to Understand the World (a deeply philosophical novel on science, war, and moral responsibility)
Michel Houellebecq – Submission (controversial but widely read as a dystopian critique of political passivity in Europe)
4. Ecology, Anti-Capitalism & Posthumanism
Texts that explore the intersections of nature, economics, and radical change.
Bruno Latour – Down to Earth: Politics in the New Climatic Regime (rethinking ecology and politics in a world of climate crisis)
Andreas Malm – How to Blow Up a Pipeline (on the ethics of radical environmental resistance)
Emanuele Coccia – The Life of Plants: A Metaphysics of Mixture (rethinking human and non-human coexistence)
Isabelle Stengers – Another Science is Possible (rethinking knowledge and resistance in an era of corporate science)
Kate Raworth – Doughnut Economics (rethinking economic models for social and ecological justice)
Donna Haraway – Staying with the Trouble (rethinking coexistence and posthumanist futures)
The Future of Thought
These are not just books; they are weapons, tools, compasses. These women read not for escapism, but for resistance. In a time of political upheaval, climate catastrophe, and rising authoritarianism, they seek alternative visions, radical possibilities, and new ways of imagining the world.
Their books are annotated, their margins filled with questions, their reading lists always expanding. Knowledge is not just power—it is revolution.
Puscifer
at The Greek Theatre
Los Angeles, CA
June 12, 2022
All photos © Kaley Nelson Photography - www.KaleyNelson.com
GOC
Existential threats
Amycom
Massive temporary cate
Travel restrictions for men
Total air travel suspension
Frequent blackouts
Curfews
George Tooker,
Laundress, 1952, oil on Masonite, 23 1⁄2 x 24 in.
The Schoen Collection: Magic Realism
Magic realism, a relatively neglected school of American painting, probed the disquieting truths beneath the surface of modern life.
By John Dorfman
“For Modernism, we may take it that abstraction is the law and that realism is the criminal,” wrote the art historian Linda Nochlin in the early 1970s. At that time, abstraction had already lost some of its dominance, but the point was and still is sound. With the rise of Pop, representation had begun its return to the art world, but of the multiple modes of representational art that have come into being since then, few can be considered “realism.” And with the widespread use of photography and other machine-generated imagery in mixed media, it has become possible, even easy, to engage in figurative or representational art without using the traditional techniques of realist painting at all. So in that sense, realist painters remain outsiders even if they are no longer outlaws. In the mid-20th century, when abstraction was at its high tide in America, to be a realist was a brave and existential choice, and the artists who took that path are, to this day, relatively obscure and left out of the grand evolutionary narrative of modern art.
One particular group of these artistic criminals is currently getting renewed attention in an important and ambitious exhibition at the Georgia Museum of Art at the University of Georgia.“Extra Ordinary: Magic, Mystery and Imagination in American Realism,” on view through June 13, brings together a selection of works by mostly less-known artists, spanning the mid-1930s through the mid-1950s, making the case that a special way of seeing and depicting the modern world took hold in this country during those decades. Even if it never became a dominant mode, it was persuasive and pervasive enough to constitute a school, albeit one with no formal affiliations and often no direct connection between the artists. Some knew each other well and even worked together, while others lived in different parts of the country and worked utterly independently. In short, what the curators of the Georgia exhibition call “magic realism” was not a cenacle but a zeitgeist, albeit of a somewhat subterranean type. And as the subtitle of the show indicates, this artistic phenomenon raises some important questions about realism itself. If we are in the realm of mystery and imagination—one that was first charted in this country by Edgar Allan Poe—how can this be realism? The answer is that one’s definition of realism depends on one’s definition of reality itself.
The paintings and drawings on view in “Extra Ordinary,” disparate though they may be, share certain characteristics—precise technique with sharp rendering, an eerie or lonely quality, a sense of silence or even airlessness, and a greater or lesser degree of grotesqueness. The works have affinities with other 20th-century movements in the U.S. and Europe, such as New Objectivity (Neue Sachlichkeit) Precisionism, Surrealism, and the American Scene. The comparison with Surrealism is perhaps the closest and most tempting, although most of the artists did not see themselves as being Surrealists. While some of the paintings in the exhibition could be interpreted as depicting dreams, magical realism achieves its magical effects without resort to the oneiric symbolism and distortions of Surrealism. Rather than Dalí, it is de Chirico, with his eerie, empty piazzas, who seems like the progenitor of these artists. The world in their works is basically the real world, seen with eyes shaped by the anxiety, alienation, disquiet, and bewilderment of modern existence.
“Extra Ordinary” takes as its point of departure an exhibition held at the Museum of Modern Art in 1943, “American Realists and Magic Realists.” Curated by Alfred Barr, Dorothy Miller, and Lincoln Kirstein and pulled together in haste at the height of World War II, it drew attention to a type of art that even then was being condemned by critics such as Clement Greenberg, who in his influential 1939 essay Avant-Garde and Kitsch had placed all contemporary realism in the latter category. Greenberg also accused MoMA of “eclecticism” for its willingness to admit figurative art, even of a non-realistic kind, to the ranks of modern art and for mounting exhibitions such as this one and the earlier “Fantastic Art, Dada, Surrealism” (1936). The 1943 show is credited with coining the term “magic realism,” at least as it pertains to visual art (rather than the Latin American literary movement), and the magic in the paintings is of a decidedly non-traditional variety—less a matter of lore and legend than an ability to see beneath the surfaces of things, to draw attention to the weirdness of ordinary life.
For some of the artists in the 1943 and 2021 exhibitions alike, what lay beneath was a forbidden sexuality. Paul Cadmus, Jared French, and George Tooker, who were friends, lovers, and collaborators with each other, shared a fascination with Italian Renaissance aesthetics and the archaic, demanding egg tempera technique, and the curators of the Georgia exhibition suggest that their abiding love of realist traditions had a great deal to do with their homosexuality. While straight artists could abandon representation for the disembodied realm of abstraction, gay artists felt the need to hold on to the body and its sensual possibilities in art, because full and honest expression of their desires and identity was denied them in life.
Cadmus’ The Playground (1948), a startlingly frank and feral portrayal of sexuality—both gay and straight—in a public place, sets the tone for this hiding-in-plain-sight school. French’s Music (1943), while it engages in a heightened depiction of the male body, has a symbolic, otherworldly quality that marks the artist’s “interest in man’s inner reality.” As for Tooker, he specialized in using imagery drawn from everyday life to convey the anomie of modern existence. In Laundress (1952), he blends social realism with magic realism—although it should be noted that he disliked the latter term and resisted inclusion in the category—in portraying a Black woman and three children on the roof of a New York building. The laundry hanging to dry behind them forms a screen or backdrop that suggests Renaissance drapery as well as the 19th-century American artist Raphaelle Peale’s Venus Rising from the Sea—A Deception (circa 1822), a mischievous work in which the titular character does not appear because she is almost entirely hidden by a hanging white cloth. The timelessness and even serenity of Laundress points to Tooker’s concern with human universals that transcend time and place.
Many of the magic realist works concentrate on the American townscape, and in these one can see debts both to Charles Sheeler and to Giorgio de Chirico. George Ault’s Black Night: Russell’s Corners (1943) delivers a Precisionist-worthy view of a red barn and a white stable at a bend in a rural road, a scene from the town of Woodstock, N.Y., where he lived, that he returned to several times in his work. Typically for the artist, it is shown at night, with the darkness held at bay by the light cast by a single street lamp. These modernist nocturnes were a speciality of Ault’s and the eruption of light into darkness creates an eerie effect. Ault was plagued by family tragedy and mental illness, and his brand of magic realism portrays anxiety and depression not internally but externally, by showing the world as seen through saddened, troubled eyes.
The little-known Z. Vanessa Helder also used a Precisionist style to achieve uncanny effects. Her watercolor Pettit Carriage House (1942) is both this-worldly and otherworldly by virtue of its extreme crispness of detail, colors that are both muted and slightly garish, and total absence of people. Although she was based on the West Coast, in Spokane, Wash., and Los Angeles, her Carriage House could easily serve as an illustration for an H.P. Lovecraft story of horror in rural New England. Thomas Fransioli’s Rain in Charleston (1951) depicts a real street in the historic South Carolina city, with identifiable buildings, but the way he depicts it qualifies it for inclusion in the category of magic realism. Here the magic lies in the storm clouds and the reflections off the rain-slicked street, and in the near-total lack of human presence. Again, there is the sense of the macabre without there being anything specifically macabre being shown, as if something were about to happen. In O. Louis Guglielmi’s Tenements (1939), the cityscape is a locus of horror in a more explicit way. Again, the scene is unpeopled, and the street in front of the buildings is strewn with coffins, which appear to be made of bricks as well. The implication, fortified by the funeral wreath that surrounds one of the buildings, is that the tenements themselves are coffins; Guglielmi, who grew up in such a place, ought to know. Stuart Davis admired Guglielmi, who he said “produced many paintings within the framework of familiar images that have the unfamiliarity of life.” Despite the apparent grimness of many of his paintings, Guglielmi said, “My attitude towards painting today is to be clear, to be saturated with hope, to give the people a reason to live out the débris of our years.”
One of the earliest works in “Extra Ordinary” resonates especially strongly today. Henry Billings’ egg tempera The Arrest (1936) is a wrenching depiction of police brutality and dehumanization in which uniformed officers and unidentified others in civilian clothes pile on to a suspect of whom hardly anything can be seen except his legs and waist. His head is completely hidden in the scrum, perhaps being fatally harmed. Despite the violence of the encounter, there is something strangely static about it, and the faces that are visible are basically expressionless. The background to the scene has that de Chirico-esque aspect that one sees so often in magic realist paintings. Here, the Classical architecture, viewed incompletely, suggests a courthouse and a public monument, ironically presiding over this purported restoration of public order. As we see in our own time and place, reality can seem unreal when it is most immediate and painful.
Magic realism, a relatively neglected school of American painting, probed the disquieting truths beneath the surface of modern life.
By John Dorfman
“For Modernism, we may take it that abstraction is the law and that realism is the criminal,” wrote the art historian Linda Nochlin in the early 1970s. At that time, abstraction had already lost some of its dominance, but the point was and still is sound. With the rise of Pop, representation had begun its return to the art world, but of the multiple modes of representational art that have come into being since then, few can be considered “realism.” And with the widespread use of photography and other machine-generated imagery in mixed media, it has become possible, even easy, to engage in figurative or representational art without using the traditional techniques of realist painting at all. So in that sense, realist painters remain outsiders even if they are no longer outlaws. In the mid-20th century, when abstraction was at its high tide in America, to be a realist was a brave and existential choice, and the artists who took that path are, to this day, relatively obscure and left out of the grand evolutionary narrative of modern art.
George Tooker, Laundress, 1952, oil on Masonite, 23 1⁄2 x 24 in.
The Schoen Collection: Magic Realism
One particular group of these artistic criminals is currently getting renewed attention in an important and ambitious exhibition at the Georgia Museum of Art at the University of Georgia.“Extra Ordinary: Magic, Mystery and Imagination in American Realism,” on view through June 13, brings together a selection of works by mostly less-known artists, spanning the mid-1930s through the mid-1950s, making the case that a special way of seeing and depicting the modern world took hold in this country during those decades. Even if it never became a dominant mode, it was persuasive and pervasive enough to constitute a school, albeit one with no formal affiliations and often no direct connection between the artists. Some knew each other well and even worked together, while others lived in different parts of the country and worked utterly independently. In short, what the curators of the Georgia exhibition call “magic realism” was not a cenacle but a zeitgeist, albeit of a somewhat subterranean type. And as the subtitle of the show indicates, this artistic phenomenon raises some important questions about realism itself. If we are in the realm of mystery and imagination—one that was first charted in this country by Edgar Allan Poe—how can this be realism? The answer is that one’s definition of realism depends on one’s definition of reality itself.
The paintings and drawings on view in “Extra Ordinary,” disparate though they may be, share certain characteristics—precise technique with sharp rendering, an eerie or lonely quality, a sense of silence or even airlessness, and a greater or lesser degree of grotesqueness. The works have affinities with other 20th-century movements in the U.S. and Europe, such as New Objectivity (Neue Sachlichkeit) Precisionism, Surrealism, and the American Scene. The comparison with Surrealism is perhaps the closest and most tempting, although most of the artists did not see themselves as being Surrealists. While some of the paintings in the exhibition could be interpreted as depicting dreams, magical realism achieves its magical effects without resort to the oneiric symbolism and distortions of Surrealism. Rather than Dalí, it is de Chirico, with his eerie, empty piazzas, who seems like the progenitor of these artists. The world in their works is basically the real world, seen with eyes shaped by the anxiety, alienation, disquiet, and bewilderment of modern existence.
“Extra Ordinary” takes as its point of departure an exhibition held at the Museum of Modern Art in 1943, “American Realists and Magic Realists.” Curated by Alfred Barr, Dorothy Miller, and Lincoln Kirstein and pulled together in haste at the height of World War II, it drew attention to a type of art that even then was being condemned by critics such as Clement Greenberg, who in his influential 1939 essay Avant-Garde and Kitsch had placed all contemporary realism in the latter category. Greenberg also accused MoMA of “eclecticism” for its willingness to admit figurative art, even of a non-realistic kind, to the ranks of modern art and for mounting exhibitions such as this one and the earlier “Fantastic Art, Dada, Surrealism” (1936). The 1943 show is credited with coining the term “magic realism,” at least as it pertains to visual art (rather than the Latin American literary movement), and the magic in the paintings is of a decidedly non-traditional variety—less a matter of lore and legend than an ability to see beneath the surfaces of things, to draw attention to the weirdness of ordinary life.
Peter Blume, Study for South of Scranton, 1930, oil on canvas, 28 x 20 in.
Vero Beach Museum of Art, Museum Purchase with funds provided by the Athena Society, 2017.2 © 2020 The Educational Alliance, Inc. / Estate of Peter Blume / Licensed by VAGA at Artists Rights Society (ARS), NY
For some of the artists in the 1943 and 2021 exhibitions alike, what lay beneath was a forbidden sexuality. Paul Cadmus, Jared French, and George Tooker, who were friends, lovers, and collaborators with each other, shared a fascination with Italian Renaissance aesthetics and the archaic, demanding egg tempera technique, and the curators of the Georgia exhibition suggest that their abiding love of realist traditions had a great deal to do with their homosexuality. While straight artists could abandon representation for the disembodied realm of abstraction, gay artists felt the need to hold on to the body and its sensual possibilities in art, because full and honest expression of their desires and identity was denied them in life.
Cadmus’ The Playground (1948), a startlingly frank and feral portrayal of sexuality—both gay and straight—in a public place, sets the tone for this hiding-in-plain-sight school. French’s Music (1943), while it engages in a heightened depiction of the male body, has a symbolic, otherworldly quality that marks the artist’s “interest in man’s inner reality.” As for Tooker, he specialized in using imagery drawn from everyday life to convey the anomie of modern existence. In Laundress (1952), he blends social realism with magic realism—although it should be noted that he disliked the latter term and resisted inclusion in the category—in portraying a Black woman and three children on the roof of a New York building. The laundry hanging to dry behind them forms a screen or backdrop that suggests Renaissance drapery as well as the 19th-century American artist Raphaelle Peale’s Venus Rising from the Sea—A Deception (circa 1822), a mischievous work in which the titular character does not appear because she is almost entirely hidden by a hanging white cloth. The timelessness and even serenity of Laundress points to Tooker’s concern with human universals that transcend time and place.
Many of the magic realist works concentrate on the American townscape, and in these one can see debts both to Charles Sheeler and to Giorgio de Chirico. George Ault’s Black Night: Russell’s Corners (1943) delivers a Precisionist-worthy view of a red barn and a white stable at a bend in a rural road, a scene from the town of Woodstock, N.Y., where he lived, that he returned to several times in his work. Typically for the artist, it is shown at night, with the darkness held at bay by the light cast by a single street lamp. These modernist nocturnes were a speciality of Ault’s and the eruption of light into darkness creates an eerie effect. Ault was plagued by family tragedy and mental illness, and his brand of magic realism portrays anxiety and depression not internally but externally, by showing the world as seen through saddened, troubled eyes.
The little-known Z. Vanessa Helder also used a Precisionist style to achieve uncanny effects. Her watercolor Pettit Carriage House (1942) is both this-worldly and otherworldly by virtue of its extreme crispness of detail, colors that are both muted and slightly garish, and total absence of people. Although she was based on the West Coast, in Spokane, Wash., and Los Angeles, her Carriage House could easily serve as an illustration for an H.P. Lovecraft story of horror in rural New England. Thomas Fransioli’s Rain in Charleston (1951) depicts a real street in the historic South Carolina city, with identifiable buildings, but the way he depicts it qualifies it for inclusion in the category of magic realism. Here the magic lies in the storm clouds and the reflections off the rain-slicked street, and in the near-total lack of human presence. Again, there is the sense of the macabre without there being anything specifically macabre being shown, as if something were about to happen. In O. Louis Guglielmi’s Tenements (1939), the cityscape is a locus of horror in a more explicit way. Again, the scene is unpeopled, and the street in front of the buildings is strewn with coffins, which appear to be made of bricks as well. The implication, fortified by the funeral wreath that surrounds one of the buildings, is that the tenements themselves are coffins; Guglielmi, who grew up in such a place, ought to know. Stuart Davis admired Guglielmi, who he said “produced many paintings within the framework of familiar images that have the unfamiliarity of life.” Despite the apparent grimness of many of his paintings, Guglielmi said, “My attitude towards painting today is to be clear, to be saturated with hope, to give the people a reason to live out the débris of our years.”
Henry Billings, The Arrest, 1936, egg tempera on hardboard panel, 23 5⁄8 x 31 5⁄8 in.
The Schoen Collection: Magic Realism; Georgia Museum of Art, University of Georgia
One of the earliest works in “Extra Ordinary” resonates especially strongly today. Henry Billings’ egg tempera The Arrest (1936) is a wrenching depiction of police brutality and dehumanization in which uniformed officers and unidentified others in civilian clothes pile on to a suspect of whom hardly anything can be seen except his legs and waist. His head is completely hidden in the scrum, perhaps being fatally harmed. Despite the violence of the encounter, there is something strangely static about it, and the faces that are visible are basically expressionless. The background to the scene has that de Chirico-esque aspect that one sees so often in magic realist paintings. Here, the Classical architecture, viewed incompletely, suggests a courthouse and a public monument, ironically presiding over this purported restoration of public order. As we see in our own time and place, reality can seem unreal when it is most immediate and painful.
_____________________________________________
for previous visits to the Mint Museum:
www.flickr.com/photos/ugardener/albums/72177720319066582
www.flickr.com/photos/ugardener/albums/72177720322920982/
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The Mint Museum is the largest visual arts institution in Charlotte and holds the largest public collection of Charlotte-born artist Romare Bearden's work.
The American Art collection comprises approximately 900 works created between the late 1700s and circa 1945. It includes portraiture of the Federal era, 19th century landscapes, and paintings from the group known as "The Eight" (Robert Henri, George Luks, William Glackens, John Sloan, Everett Shinn, Maurice Prendergast, Ernest Lawson, and Arthur Bowen Davies). Additional highlights in this area include works by John Singleton Copley, Gilbert Stuart, Thomas Sully, and Hudson River School painters Thomas Cole and Sanford Gifford.
The Art of the Ancient Americas collection includes roughly 2,000 objects from more than 40 cultures, spanning more than 4,500 years. The collection includes body adornments, tools, ceramic vessels, sculpture, textiles, and metal ornaments.
There are about 2,230 objects in the Mint's collection of Contemporary Art. These include the Bearden collection and other works on paper, contemporary sculpture, and photography from circa 1945 to the present.
The Mint's Decorative Arts collection, considered one of the finest in the country, centers on its holdings in ceramics. Containing more than 12,000 objects from 2000 B.C. to 1950 A.D., the collection includes a wide variety of ancient Chinese ceramics, 18th century European and English wares, American art pottery, and North Carolina pottery. The Mint has the largest and most comprehensive collection of North Carolina pottery in the nation. Its collection of North Carolina pottery comprises some 2,200 objects, dating from the 1700s.
The museum's Delhom collection, given to the Mint in 1966, contains 2,000 pieces of historic pottery and porcelain, as well as pre-Columbian pieces that are more than 4,500 years old.
Almost 10,000 items of men's, women's, and children's fashions from the early 18th century to present-day haute couture are included in the museum's collection of Historic Costume and Fashionable Dress, which approaches fashion as an art form.
en.wikipedia.org/wiki/Mint_Museum
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heurgh. heuehwgegegehh. mm. yeah no im just. bad. lmao 😆😆😆😅 but thats life innit. got some work done. practiced guitar. went for a walk. pondered the meaning of it all and came up blank. rang cat in the evening to watch dr who that was nice. i rly gotta fix the fridge. im so,, tired.
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