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Tim Burton @ the MoMA
November 22, 2009–April 26, 2010
11 West 53rd Street, NYC
by navema
The Museum of Modern Art (MoMA) in New York City is hosting a retrospective showcase of Tim Burton’s iconic work within its walls.
Taking inspiration from popular culture, Tim Burton (American, b. 1958) has reinvented Hollywood genre filmmaking as an expression of personal vision, garnering for himself an international audience of fans and influencing a generation of young artists working in film, video, and graphics. This exhibition explores the full range of his creative work, tracing the current of his visual imagination from early childhood drawings through his mature work in film. It brings together over seven hundred examples of rarely or never-before-seen drawings, paintings, photographs, moving image works, concept art, storyboards, puppets, maquettes, costumes, and cinematic ephemera from such films as Edward Scissorhands, The Nightmare Before Christmas, Batman, Mars Attacks!, Ed Wood, and Beetlejuice, and from unrealized and little-known personal projects that reveal his talent as an artist, illustrator, photographer, and writer working in the spirit of Pop Surrealism. The gallery exhibition is accompanied by a complete retrospective of Burton’s theatrical features and shorts, as well as a lavishly illustrated publication.
Burton's films include Vincent (1982), Pee-wee's Big Adventure (1985), Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), The Nightmare Before Christmas (as creator and producer) (1993), Ed Wood (1994), Mars Attacks! (1996), Sleepy Hollow (1999), Big Fish (2003), Corpse Bride (2005), Charlie and the Chocolate Factory (2005), and Sweeney Todd (2007); writing and Web projects include The Melancholy Death of Oyster Boy & Other Stories (1997) and Stainboy (2000).
Inscription reads:
"Screening Room":
'5 chairs with different personalities:
a couple of business types talking about the films from a financial & marketing point of view
1 intellectual type film critic
1 who laughs at everything
and one who sleeps through most everything'
Inscription within the Plantin Polyglot Bible (Vol. 1) / printed as "Biblia Polyglotta" by Christopher Plantin in Antwerp between 1568 and 1573 as an expression of loyalty to King Philip II of Spain / purchased in 1669 by Chetham's Library, Manchester, UK
"Narva A 125" stamp is actually not Narva-1, but Narva-2 checkpoint, for Russians/Estonians and for pedestrians only.
AVAILABLE WORLDWIDE STARTING FROM APRIL 2011
Writing, Travelling and Reading. The new Moleskine collections include bags, pencils, pens, reading glasses, computer cases, a rechargeable reading light and an e-reader stand. A series of accessories, clip-ons and holders are perfectly compatible with the notebooks, ensuring the greatest range of uses and thus forming the ideal kit for the modern-day nomad.
Designed by Giulio Iacchetti
Discover more: www.moleskine.com/about_us/news/scrivere_leggere_viaggiar...
Early morning sunrise on Labor Day. Early bird gets the shot I guess. Writing-On-Stone Provincial Park, Southern Alberta.
A. Merritt (1884-1943) was born in Beverly, N.J. and, while still in his teens, he went treasure hunting in Yucatan. He was one of the first white men in 100 years to enter the ancient Mayan city of Tuluum. At 18 he became a reporter on the Philadelphia Inquirer and, by 24, he was Night Editor. Later, he became editor of The American Weekly, a Sunday newspaper supplement published by the Hearst Corporation. He still found time for writing, producing such masterpieces as “The Moon Pool,” “The Dwellers in the Mirage,” “Creep, Shadow,” “The Ship of Ishtar,” and “Burn Witch Burn.” The latter was filmed as “The Devil Doll” in 1936, and it starred Lionel Barrymore and Maureen O’Sullivan and was directed by Tod Browning.
Of his stories, he once said, “I weave much of what I have seen, heard and read of strange rites, of superstitions, of science, of religion. They are fantastic, but they are accurate and they are very unusual.” Next to Edgar Rice Burroughs, A. Merritt was probably the most reprinted fantasy author in America.
Virgil Finlay (1914-1971), the artist for the memorial edition of “The Ship of Ishtar,” was one of the most popular fantasy artists of the twentieth century. He specialized in detailed pen-and-ink drawings accomplished with abundant stippling, cross-hatching, and scratchboard techniques. Despite the very labor-intensive and time-consuming nature of his specialty, Finlay created more than 2600 works of graphic art in his 35-year career.
Cpl. David Merwin (1842-1916) letters, Company I, 76th Ohio Volunteer Infantry
Gift of Fred D. Merwin
Copyright Massillon Museum
Transcription:
To: Parents
From: David Merwin
Date: August 17, 1863
Black River Bridge, Mississippi
Dear Parents
I received a letter from you this morning also a package of paper. I wrote you a letter yesterday, I filled two sheets full of nonsense. You will get plenty of letters from me now for while we lay here and I have nothing to pass away the time with I will write often.
I am glad you got that money alright, for it is a good ways to send it and then are so many accidents happens on the river. I gave Perry Wiseman money to pay the express charges but he did not do it, it would only have cost a dollar if he had, he said he thought that if the money was lost I would not lose the charges.
Our Major returned from the enemy lines with a flag of truce, Albert Goble (?) was with him. He says they are three miles on this side of Clinton. I did not hear what they went for.
I suppose that we will not be paid for sometime now, on account of the burning of the steamer Reuth (?), with two million five hundred thousand dollars on board. It will be no loss to the Government for if lost, they will never have to be redeemed.
If I had known that there would have been furloughs given, I would not have sent those forty dollars home until I found out whether I would get a furlough or not.
I have received and answered _____ letter I also wrote one to Brownburgers yesterday. I have answered all my letters except one to Gray. Ema owes me one yet, and I have never received that letter that George spoke about writing.
I wrote you a letter telling you to make me a couple of shirts and to send by Johnathan Miller, also a handkerchief and a couple pairs of socks. If you have not got them yet I don’t care if they are half cotton, but I want something good and strong.
What in the world makes you write such little short letters, write often and long letters, write anything at all, papers also are always welcome, you can’t imagine how blue it makes a fellow feel to have a mail come and you running almost to break your neck, and have whoever is distributing it ring out “no mail for you”. Then long days are very _______ , but if a fellow gets a mail, why he can dream of the good things at home and those that are near and dear to him, now write long letters, things that appear uninteresting to you will not appear so to me, but will be interesting to me, tell me of the improvements that are going on about town, and if nothing else will do tell me how often father goes down town of a week and what he buys of a Saturday night. I think that after this long lecture that I will get a good long letter.
Our Lieutenant is a little fellow about the size of the famous Bob F. who says that Cr.S. run a Pittsburgh Landing, though he don’t put on so much style. He has old _____ and a contrary hand to cook and wait upon him.
But here I have written a sheet nearly full and I started to write only a few words. Remember the lecture above and write good long letter to Your Son
David P. Merwin
Charley was learning Burt, a negro, to spell. He asked him what pi spelled, he did not know and Charley asked him what he baked so often, Burt commenced to grin and said Pi back.
I'd written this on my whiteboard late one afternoon, just before I left work; I took a photo of it, in the idea of perhaps creating a series of whiteboard quotes/scribbles/daily meanderings with dry erase markers. The next morning, just as I was settling in to the workday, a group of suits from HR walked past my cube. A few minutes later, our department's admin came and whispered to me, "What do you have on your whiteboard?"
"Oh," I looked at what I'd written. "A quote from Patti Smith."
"Well, you better erase it; those people from HR saw it and were commenting on it; a couple of them were offended, but they thot maybe someone had played a joke on you by writing that."
I sighed. The opening lines of Smith's "Babelouge" are certainly not a joke. But I erased it. I still need this job.
Its a very very rare sight!
Found on this crummy video... news.bbc.co.uk/1/hi/england/7409475.stm
Oh and kids - heres some do's and don'ts for graffiti. Always listen to the BBC!
news.bbc.co.uk/cbbcnews/hi/newsid_7910000/newsid_7910300/...
Let It Rock MAGAZINE- May 1974 - Bryan Ferry
en.wikipedia.org/wiki/Let_It_Rock_(magazine)
Laing, Dave (October 2010). ""The World’s Best Rock Read": Let It Rock 1972-1975". Popular Music and Society.
www.informaworld.com/smpp/content~db=all~content=a9256375...
www.rocksbackpages.com/media.html?PublicationID=LIR
Let It Rock was a monthly British music magazine which featured lengthy critical articles, record reviews and features covering a wide spectrum of popular music, including soul, reggae, and blues. Between October 1972 and December 1975, 35 issues of the magazine were published in London. Dave Laing was the founding editor of the magazine, and John Pidgeon took over as editor in October 1973. The reviews editor was Simon Frith, and Charlie Gillett was consultant editor. Music writers David Hepworth and Barney Hoskyns have called Let It Rock influential, and suggested that it was the precursor of such music publications as Q magazine and Mojo.
influential British music publication of the 1970s. …the origins of the magazine in the nascent rock criticism of the era and … its ethos in terms of historical perspective, transatlantic links and the dichotomy between pop and rock. The content of Let It Rock was broad, including soul, jazz, country, and folk. Many of its writers were new to music journalism and several went on to careers in rock writing or the music industry. As reflected in the letters pages, the readership also included some future music writers. Finally, the article discusses the legacy of Let It Rock as an inspiration for music publications of the 1980s and 1990s.
Contributing writers included John Peel, Lester Bangs, Michael Gray, Mick Gold, David Downing, Phil Hardy, and the soul music column was written by Pete Wingfield. The magazine struggled to achieve consistent sales of 20,000 and closed down due to market forces.
Thirty-five issues of the magazine were published between October 1972 and December 1975
Some articles in this ish:
--------------------------
Richard and Linda Thompson: British Hokey Pokey
Profile and Interview by Dave Laing, Let It Rock, May 1974
ALTHOUGH the mid sixties was a golden era for British rock, very few of the best artists from that time have survived as significant parts of ...
How the other half lives: The Best of Girl Group Rock
Guide by Greil Marcus, Let It Rock, May 1974
GIRL GROUP ROCK flourished between 1958 and 1965, and though, with the passing of the Brill Building and the coming of the sophistication of the soul ...
Lou Reed: Rock N Roll Animal
Review by Mick Gold, Let It Rock, May 1974
AND IT CAME TO PASS in the 1970's that rock culture began to doubt whether it existed at all, and every time that two or three ...
Roxy Music’s Picture Palace
Profile and Interview by Simon Frith, Let It Rock, May 1974
ROXY MUSIC ARE Paul Thompson, Phil Manzanera, Andy Mackay, Bryan Ferry and Eddie Jobson, but the first thing you’ve got to understand is that Roxy Music ...
Leiber And Stoller Part One: The Blues (1950-1953)
Retrospective by Bill Millar, Let It Rock, May 1974
JERRY LEIBER AND MIKE STOLLER. They rank alongside Berry as rock ‘n’ roll’s wittiest composers and their influence as record producers has been immeasurable. ...
Can you sing me the sweetest lovin' lullaby...
Fly me over the moon
With your love so high...
If it's not our day
Will you Give it another try...
Would you Listen for a symphony
In my softest sigh...
Tint my stained glass wings
I'm your pretty Butterfly
One of a photo collection taken at the Pima Air & Space Museum in Tucson, Ariznoa. They have an amazing collection, and a friendly and knowledgeable staff. We had a great day there with the whole family. The kids love it… and so do the grown-ups. I had not been since I was a child… anyway. I hope you enjoy the image.
Broadway and Embarcadero, Oakland, California • More plaques per landmark @ Heinold's First and Last Chance Saloon, listed by the National Park Service on the National Register of Historic Places on September 1, 2000 (#00001067).
• To the left of Heinolds’ you see a wonderful mural depicting several stages of Jack’s life. To the left you see Jack and Charmian in front of the Winery Cottage welcoming guests to their estate. Then we see him standing at the steering wheel of the Snark. It is followed by an oval which displays the Wolf House as it was days before the fire. Over a view of Jack London Square as seen from the estuary hovering over Jack’s motto: The proper function of man is to live, not to exist. The famous wolf can be seen to the left of the hut Jack lived in during his Alaska years. – From Walter Schweikert's Bay Area Murals.
• Steeped in maritime lore, Jack London Square is one of Oakland’s most identifiable landmarks and a symbol of the city’s history as a seaport. Fronting a natural estuary leading to San Francisco Bay, the site was the heart of Oakland’s port operations, linking the industries of shipping and agriculture. It remains a vibrant working waterfront.
Jack London (January 12, 1876 – November 22, 1916) was an American author who wrote The Call of the Wild, White Fang, and The Sea Wolf along with many other popular books. A pioneer in the then-burgeoning world of commercial magazine fiction, he was one of the first Americans to make a lucrative career exclusively from writing.
In an introduction to a collection of stories, he wrote:
I would rather be ashes than dust!
I would rather that my spark should burn out in a brilliant blaze than it should be stifled by dry-rot.
I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet.
The function of man is to live, not to exist.
I shall not waste my days trying to prolong them.
I shall use my time.
Jack London spent much of his boyhood on the waterfront that is now Jack London Square. Here, his youthful adventures as an oyster pirate and sailor inspired stories like The Sea-Wolf. Visit the life sized bronze stature of Jack London standing watch over the waterfront at the foot of Broadway, created by artist Cedric Wentworth.
London made notes for future books while sitting at the tables of Heinold’s First and Last Chance Saloon, built in 1883 from the timbers of a whaling ship. Now a National Literary Landmark, Heinold’s preserves its rustic character from an earlier era when it was frequented by eminent politicians, statesmen, authors, and artists, as well as humble sailors shipping out to sea. Adjacent to Heinold’s, a recreated model of the cabin Jack London lived in during his time spent in the Yukon is available for viewing. – From the website of Jack London Square.
I'm busy writing a research proposal for an MA thesis. Or, rather, I'm busy taking pictures of my desk when I should be writing my research proposal.
en.wikipedia.org/wiki/Erwin_Guido_Kolbenheyer
Erwin Guido Kolbenheyer (December 30, 1878, Budapest - April 12, 1962, Munich) was an Austrian novelist, poet and playwright. Later based in Germany, he belonged to a group of writers that included the likes of Hans Grimm, Rudolf G. Binding, Emil Strauß, Agnes Miegel and Hanns Johst, all of whom found favour under the Nazis.
A Volksdeutscher from the Hungarian part of the Austro-Hungarian Empire, he attended school in Budapest before furthering his education in Karlsbad and Vienna. He became a freelance writer and came to specialise in historical novels that were characterised by their fixation with all things German. Between 1917 and 1925 he produced his most celebrated works, a trilogy of novels about Paracelsus, and in these books Kolbenheyer explored the many of the Völkisch movement concepts prevalent at the time by presenting his hero as the Nordic race archetype struggling against racial degeneracy and immorality. Having settled amongst the Sudeten Germans, Kolbenheyer's right-wing attitudes solidified and he came to pre-empt many ideas of Nazism, notably in his theoretical work Die Bauhütte (1925), which predicted a turn away from 'Judeo-Christianity' as the source of German salvation. This work has been identified as being one of the main influences on Alfred Rosenberg's The Myth of the Twentieth Century. A strong opponent of left-wing politics, he joined Wilhelm Schäfer in resigning from the Akademie der Künste in 1931 over what he saw as their support for the activities of Heinrich Mann and Alfred Döblin.
He continued to write widely under the Nazis, taking up his pen to praise Adolf Hitler in a poem and to defend the Nazi book burnings, as well as to write pro-Nazi war novels such as Karlsbader Novellen 1786 (1935) and Das Gottgelobte Herz (1938). Indeed his star rose under the Nazis because his literature fitted their world view. He was one of a number of writers added to the Prussian Academy of Arts after the Nazis came to power in 1933 at the expense of the likes of Franz Werfel, Ludwig Fulda and Jakob Wassermann, none of whom shared the Nazi weltanschauung.
His 1934 play Gregor und Heinrich, concerning Henry IV, Holy Roman Emperor and Pope Gregory VII, demonstrated an instance of his pro-Nazi stance as he dedicated it to "the German spirit in the process of being resurrected". As a reward for his high standing under the Nazis he was one of six writers included on 'List A' or the 'List of the Immortals', properly known as the Gottbegnadeten list, who were exempted from military service on account of their prestige. He was also awarded the Goethe Prize in 1937.
Unsurprisingly Kolbenheyer's star fell somewhat after the Second World War although from his base in West Germany he continued to publish novels that were largely in the same nationalist spirit as his previous output. He also became a regular contributor to the far right, pan-European nationalist journal Nation Europa.
"The Greens want to see programmes in schools which strengthen equity, build collaboration between schools, encourage students and expose them to exciting experiences that nourish their talents."
Catherine Delahunty is a New Zealand Member of Parliament, writing here in support of Gifted Awareness Week. Read more at blog.greens.org.nz/2012/06/21/supporting-the-gifts-and-ta...
Background image CC BY Enrique Flouret. See www.flickr.com/photos/photoshoproadmap/3368543801/
In addition to the replacement of vellum by paper for production of Qur’an manuscripts during the tenth and eleventh centuries, different types of Arabic calligraphy styles were introduced. Some of the new scripts included naskh, thuluth, and muhaqqaq, which began the replace the angular Kufic script used in the writing of early Qur’an manuscripts. Naskh is simple, supple without any particular emphasis, and highly readable, while Tuluth is wider, more elaborate, and uses elongated verticals. Thuluth was used by Mamluks during the fourteenth and fifteenth centuries and later was refined by Ottoman calligraphers in Turkey. Another script that was highly prized was known as muhaqqaq, which is characterized by its large size, elongated letter endings, and flattened curves that highlight the text.