Tag Archives: art

Herzlichen Glückwunsch zum Geburtstag, Gustav Klimt!

Klimt's The Kiss

Alles gute zum Geburtstag, Gustav Klimt! Es tut mir leid, daß Sie tot sind. Eigentlich haben Sie seit 1918 tot gewesen, so ist es besonders traurig.

Aber wir, die am Leben gelassen werden, sollte um unsere Schulden Sie sich erinnern. Danke!!

Seine Bilder sind wunderschön, und noch bringt mir sehr viel Freude. Ihr Einfluss auf die Kunst war unvergleichlich.

Gut gemacht, Herr Klimt. Sehr gut gemacht. Schönen Dank, und mai Flüge von Engeln Sie zur Ihre Ruh singen.

Bild aus Wikipedia.

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William S. Burroughs’ Shit May One Day Spawn a Race of Mutant Worrrrrrrrrrrrrrrrrrrrrrrms.

I will never get over the deep sense of existential despair I feel in linking to AOLNews, but in this case the punishment fits the crime.

David Moye’s AOLNews post on the project Mutate or Die: A W.S. Burroughs Biotechnical Bestiary, from artists Adam Zaretsky and Tony Allard, hurts my BRAIN. I’m not sure I’ll ever recover. Moye summarizes an article by the artists published last week in H+ Magazine.

READ THE REST AT TECHYUM.

Russian Art Group Voina Nominated For Huge Endowment

A Russian guerrilla art group called Voina (which means “War” in Russian) has been nominated for a state-sponsored prize, even as two members are incarcerated awaiting trial for their part in an “art” project in which police cars were flipped over.

But it wasn’t the flipping of the cop cars that got Voina nominated for the Innovations Prize from the Russian Ministry of Culture and the Center for Modern Art. It was their project to erect a 65-meter male organ, as illustrated in the above video — which some helpful soul has set to The Dance of the Prince & the Sugar Plum Fairy. Here’s the short version (READ THE REST ON TECHYUM)

The “Mystery” of J.X. Williams

From the J.X. Williams Archive.

Never heard of him? You’re not alone! But when I tell you that he’s the director of Nunf*cker, you will surely say “Oh! Yes!! Of course!!! I’ve been meaning to rent that!”

Now, whether underground filmmaker J.X. Williams is real or fake, I don’t know and don’t particularly give a damn, which is why I just spent a couple of hours trying to figure it out. But the fact that the hoax has now continued for several years is fascinating — as is the fact that the hoaxster(s) chose as a name for his/her/their/its fictional exploitation-filmmaker the name of a prolific collective pseudonym used to write gay smut. That’s lent credence to some hilarious claims in this Rumpus interview which pretty much spells it out if you read between the lines. So does this, which is by Lawrence himself — and it’s pretty inspired.

Back to the beginning: When, for some reason, I started getting promotional emails from “The J.X. Williams Archive” a few years back, it’s not so much that I thought I was being hoaxed as that I didn’t, for one damn instant, think I wasn’t being hoaxed. I still don’t, but I am confused as to just what the point is.

READ THE REST OF THIS POST ON TECHYUM.

Told/Untold/Retold: Qatar Contemporary Art Exhibition

Screencap of BIPRODUCT, a multimedia installation by Khalil Rabah.

Wow, Qatar has been making headlines lately. The Arabian-peninsula nation committed the coup of snatching the 2022 World Cup from the hands of other likely aspirants, assuring that players and soccer hooligans alike will have to cope with the region’s 120 degree heat.

Now, according to an article in Gulf-Times.com, Mathaf: The Arab Museum of Modern Art in Doha, Qatar is hosting its first multimedia art exhibition, a little thing called “Told/Untold/Retold,” which opened December 30. Qatar Museums Authority’s new exhibition hall at the Museum of Islamic Art. In fact, if you visit Mathaf’s website, you’ll find a slideshow of some absolutely incredible images, including the unbelievable image at right.

Incidentally, you absolutely must check out this image, from Jeffar Khaldi. There are other offerings by Khalil Rabah, Youssef Nabil, Khaled Takreti, mounir fatmi, Jeffar Khaldi, and more, for a total of 23 artists represented. But of course, the part of the show that generated headlines, and probably the only part that will lodge in the brainpans of art lovers in the west, is the dude with the camera implanted in his head.

READ THE REST OF THIS POST ON TECHYUM.

Black Vinyl Rituals and the Madness of Crowds

Lou Reed's 1971 debut solo album.

You know, if you’d asked me yesterday, “What fascinating topics do you expect get all excited about tomorrow?”

I would have probably guessed things like: “The rise in domestic US police helicopter surveillance, attendant budgetary concerns ramifications for displacement of military helicopter forces with turboprop aircraft in counterinsurgency operations and smuggling interdiction!”

Or….”Supreme court obscenity decisions!” Or “The terminal ballistics of the .223 Remington round vs. the 5.7 NATO, as compared to .30 caliber in terms of their wounding capability against zombies vs. werewolves vs. leprechauns in Kevlar body armor!”

Or ” “the heat death of the Universe,” or “Frozen human heads,” or “metastatic renal cell carcinoma” — you get the idea.

Would I have guessed “Typography in album covers?” Probably not.

Yet this wonderful article by Sonalia Vora at psdtuts.com thoroughly fascinates me. Titled “50 Years of Typography in Album Covers,” it surveys some of the more interesting and innovative examples of how type can be used to unique effect, and specifically how it has been used in one of the most influential popular arts of the second half of the 20th Century.

While the article itself is fascinating just from a typography-nerd perspective, it also got me thinking about how much energy my friends and I used to put into vinyl.

Today’s “album cover art” usually apes the general format of the LP — as did CD covers. But there’s no reason for it. As a digital sound artist today, you can create whatever images you do or don’t want to accompany your work, both in marketing and artistic terms. You can slap them up wherever you want in whatever style and aspect ratio you please, with no guarantee that anyone will ever see them or pay attention if they do. The musical artists and their music-industry representatives have even less control today over what images get seen with music than they did in the days of my youth — when the biggest problem they had was that someone would “illegally” home-tape their hard rock album on one side of an TDK SD90 b/w Harry Bellafonte’s Greatest Hits.

This was, of course, back before “irony.”

And when I say “music industry representatives,” I am of course including every stratum of the “industry,” since there’s nothing even remotely close to a monolithic one-tiered music-industry structure today. (READ THE REST OF THIS POST ON TECHYUM)