he not only changes them but also spawns a relationship that we cannot help but accept as a new reality...a highwire act by balancing humor...instigating a give and take that OCILATES freely between.....
Rick Smith, Jr. is the current Guinness World Record holder for throwing a playing card further than anyone -- 216 feet and 4 inches. On this DVD Smith teaches several methods on how to throw cards for speed, distance and accuracy and how to slice vegetables and topple a pyramid of soda cans.
In addition to card throwing the DVD features many different card flourishes, stunts, displays, spinning, flicking and kicking. You will learn: Thumb Shooting, Boomerang Card, Canned, Selery Stalker, Swing Shot, Ring Finger Shot, Snap Shot, Flick Trick, Back Flicks, Fire Flicking, Sucker, Hackey Flick, Pop-Up Cards, Fly Out, Quick Flick, and much more.
The launch of Microscopy U at http://www.microscopyu.com is part of a completely new web initiative undertaken by Nikon this year. The company will soon be launching a new http://www.nikonusa.com website, with photo inspiration, product information, education and community for all who are interested in Nikon's full line of products. For more information, access the websites or contact Nikon directly at 1300 Walt Whitman Road, Melville, NY 11747.
"What is literature but an insider's newsletter about affairs relating to molecules, of no importance to anything in the Universe but a few molecules who have the disease called 'thought'."
This paper examines the notion of the new (and its associative concepts such as novelty, newness, originality) so central to the organization creativity and innovation literature. Rather than taking the idea of the new and novelty for granted, the ontological and epistemological assumptions regarding the idea of the new deserve a proper analysis. In this article, an empiricist philosophical tradition of thinking represented by for instance James and Deleuze is examined. While rationalist traditions of thinking are praising the new and novelty as an extraordinary event, empiricism conceives of creation and novelty as continually taking place in the restless change innate to being. In empiricist thinking, the idea of the new is something of a truism because new connections and assemblages are continuously produced in the course of action. Thinking of creation and innovation as not extraordinary events but a regular operation may open up for alternative views of creativity and innovation management previously neglected or marginalized.
When you have all the selections on their own layer..right click that layer and choose "Effects" from the pop up. Deselect drop shadow and choose >bevel and emboss >change the blur setting to 2 >change the emboss type to "Pillow Emboss" >Keep everything else the same.
An example of a novelty that clearly could have happened before is a newly-generated sentence, such as "The deckchairs are on the top of the mountain, three miles from the artificial flowers". I have never thought of that sentence before, and probably no-one else has, either. Chomsky remarked on this capacity of language-speakers to generate first-time novelties endlessly, and called language "creative" accordingly. But the word "creative" was ill-chosen. Novel though the sentence about deckchairs is, there is a clear sense in which it could have occurred before. For it can be generated by any competent speaker of English, following the same rules that can generate other English sentences. To come up with a new sentence, in general, is not to do something P-creative.
Move over Oprah! Welcome to the Osama Bin Laden Book Club. In his most recent video message, Bin Laden extols the works of the leftist author Noam Chomsky and he also directs Americans to read the book Imperial Hubris written by former CIA analyst and Bush critic Michael Scheuer. Scheuer places the blame for the turmoil in Iraq and the Middle East squarely on Bush, and Chomsky wrote of 9/11, "As atrocities go it doesn't rank very high."
The Old Man of the Mountain was a name given to Rashid ad-Din Sinan, one of the leaders of the Syrian wing of the Hashshashin sect and an important figure in the history of the Crusades.
Every kid thinks about running away at one point or another; few get farther than the end of the block. Young Sam Gribley gets to the end of the block and keeps going--all the way to the Catskill Mountains of upstate New York. There he sets up house in a huge hollowed-out tree, with a falcon and a weasel for companions and his wits as his tool for survival. In a spellbinding, touching, funny account, Sam learns to live off the land, and grows up a little in the process. Blizzards, hunters, loneliness, and fear all battle to drive Sam back to city life. But his desire for freedom, independence, and adventure is stronger. No reader will be immune to the compulsion to go right out and start whittling fishhooks and befriending raccoons.
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Nathan Efron, Professor of Clinical Optometry at the University of Manchester, said: "The beer goggles effect isn't solely dependent on how much alcohol a person consumes, there are other influencing factors at play too.
"For example, someone with normal vision, who has consumed five pints of beer and views a person 1.5 metres away in a fairly smoky and poorly lit room, will score 55, which means they would suffer from a moderate beer goggle effect."
The research was commissioned by eyecare firm Bausch & Lomb PureVision.
I especially enjoy rich textures, dramatic lighting and a hint of the surreal. These have allowd me to depart from the restrictions of trompe l'oeil. Trompe l'oeil must be the actual size of the object it represents to be convincing, and also must be of a certain view, on table tops you are usually looking down on the objects. Canvas and panels enable me to paint what ever size and view I wish, and is very exciting. Most recently I have become fascinated with painting....scenarios...some are straightforward and some have a surreal quality. I have also started painting in much larger formats, which I am thoroughly enjoying."
As usual, his display of skill and cleverness is entertaining; unusually, it is nothing more. Mr. Schuyff makes smarter paintings when he has less on his mind.
Baron Bob: Wonderfully Wacky, Marvelously Successful Need a tequila-flavored lollipop ? It all makes perfect sense and all seems to be as it should. But to borrow a phrase from broadcast legend Paul Harvey, “now you need to know the rest of the story” Type “Baron Bob” into Google and the first thing you see is a link to BaronBob.com and WonderfullyWacky.com. This is where you can buy, among other things, the dancing Caddyshack Gopher, Anger Management Dolls and Talking Napoleon Dynamite Plush Dolls. There are about a thousand weird and wacky gift ideas on Baron Bob’s site, some of the very popular ones you, well, you have to go to the site to see.
"Tila Nguyen was 1 year old when she moved to the U.S. from Singapore, but she's Vietnamese by heritage and blond by choice. As for what she does for a living, there isn't really a word for it yet. Nguyen, who goes by Tila Tequila professionally, is some combination of rapper, singer, model, blogger and actress. But what she mostly is is the queen of the massive social-networking website MySpace..."
A natural or man-made object (or fragment of an object) found (or sometimes bought) by an artist and kept because of some intrinsic interest the artist sees in it. Found objects may be put on a shelf and treated as works of art in themselves, as well as providing inspiration for the artist. The sculptor Henry Moore for example collected bones and flints which he seems to have treated as natural sculptures as well as sources for his own work. Found objects may also be modified by the artist and presented as art, either more or less intact as in the Dada and Surrealist artist Marcel Duchamp's readymades, or as part of an assemblage. As so often, Picasso was an originator, from 1912, when he began to incorporate newspapers and such things as matchboxes into his Cubist collages, and to make his Cubist constructions from various scavenged materials. Extensive use of found objects was made by Dada, Surrealist and Pop artists, and by later artists such as Carl Andre, Tony Cragg, Bill Woodrow, Damien Hirst, Sarah Lucas and Michael Landy among many others.
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The first visible consequences of a widespread use of détournement, apart from its intrinsic propaganda powers, will be the revival of a multitude of bad books, and thus the extensive (unintended) participation of their unknown authors; an increasingly extensive transformation of phrases or plastic works that happen to be in fashion; and above all an ease of production far surpassing in quantity, variety and quality the automatic writing that has bored us for so long.
Intertextuality is the shaping of texts' meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term “intertextuality” has, itself, been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva in 1966. As critic William Irwin says, the term “has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about allusion and influence” (Irwin, 228).
The practice of sampling, widely used in hip-hop and other forms of contemporary music, is also an example of intertextuality. By sampling previous songs, artists rely on an audience's ability to identify those tunes in order to grasp a fuller meaning of the new song.
Catch-2two as it is currently construed is a misnomer as is "Heisenberg's Uncertainty Principle" which is actually "Schrodinger's cat". (This puts those who know the difference in a double bind but not a Catch-22.)
A “catch-22” has come to mean, incorrectly, an absurd, no-win situation.
Allusion differs from the similar term intertextuality in that it is an intentional effort.
This good looking, charming little bed and breakfast has everything to be a great little place, but it seems to have been abandoned by its management. The lock in the first room I was given did not work properly. I was then moved to a better looking room, but the french type room doors offered no privacy, since they were "covered" only by a curtain through which anyone could see when the room lights were on. The remote control for the TV did not work and nothing was done about it when I complained to the staff. The soda machine outside the rooms did not work either, the ironing board collapsed when my colleague tried to use it and the furniture in the room was very dusty in exactly the same spots, from the moment I checked in to the moment I left.
It is a very quaint and pleasant little place, nicely put together, but it seems to have been abandoned by its owners. The staff is lazy to address basic issues such as a non-working TV remote control. The location is great, though, and it is a pity that they just seem not to care about their business.
Mediated experience is a psychological/philosophical term. Everyone uses filters in their lives to sort things out, such as expectation or routine. Through these filters daily life is easier to take. If a poor man has the expectation that life will improve, then the bleakness of his current situation can be mitigated. Unmediated experience, or the real reality disputes this, but honestly, what would life be like if we couldn't dream?
Trying to make sense of things can be tricky. Being able to make sense of anything would mean having all the information that it takes to make it fit into something that is known and accepted or understood by the person trying to make sense. Life and reality are tricky. Even when we think we have made sense out of something, we may still be living in total illusion. In a way trying to make sense of something is like putting together a puzzle. All goes well as long as we have all the pieces of the puzzle that belong together in one place and available. But if there is a piece missing... or a piece of another puzzle in the picture... we will be thrown off. Life is not simple. Not everything makes sense. Or fits into neat configurations. And after all, whose sense are we talking about anyway? I think, more than sense, I look for a spark, a recognition, an igniting emotion to be inspired. I think I have been on this planet long enough to figure that my knowledge is only a fraction of the whole picture and no matter how I try to gain understanding, that is always the way it will be. My sense may be your puzzle - but - curiosity rules.
*** A lot of smart people worked at WDW in 1972, which is why I'm certain that someone must have suggested having Captain Hook skiing from one boat while the crocodile skied behind another, ready to chomp once more on raw pirate while the captain took shots at him with his pistol - ultimately igniting a barrel of explosives in the other boat and instantly killing the driver in a fiery cataclysm through which the crocodile would then glide and emerge unharmed save for smoke trailing from his tail. But apparently the idea was not realized on the water.
This is one reason why found portraits in particular lend themselves very nicely to Schuyff’s renovations: they allow him to go easy around the eyes, which are, as we know, the windows to the soul that are supposed to provide us insight into, let’s say, the tears of a clown. Schuyff seems to acknowledge the potential pitfalls of such a sympathetic response in his series of drawings done on pastel or pencil portraits that at the very least have the look of those done by street artists for the tourist trade. It’s tempting to assess his various moods or personalities in each of them, whether in what the portraitist “captured,” or what Schuyff himself has added to them (in most cases an array of visionary dots, some free-floating, others in a grid, or, no surprise, locked around the eyes), or in what happens in the space “between” both artists work as it reflects what Schuyff decided to do to such typical types of portrait (pseudo-mass) production. The landscapes (or seascapes, etc.) don’t have the same hook. However, what they lack in “personality” they make up for in pure hypnotic pull. Schuyff’s tubular concentric rings are part chakra, part target, centering us formally and psychologically for the serious game at hand, a game that he has mastered over the years as he time and time again has engaged the everyday.
Hi. Hope everyone is enjoying the new art season. I would appreciate if you kept the discussion more about the work posted and related topics on this blog. Thanks. Painter.
"they allow him to go easy around the eyes, which are, as we know, the windows to the soul that are supposed to provide us insight into, let’s say, the tears of a clown"
TEARS OF A CLOWN
As anyone familiar with the John Wayne Gacy story could have told him, Andrew Jarecki shouldn’t have been too surprised when his documentary about clowns took a strange and sinister turn. He wanted to do a profile on the guy he’d hired to entertain at his son’s birthday. That became Capturing the Friedmans, a harrowing, ambiguous, and provocative account of a notorious 1980s pedophile case.
" It was originally a movie about professional children’s-birthday-party entertainers in New York City, " says Jarecki, " and Dave Friedman is, like, the number one guy. "
Tests of the soap were inconclusive. (The alleged practice of rendering human fat into soap is a story unto itself; the common opinion now seems to be that while it may have been made experimentally once, human soap was never produced in quantity.) You never know what will turn up, but without tests, don't assume that just because a lampshade or other item is claimed to be of human origin, it is.
or we could talk about I dont bathe's 10/9/07 4:35 PM comment about newness and novelty as pertains to this painting. Does adding a 3-d tromp l'oil object add anything to the viewing experience? Or would you rather have the actual object?
The sly wit of pointing out the absurdity of modifying a painting to meet the tastes of the elite is of course lost on the elite, with their poodles and limousines. No, they think its a jab at the lower classes with its taste for teal.
Dressing in teal, the upper classes think they are "putting one on" the lower classes, or at least saying "fuck all" to the received wisdom that taste matters.
The use of a faux photoshop "pillow emboss" is a display of skill at once facile glib and pedantic - the obvious jab at "skill" itself at once a self referential and universally insulting assault on academic realist painting.
This reveals a love hate relationship with realism, inculcated by critics and teachers who forbade its unironic usage.
Trapped in this dialectic, Peter Shyuff retreats to a stance of tepid denial.
Class consciousness is a category of Marxist theory, referring to the self-awareness of a social class, its capacity to act in its own rational interests, or measuring the extent to which an individual is conscious of the historical tasks their class (or class allegiance) sets for them.
the lower classes think the upper classes don't get the joke, but the joke is on them! Class consciousness is a hall of mirrors in Versailles, and having never been there, I reveal my class.
Signing a treaty I point to my 10/9/07 4:49 PM comment about photoshop. Both Salle and Peter Schuyff are both attracted and repulsed by photoshop, but like moths to a flame will never pass through the vortex. I think its a generational thing.
Thats a detournement folks. thats what it's called. Banksy is making a career out of it. Go Banksy. You knwo but no one cares if its not NEW right? I mean its the MESSAGE not the formal dealio. So the takeaway from this, just so you are on the same page, is that you dont have to be onboarded to the glory hole of hhistory, just take a wide stance and reach for the brass ring, or the plastic one, or take the pacifyer, the bromide, chew it, spit it out, whatever.
I am not so sure about found paintings in the first place, but Shaw made it an art form (yes, I did see his set of found portraits at PS 1 a month back)... Now, I am even less sure about Peter Schuyff's after looking at the 'found - manipulated' paintings..
The gallery handout says "It’s a tough thing to pull off without it becoming a joke or, worse yet, condescending. Schuyff accomplishes what is the equivalent of a high-wire act by balancing humor with what I want to suggest here is a certain amount of compassion, if not empathy. ..."
I am not soo sure who the joke is on - us or the paintings or on Target...
Sorry, I was not impressed - but then I don't really count...
With this painting posted here I feel that the viewer doesn't actually see a hole image, they presume its holeness with the information given. As a related topic I'll also add that this image we are looking at engages the viewer, and gets them guessing about the characters' actions. Create's expectations, which are proved to be wrong. This makes this painting both unpredictable and exciting
* a term denoting a part of something is used to refer to the whole thing, or * a term denoting a thing (a "whole") is used to refer to part of it, or * a term denoting a specific class of thing (a "species") is used to refer to a larger, more general class (a "genus"), or * a term denoting a general class of thing (genus) is used to refer to a smaller, more specific class (species), or * a term denoting a material is used to refer to an object composed of that material.
Synecdoche is closely related to metonymy (the figure of speech in which a term denoting one thing is used to refer to a related thing); indeed, synecdoche is often considered a subclass of metonymy. It is more distantly related to other figures of speech, such as metaphor.
The use of synecdoche is a common way to emphasize an important aspect of a fictional character; for example, a character might be consistently described by a single body part, such as the eyes, which come to represent the character.[citation needed]
I don't know why but, if you are interested in trying to build a compelling signature style you have to look within, harness what really makes you great, and then express that to the fullest.
"A rock star in hand could take out two bushes" -Richard Nixon
"The CIA currently maintains a network of several hundred foreign individuals around the world who provide intelligence for the CIA and at times attempt to influence opinion through the use of covert propaganda. These individuals provide the CIA with direct access to a large number of newspapers and periodicals, scores of press services and news agencies, radio and television stations, commercial book publishers, and other foreign media outlets."
"Effective immediately, the CIA will not enter into any paid or contract relationship with any full-time or part-time news correspondent accredited by any U.S. news service, newspaper, periodical, radio or television network or station." However, he added that the CIA would continue to "welcome" the voluntary, unpaid cooperation of journalists.[21]
IN 1983, after a postgraduation stint in Paris on a grant from the American Center, Pat returned to the States, moved to New York, and started her first gallery, on Sixth and B. Built by her boyfriend (and later, her first husband) Thierry Cheverney, it opened in November with a group show that included an old friend from Boston, George Condo. The gallery was a fabulous scene in the still shabby East Village, a provocative mix of high life and low. The works of such fledgling luminaries as Schuyff, Taaffe, Condo, Kunc, and Donald Baechler were collected by art-world heavyweights like Larry Gagosian, Charles Saatchi, Barbara Gladstone, and Thomas Ammann.
Artist Damien Hirst is purchasing his own skull. The artist is part of an investment group that’s forking over $100 million for the diamond-studded skull that Hirst himself created.
The artwork, entitled For the Love of God, has 8,601 diamonds and cost $20 million to create. It had been available since June 3.
However, with the slight dip in the art market, it had yet to sell. So, the artist formed an investment group that’s planning on sending the piece on a tour of the world’s museums and galleries, with the hope that in a few years it will net an even larger payday.
I’d dispute Zipthwung’s distinction between synecdoche and metonymy but it would be too far off topic.
Does it make any difference whether Schuyff found the background paintings, had them made or painted them himself?
It strikes me the main contrast is between types of painting – Schuyff’s signature low-relief abstract shapes, mostly curved, worked with small but vigorous brushwork, strict tonal values – and the traditional, pretty hackneyed paintings on which they are placed. He could have placed them on photos (b&w/c) or fabrics (a la Polke) furniture or whatever, but the difference he’s interested in is firstly with painting, secondly with popular even well-worn kinds. He could have placed his shapes on other kinds of abstractions or semi-abstractions, but he’s after very traditional, concrete pictures.
So what does that do to his shapes? His signature? Does it give his brushwork a fresh and compelling context? Actually it seems to work the other way. The more we compare them with other kinds of brushwork or tonalities, the more trivial and meretricious they appear, the more remote and arbitrary his curves, loops and circles.
I agree with IDB, the portraits carry the most impact (which is not to say much) because ‘signature’ here is directly linked to identity – as the face of an individual or role. Schuyff’s identity is to a large extent tied up with his signature style, and I suppose it shows at least tenacity to persist with it after all these years, but I think there are other options to his drawing, tone and brushwork, and I don’t think this exhibition make it any stronger or attractive.
The difference, if he had spent time doing a well-worn type of figurative/landscape painting and placed his forms on his own work is they wouldn't seem so lazy. His brushwork shapes and color choices seem to mimic or look to work with and yet against those of the found paintings and look just as dingy and thrift storesque. By the way this painting looks much better upside down.
A pig's snout is a synecdoche. A squeal is a metonym. Unless you think the squeal is an edible part of the pig as in "I ate everything but the squeal."
Twenty snouts had I And she had twenty squeals My cleaver but a metonym for me And she a synecdoche on wheels.
No I didn't realise QQ, for some reason I couldn't access the PDF. But I guess that makes the conviction more widespread.
If he’d just painted the backgrounds himself the effect would be tedious rather than lazy. The real problem is the terms by which Schuyff tries to preserve or project his ‘signature’ - or the signature in the first place.
“But the highlight for the center’s regulars were the inspirational jihad lecture series, featuring CIA-sponsored speakers.… One week on Atlantic Avenue, it might be a CIA-trained Afghan rebel traveling on a CIA-issued visa; the next, it might be a clean-cut Arabic-speaking Green Beret, who would lecture about the importance of being part of the mujaheddin, or ‘warriors of the Lord.’ The more popular lectures were held upstairs in the roomier Al-Farooq Mosque; such was the case in 1990 when Sheikh [Omar] Abdul-Rahman, traveling on a CIA-supported visa, came to town.” One frequent instructor is double agent Ali Mohamed, who is in the US Special Forces at the time (see 1987-1989). Bin Laden’s mentor Azzam frequently visits and lectures in the area. In 1988, he tells “a rapt crowd of several hundred in Jersey City, ‘Blood and martyrdom are the only way to create a Muslim society… However, humanity won’t allow us to achieve this objective, because all humanity is the enemy of every Muslim.’” [New Yorker, 3/17/1995] Ayman Al-Zawahiri, future Al-Qaeda second-in-command, makes a recruiting trip to the office in 1989 (see Spring 1993). [New Yorker, 9/9/2002] The Brooklyn office also raises a considerable amount of money for MAK/Al-Kifah back in Pakistan. The Independent will later call the office “a place of pivotal importance to Operation Cyclone, the American effort to support the mujaheddin.
BRIDGEKEEPER: Stop! What... is your quest? LAUNCELOT: To seek the Holy Grail. BRIDGEKEEPER: What... is your favourite colour? LAUNCELOT: Blue. BRIDGEKEEPER: Right. Off you go.
It's as if Schuyff was trapped in his grandma's attic with some cheesey 60's paintings from a cheap motel, photoshop, Mr.Bill, 80's nintendo and Q-bert. Kenny Shcarff is in there too.
OK, thanks for all that. I call this an intelligent painting--on account of what's interesting with it is this stuff of painting , no name needed, we call homers.
it's all a mess on the ground. when u zoom out, google style, and look at how things are, you end up laughing. so fuck, a bit of play measured against some knowledge is a good thing. a nice old limp pastiche. neither here nor there, and scarcely everywhere. but when you start to agree, the game is up. conversation is inherently built upon 'devils advocacy' to keep it lit. like snails, you be pink, and i'll be blue, tonight. tomorrow is another play. can i just say that signature styles remain the of domain of karl lagerfield et al, and their place in the art markette always smells a bit funny. sometimes art really just is sublime fashion. or subject to the same marketable principles. does it matter? yes and no. are you eating out tonight, or will it be canned. hmmmm. playing out duality, just like schuyff. Photoshop vs Thrift Shoppe. High low, or Low High, or extra combos, unlock new levels of cool, High+Low+Low+High+Low. If you're playing, then Good for You! BLAAAAAA.....just buy it! Old Damien put a few together and bought his own diamond skull for fucks sake. Jeeeeez.....it's a big joke, that lingers around inside the brainicle for longer than most jokes. In the afterglow, we find the ruins of platonic meaning and other sundry bullshit. Like i said before, just strike and hold. Level 2, snow crash metaverse. Isn't it funny that art is converged upon by both extremes - the starving, and the stuffed. In one way, both aim to play with life and take risks - one because they've got little else to do and the other because they just want to. Back and forth, in and out. Cultural oscilloscope. Cell division. The guy who invented SimCity is releasing a game next year, where you start at the big bang. 5 years in the making. Whatever.
But for every litter freak or culture purist driven to indignation by Banksy there’s a person who is entranced. While setting up the show in Los Angeles, Banksy ordered a pizza, ate it, and tossed the box in a Dumpster. Within weeks, the pizza box was sold on eBay, for a hundred and two dollars. The seller suggested that a few anchovies that had been left inside might yield traces of Banksy’s DNA.Dept. of Popular Culture: Banksy Was Here: Reporting & Essays: The New Yorker
Gilbert has some valid points: “Radical” institutions may indeed merely serve to reassure people that things are not so bad after all. Under these conditions, the answer to the question, What is to be done? can hardly be encapsulated in a neat slogan. Just as Gilbert perhaps crossed the line from political rigor to moral hysteria, so the refusal to engage in a tactical use of even compromised institutions and media—my compliments for finding this text between ads, dear reader—can easily slip into acceptance and even celebration of the status quo.
This used to be a good blog. Can those of you who are hogging the forum to sound off on unrelated topics please take a fucking break? Jesus. Lay off the coke.
80 comments:
Peter Schuyff @
Nicole Klagsburn
526 26th Street 2nd floor
NYC
he not only changes them but also spawns a relationship that we cannot help but accept as a new reality...a highwire act by balancing humor...instigating a give and take that OCILATES freely between.....
Rick Smith, Jr. is the current Guinness World Record holder for throwing a playing card further than anyone -- 216 feet and 4 inches. On this DVD Smith teaches several methods on how to throw cards for speed, distance and accuracy and how to slice vegetables and topple a pyramid of soda cans.
In addition to card throwing the DVD features many different card flourishes, stunts, displays, spinning, flicking and kicking. You will learn: Thumb Shooting, Boomerang Card, Canned, Selery Stalker, Swing Shot, Ring Finger Shot, Snap Shot, Flick Trick, Back Flicks, Fire Flicking, Sucker, Hackey Flick, Pop-Up Cards, Fly Out, Quick Flick, and much more.
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“Please return your seatbacks and tray tables to their upright and locked position
"What is literature but an insider's newsletter about
affairs relating to molecules, of no importance to
anything in the Universe but a few molecules who
have the disease called 'thought'."
This paper examines the notion of the new (and its associative concepts such as novelty, newness, originality) so central to the organization creativity and innovation literature. Rather than taking the idea of the new and novelty for granted, the ontological and epistemological assumptions regarding the idea of the new deserve a proper analysis. In this article, an empiricist philosophical tradition of thinking represented by for instance James and Deleuze is examined. While rationalist traditions of thinking are praising the new and novelty as an extraordinary event, empiricism conceives of creation and novelty as continually taking place in the restless change innate to being. In empiricist thinking, the idea of the new is something of a truism because new connections and assemblages are continuously produced in the course of action. Thinking of creation and innovation as not extraordinary events but a regular operation may open up for alternative views of creativity and innovation management previously neglected or marginalized.
pillow emboss
Step 7: Pillow emboss
When you have all the selections on their own layer..right click that layer and choose "Effects" from the pop up. Deselect drop shadow and choose
>bevel and emboss
>change the blur setting to 2
>change the emboss type to "Pillow Emboss"
>Keep everything else the same.
It should look like this.
whoa! that is one f-cked up lollipop!
An example of a novelty that clearly could have happened before is a newly-generated sentence, such as "The deckchairs are on the top of the mountain, three miles from the artificial flowers". I have never thought of that sentence before, and probably no-one else has, either. Chomsky remarked on this capacity of language-speakers to generate first-time novelties endlessly, and called language "creative" accordingly. But the word "creative" was ill-chosen. Novel though the sentence about deckchairs is, there is a clear sense in which it could have occurred before. For it can be generated by any competent speaker of English, following the same rules that can generate other English sentences. To come up with a new sentence, in general, is not to do something P-creative.
Move over Oprah! Welcome to the Osama Bin Laden Book Club. In his most recent video message, Bin Laden extols the works of the leftist author Noam Chomsky and he also directs Americans to read the book Imperial Hubris written by former CIA analyst and Bush critic Michael Scheuer. Scheuer places the blame for the turmoil in Iraq and the Middle East squarely on Bush, and Chomsky wrote of 9/11, "As atrocities go it doesn't rank very high."
The Old Man of the Mountain was a name given to Rashid ad-Din Sinan, one of the leaders of the Syrian wing of the Hashshashin sect and an important figure in the history of the Crusades.
Every kid thinks about running away at one point or another; few get farther than the end of the block. Young Sam Gribley gets to the end of the block and keeps going--all the way to the Catskill Mountains of upstate New York. There he sets up house in a huge hollowed-out tree, with a falcon and a weasel for companions and his wits as his tool for survival. In a spellbinding, touching, funny account, Sam learns to live off the land, and grows up a little in the process. Blizzards, hunters, loneliness, and fear all battle to drive Sam back to city life. But his desire for freedom, independence, and adventure is stronger. No reader will be immune to the compulsion to go right out and start whittling fishhooks and befriending raccoons.
Girl ur clever girl ur smart.girl ur like a work of art.girl ur sexy girl ur fine.d only thing u aint is mine!
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Drunk Bomb
13 up, 2 down
n.
The results of any occaision where five or more people end up passed out in one room from excessive alcohol abuse.
See also Drunk Grenade.
It looks like a Drunk Bomb went off in here.
Nathan Efron, Professor of Clinical Optometry at the University of Manchester, said: "The beer goggles effect isn't solely dependent on how much alcohol a person consumes, there are other influencing factors at play too.
"For example, someone with normal vision, who has consumed five pints of beer and views a person 1.5 metres away in a fairly smoky and poorly lit room, will score 55, which means they would suffer from a moderate beer goggle effect."
The research was commissioned by eyecare firm Bausch & Lomb PureVision.
I especially enjoy rich textures, dramatic lighting and a hint of the surreal. These have allowd me to depart from the restrictions of trompe l'oeil. Trompe l'oeil must be the actual size of the object it represents to be convincing, and also must be of a certain view, on table tops you are usually looking down on the objects. Canvas and panels enable me to paint what ever size and view I wish, and is very exciting. Most recently I have become fascinated with painting....scenarios...some are straightforward and some have a surreal quality. I have also started painting in much larger formats, which I am thoroughly enjoying."
naugahyde
As usual, his display of skill and cleverness is entertaining; unusually, it is nothing more. Mr. Schuyff makes smarter paintings when he has less on his mind.
Baron Bob: Wonderfully Wacky, Marvelously Successful
Need a tequila-flavored lollipop ?
It all makes perfect sense and all seems to be as it should. But to borrow a phrase from broadcast legend Paul Harvey, “now you need to know the rest of the story”
Type “Baron Bob” into Google and the first thing you see is a link to BaronBob.com and WonderfullyWacky.com. This is where you can buy, among other things, the dancing Caddyshack Gopher, Anger Management Dolls and Talking Napoleon Dynamite Plush Dolls. There are about a thousand weird and wacky gift ideas on Baron Bob’s site, some of the very popular ones you, well, you have to go to the site to see.
"Tila Nguyen was 1 year old when she moved to the U.S. from Singapore, but she's Vietnamese by heritage and blond by choice. As for what she does for a living, there isn't really a word for it yet. Nguyen, who goes by Tila Tequila professionally, is some combination of rapper, singer, model, blogger and actress. But what she mostly is is the queen of the massive social-networking website MySpace..."
some pre 2000 ones are neato-one that has a magrittey nefertiti shape carved out of shallow checkered space
A natural or man-made object (or fragment of an object) found (or sometimes bought) by an artist and kept because of some intrinsic interest the artist sees in it. Found objects may be put on a shelf and treated as works of art in themselves, as well as providing inspiration for the artist. The sculptor Henry Moore for example collected bones and flints which he seems to have treated as natural sculptures as well as sources for his own work. Found objects may also be modified by the artist and presented as art, either more or less intact as in the Dada and Surrealist artist Marcel Duchamp's readymades, or as part of an assemblage. As so often, Picasso was an originator, from 1912, when he began to incorporate newspapers and such things as matchboxes into his Cubist collages, and to make his Cubist constructions from various scavenged materials. Extensive use of found objects was made by Dada, Surrealist and Pop artists, and by later artists such as Carl Andre, Tony Cragg, Bill Woodrow, Damien Hirst, Sarah Lucas and Michael Landy among many others.
I don't understand the cut-and-paste duel going on here but it reads like spam;anyone want to clarify?
Weighing in, I like this painting. I like the paintings it reminds me of, too.
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The first visible consequences of a widespread use of détournement, apart from its intrinsic propaganda powers, will be the revival of a multitude of bad books, and thus the extensive (unintended) participation of their unknown authors; an increasingly extensive transformation of phrases or plastic works that happen to be in fashion; and above all an ease of production far surpassing in quantity, variety and quality the automatic writing that has bored us for so long.
“Plagiarism is necessary, progress implies it”
get your war on!!!!!
preliterates unite!
Intertextuality is the shaping of texts' meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term “intertextuality” has, itself, been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva in 1966. As critic William Irwin says, the term “has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about allusion and influence” (Irwin, 228).
The practice of sampling, widely used in hip-hop and other forms of contemporary music, is also an example of intertextuality. By sampling previous songs, artists rely on an audience's ability to identify those tunes in order to grasp a fuller meaning of the new song.
Catch-2two as it is currently construed is a misnomer as is "Heisenberg's Uncertainty Principle" which is actually "Schrodinger's cat". (This puts those who know the difference in a double bind but not a Catch-22.)
A “catch-22” has come to mean, incorrectly, an absurd, no-win situation.
Allusion differs from the similar term intertextuality in that it is an intentional effort.
This good looking, charming little bed and breakfast has everything to be a great little place, but it seems to have been abandoned by its management. The lock in the first room I was given did not work properly. I was then moved to a better looking room, but the french type room doors offered no privacy, since they were "covered" only by a curtain through which anyone could see when the room lights were on. The remote control for the TV did not work and nothing was done about it when I complained to the staff. The soda machine outside the rooms did not work either, the ironing board collapsed when my colleague tried to use it and the furniture in the room was very dusty in exactly the same spots, from the moment I checked in to the moment I left.
It is a very quaint and pleasant little place, nicely put together, but it seems to have been abandoned by its owners. The staff is lazy to address basic issues such as a non-working TV remote control. The location is great, though, and it is a pity that they just seem not to care about their business.
Mediated experience is a psychological/philosophical term. Everyone uses filters in their lives to sort things out, such as expectation or routine. Through these filters daily life is easier to take. If a poor man has the expectation that life will improve, then the bleakness of his current situation can be mitigated. Unmediated experience, or the real reality disputes this, but honestly, what would life be like if we couldn't dream?
wtf is up w the posts on this painting?
lol, I check in and this blog has gone hog wild with dead painters and chomp skiing. Are we sure this blog isn't some SWM ENTP meeting place?
poor Schuyff he had such a cool thing going when he was a prince of the neo-geos.
It reminds me of Glenn Brown, in a clever, postmodern sort of way.
Is Schuyff onomatopoeia for a career punctured by virtuosity or diligence?
Trying to make sense of things can be tricky. Being able to make sense of anything
would mean having all the information that it takes to make it fit into something that is known and accepted or understood by the person trying to make sense. Life and reality are tricky. Even when we think we have made sense out of something, we may still be living in total illusion. In a way trying to make sense of something is like putting together a puzzle. All goes well as long as we have all the pieces of the puzzle that belong together in one place and available. But if there is a piece missing... or a piece of another puzzle in the picture... we will be thrown off. Life is not simple. Not everything makes sense. Or fits into neat configurations. And after all, whose sense are we talking about anyway? I think, more than sense, I look for a spark, a recognition, an igniting emotion to be inspired. I think I have been on this planet long enough to figure that my knowledge is only a fraction of the whole picture and no matter how I try to gain understanding, that is always the way it will be. My sense may be your puzzle - but - curiosity rules.
repetition is amplification!!!!
*** A lot of smart people worked at WDW in 1972, which is why I'm certain that someone must have suggested having Captain Hook skiing from one boat while the crocodile skied behind another, ready to chomp once more on raw pirate while the captain took shots at him with his pistol - ultimately igniting a barrel of explosives in the other boat and instantly killing the driver in a fiery cataclysm through which the crocodile would then glide and emerge unharmed save for smoke trailing from his tail. But apparently the idea was not realized on the water.
This is one reason why found portraits in particular lend themselves very nicely to Schuyff’s renovations: they allow him to go easy around the eyes, which are, as we know, the windows to the soul that are supposed to provide us insight into, let’s say, the tears of a clown. Schuyff seems to acknowledge the potential pitfalls of such a sympathetic response in his series of drawings done on pastel or pencil portraits that at the very least have the look of those done by street artists for the tourist trade. It’s tempting to assess his various moods or personalities in each of them, whether in what the portraitist “captured,” or what Schuyff himself has added to them (in most cases an array of visionary dots, some free-floating, others in a grid, or, no surprise, locked around the eyes), or in what happens in the space “between” both artists work as it reflects what Schuyff decided to do to such typical types of portrait (pseudo-mass) production. The landscapes (or seascapes, etc.) don’t have the same hook. However, what they lack in “personality” they make up for in pure hypnotic pull. Schuyff’s tubular concentric rings are part chakra, part target, centering us formally and psychologically for the serious game at hand, a game that he has mastered over the years as he time and time again has engaged the everyday.
Hi. Hope everyone is enjoying the new art season.
I would appreciate if you kept the discussion more about the work posted and related topics on this blog.
Thanks. Painter.
peek-a-boo baldessari
"they allow him to go easy around the eyes, which are, as we know, the windows to the soul that are supposed to provide us insight into, let’s say, the tears of a clown"
TEARS OF A CLOWN
As anyone familiar with the John Wayne Gacy story could have told him, Andrew Jarecki shouldn’t have been too surprised when his documentary about clowns took a strange and sinister turn. He wanted to do a profile on the guy he’d hired to entertain at his son’s birthday. That became Capturing the Friedmans, a harrowing, ambiguous, and provocative account of a notorious 1980s pedophile case.
" It was originally a movie about professional children’s-birthday-party entertainers in New York City, " says Jarecki, " and Dave Friedman is, like, the number one guy. "
Tests of the soap were inconclusive. (The alleged practice of rendering human fat into soap is a story unto itself; the common opinion now seems to be that while it may have been made experimentally once, human soap was never produced in quantity.) You never know what will turn up, but without tests, don't assume that just because a lampshade or other item is claimed to be of human origin, it is.
Matt Johnson
Bread Face
2004
David Salle
Uses the same trick though more schematic sometimes. Whats up with that? Who's zoomin who?
Nicole Maynard (posted on PNYC) holds up pretty well to this.
or we could talk about I dont bathe's 10/9/07 4:35 PM comment about newness and novelty as pertains to this painting. Does adding a 3-d tromp l'oil object add anything to the viewing experience? Or would you rather have the actual object?
The sly wit of pointing out the absurdity of modifying a painting to meet the tastes of the elite is of course lost on the elite, with their poodles and limousines. No, they think its a jab at the lower classes with its taste for teal.
Dressing in teal, the upper classes think they are "putting one on" the lower classes, or at least saying "fuck all" to the received wisdom that taste matters.
The use of a faux photoshop "pillow emboss" is a display of skill at once facile glib and pedantic - the obvious jab at "skill" itself at once a self referential and universally insulting assault on academic realist painting.
This reveals a love hate relationship with realism, inculcated by critics and teachers who forbade its unironic usage.
Trapped in this dialectic, Peter Shyuff retreats to a stance of tepid denial.
Class consciousness is a category of Marxist theory, referring to the self-awareness of a social class, its capacity to act in its own rational interests, or measuring the extent to which an individual is conscious of the historical tasks their class (or class allegiance) sets for them.
the lower classes think the upper classes don't get the joke, but the joke is on them! Class consciousness is a hall of mirrors in Versailles, and having never been there, I reveal my class.
Signing a treaty I point to my 10/9/07 4:49 PM comment about photoshop. Both Salle and Peter Schuyff are both attracted and repulsed by photoshop, but like moths to a flame will never pass through the vortex. I think its a generational thing.
strike while the iron is hot
Thats a detournement folks. thats what it's called. Banksy is making a career out of it. Go Banksy. You knwo but no one cares if its not NEW right? I mean its the MESSAGE not the formal dealio. So the takeaway from this, just so you are on the same page, is that you dont have to be onboarded to the glory hole of hhistory, just take a wide stance and reach for the brass ring, or the plastic one, or take the pacifyer, the bromide, chew it, spit it out, whatever.
I am not so sure about found paintings in the first place, but Shaw made it an art form (yes, I did see his set of found portraits at PS 1 a month back)...
Now, I am even less sure about Peter Schuyff's after looking at the 'found - manipulated' paintings..
The gallery handout says "It’s a tough thing to pull off without it becoming a joke or, worse yet, condescending. Schuyff accomplishes what is the equivalent of a high-wire act by balancing humor with what I want to suggest here is a certain amount of compassion, if not empathy. ..."
I am not soo sure who the joke is on - us or the paintings or on Target...
Sorry, I was not impressed - but then I don't really count...
My immediate reaction was that it does condescend. Jim Shaw and Wayne White dont condescend. From where I stand (sit).
Andy broke the class game, because he never broke character
Geraldo is a magnificent fraud
With this painting posted here I feel that the viewer doesn't actually see a hole image, they presume its holeness with the information given. As a related topic I'll also add that this image we are looking at engages the viewer, and gets them guessing about the characters' actions. Create's expectations, which are proved to be wrong. This makes this painting both unpredictable and exciting
Synecdoche is a figure of speech in which:
* a term denoting a part of something is used to refer to the whole thing, or
* a term denoting a thing (a "whole") is used to refer to part of it, or
* a term denoting a specific class of thing (a "species") is used to refer to a larger, more general class (a "genus"), or
* a term denoting a general class of thing (genus) is used to refer to a smaller, more specific class (species), or
* a term denoting a material is used to refer to an object composed of that material.
Synecdoche is closely related to metonymy (the figure of speech in which a term denoting one thing is used to refer to a related thing); indeed, synecdoche is often considered a subclass of metonymy. It is more distantly related to other figures of speech, such as metaphor.
The use of synecdoche is a common way to emphasize an important aspect of a fictional character; for example, a character might be consistently described by a single body part, such as the eyes, which come to represent the character.[citation needed]
......why are people so concerned with the term signature style
Its all about the thirteenth donut.
I don't know why but, if you are interested in trying to build a compelling signature style you have to look within, harness what really makes you great, and then express that to the fullest.
Are we still on topic ?
Ill take misinformation for a thousand.
"A rock star in hand could take out two bushes"
-Richard Nixon
"The CIA currently maintains a network of several hundred foreign individuals around the world who provide intelligence for the CIA and at times attempt to influence opinion through the use of covert propaganda. These individuals provide the CIA with direct access to a large number of newspapers and periodicals, scores of press services and news agencies, radio and television stations, commercial book publishers, and other foreign media outlets."
"Effective immediately, the CIA will not enter into any paid or contract relationship with any full-time or part-time news correspondent accredited by any U.S. news service, newspaper, periodical, radio or television network or station." However, he added that the CIA would continue to "welcome" the voluntary, unpaid cooperation of journalists.[21]
That just kills me!
Anyone find any paintings lately ?
Claymation ?
Hey it's the new Herbie Hancock album! Headhunters II, erm, maybe not...
It's good, even if it's bad, even better...
It strikes well. And holds. Ouch!
voodoo you do
“At this point in my career,” Hancock says, “I want to do something that reaches into the lives and hearts of people and holds"
Well..... ouch
IN 1983, after a postgraduation stint in Paris on a grant from the American Center, Pat returned to the States, moved to New York, and started her first gallery, on Sixth and B. Built by her boyfriend (and later, her first husband) Thierry Cheverney, it opened in November with a group show that included an old friend from Boston, George Condo. The gallery was a fabulous scene in the still shabby East Village, a provocative mix of high life and low. The works of such fledgling luminaries as Schuyff, Taaffe, Condo, Kunc, and Donald Baechler were collected by art-world heavyweights like Larry Gagosian, Charles Saatchi, Barbara Gladstone, and Thomas Ammann.
Artist Damien Hirst is purchasing his own skull. The artist is part of an investment group that’s forking over $100 million for the diamond-studded skull that Hirst himself created.
The artwork, entitled For the Love of God, has 8,601 diamonds and cost $20 million to create. It had been available since June 3.
However, with the slight dip in the art market, it had yet to sell. So, the artist formed an investment group that’s planning on sending the piece on a tour of the world’s museums and galleries, with the hope that in a few years it will net an even larger payday.
I’d dispute Zipthwung’s distinction between synecdoche and metonymy but it would be too far off topic.
Does it make any difference whether Schuyff found the background paintings, had them made or painted them himself?
It strikes me the main contrast is between types of painting – Schuyff’s signature low-relief abstract shapes, mostly curved, worked with small but vigorous brushwork, strict tonal values – and the traditional, pretty hackneyed paintings on which they are placed. He could have placed them on photos (b&w/c) or fabrics (a la Polke) furniture or whatever, but the difference he’s interested in is firstly with painting, secondly with popular even well-worn kinds. He could have placed his shapes on other kinds of abstractions or semi-abstractions, but he’s after very traditional, concrete pictures.
So what does that do to his shapes? His signature? Does it give his brushwork a fresh and compelling context? Actually it seems to work the other way. The more we compare them with other kinds of brushwork or tonalities, the more trivial and meretricious they appear, the more remote and arbitrary his curves, loops and circles.
I agree with IDB, the portraits carry the most impact (which is not to say much) because ‘signature’ here is directly linked to identity – as the face of an individual or role. Schuyff’s identity is to a large extent tied up with his signature style, and I suppose it shows at least tenacity to persist with it after all these years, but I think there are other options to his drawing, tone and brushwork, and I don’t think this exhibition make it any stronger or attractive.
The difference, if he had spent time doing a well-worn type of figurative/landscape painting and placed his forms on his own work is they wouldn't seem so lazy.
His brushwork shapes and color choices seem to mimic or look to work with and yet against those of the found paintings and look just as dingy and thrift storesque.
By the way this painting looks much better upside down.
Sometimes too much tenacity can lead one into a corner.
-bathe
A pig's snout is a synecdoche. A squeal is a metonym. Unless you think the squeal is an edible part of the pig as in "I ate everything but the squeal."
Twenty snouts had I
And she had twenty squeals
My cleaver but a metonym for me
And she a synecdoche on wheels.
No I didn't realise QQ, for some reason I couldn't access the PDF. But I guess that makes the conviction more widespread.
If he’d just painted the backgrounds himself the effect would be tedious rather than lazy. The real problem is the terms by which Schuyff tries to preserve or project his ‘signature’ - or the signature in the first place.
pnyc going through a blue period
“But the highlight for the center’s regulars were the inspirational jihad lecture series, featuring CIA-sponsored speakers.… One week on Atlantic Avenue, it might be a CIA-trained Afghan rebel traveling on a CIA-issued visa; the next, it might be a clean-cut Arabic-speaking Green Beret, who would lecture about the importance of being part of the mujaheddin, or ‘warriors of the Lord.’ The more popular lectures were held upstairs in the roomier Al-Farooq Mosque; such was the case in 1990 when Sheikh [Omar] Abdul-Rahman, traveling on a CIA-supported visa, came to town.” One frequent instructor is double agent Ali Mohamed, who is in the US Special Forces at the time (see 1987-1989). Bin Laden’s mentor Azzam frequently visits and lectures in the area. In 1988, he tells “a rapt crowd of several hundred in Jersey City, ‘Blood and martyrdom are the only way to create a Muslim society… However, humanity won’t allow us to achieve this objective, because all humanity is the enemy of every Muslim.’” [New Yorker, 3/17/1995] Ayman Al-Zawahiri, future Al-Qaeda second-in-command, makes a recruiting trip to the office in 1989 (see Spring 1993). [New Yorker, 9/9/2002] The Brooklyn office also raises a considerable amount of money for MAK/Al-Kifah back in Pakistan. The Independent will later call the office “a place of pivotal importance to Operation Cyclone, the American effort to support the mujaheddin.
BRIDGEKEEPER:
Stop!
What... is your quest?
LAUNCELOT:
To seek the Holy Grail.
BRIDGEKEEPER:
What... is your favourite colour?
LAUNCELOT:
Blue.
BRIDGEKEEPER:
Right. Off you go.
It's as if Schuyff was trapped in his grandma's attic with some cheesey 60's paintings from a cheap motel, photoshop, Mr.Bill, 80's nintendo and Q-bert.
Kenny Shcarff is in there too.
Trying too hard indeed.
Or not trying hard enough ?
OK, thanks for all that. I call this an intelligent painting--on account of what's interesting with it is this stuff of painting , no name needed, we call homers.
@
it's all a mess on the ground. when u zoom out, google style, and look at how things are, you end up laughing. so fuck, a bit of play measured against some knowledge is a good thing. a nice old limp pastiche. neither here nor there, and scarcely everywhere. but when you start to agree, the game is up. conversation is inherently built upon 'devils advocacy' to keep it lit. like snails, you be pink, and i'll be blue, tonight. tomorrow is another play. can i just say that signature styles remain the of domain of karl lagerfield et al, and their place in the art markette always smells a bit funny. sometimes art really just is sublime fashion. or subject to the same marketable principles. does it matter? yes and no. are you eating out tonight, or will it be canned. hmmmm. playing out duality, just like schuyff. Photoshop vs Thrift Shoppe. High low, or Low High, or extra combos, unlock new levels of cool, High+Low+Low+High+Low. If you're playing, then Good for You! BLAAAAAA.....just buy it! Old Damien put a few together and bought his own diamond skull for fucks sake. Jeeeeez.....it's a big joke, that lingers around inside the brainicle for longer than most jokes. In the afterglow, we find the ruins of platonic meaning and other sundry bullshit. Like i said before, just strike and hold. Level 2, snow crash metaverse. Isn't it funny that art is converged upon by both extremes - the starving, and the stuffed. In one way, both aim to play with life and take risks - one because they've got little else to do and the other because they just want to. Back and forth, in and out. Cultural oscilloscope. Cell division. The guy who invented SimCity is releasing a game next year, where you start at the big bang. 5 years in the making. Whatever.
(cough)
Oh. Um, l-- look, i-- i-- if we built this large wooden badger--
But for every litter freak or culture purist driven to indignation by Banksy there’s a person who is entranced. While setting up the show in Los Angeles, Banksy ordered a pizza, ate it, and tossed the box in a Dumpster. Within weeks, the pizza box was sold on eBay, for a hundred and two dollars. The seller suggested that a few anchovies that had been left inside might yield traces of Banksy’s DNA.Dept. of Popular Culture: Banksy Was Here: Reporting & Essays: The New Yorker
ALAN REYNOLDS
B. 1926
ASCENDING BLUE
10,000—15,000 USD
Lot Sold. Hammer Price with Buyer's Premium: 31,000 USD
Gilbert has some valid points: “Radical” institutions may indeed merely serve to reassure people that things are not so bad after all. Under these conditions, the answer to the question, What is to be done? can hardly be encapsulated in a neat slogan. Just as Gilbert perhaps crossed the line from political rigor to moral hysteria, so the refusal to engage in a tactical use of even compromised institutions and media—my compliments for finding this text between ads, dear reader—can easily slip into acceptance and even celebration of the status quo.
And yet, no coherent new theorization has appeared to take its place.
once uppon a time there was a lady named peggy. Then there were some other people then there were some other people.
This used to be a good blog. Can those of you who are hogging the forum to sound off on unrelated topics please take a fucking break? Jesus. Lay off the coke.
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