A final cartoon for the day, a Bizarro:
Archive for the ‘Art/lit/music/film’ Category
My cousin Eleanor Houck points me to artwork by her son Rich (so, my first cousin once removed), who has a studio in downtown Reading PA.; website here. Interesting work in several media, including some pieces of local interest (nostalgic for me), like this painting of the Penn St. Bridge (over the Schuylkill River):
Going east over the bridge, into Reading. The tall building is the Courthouse, and that’s Mount Penn in the background.
Earlier posting with a dowtown view from 1941, here.
From a number of Facebook friends, the food miniatures of Pierre Javelle and Akiko Ida, from the 1/11/12 NPR piece “Go Where Raisins Swell Into Grapes, And Lemons Light The Sky” by Robert Krulwich. Parisian food photographers Javelle and Ida create miniatures involving food, like this droll depiction of raisins being blown up into grapes:
More on “Is it art?” But this time it’s not art vs.porn, but art vs. craft. From the NYT Magazine‘s annual “The Lives They Lived”issue, a piece on sculptor Ruth Asawa: “The subversively “domestic” artist”, by Robert Sullivan:
Less than five years after graduating from Black Mountain College, in North Carolina, Ruth Asawa’s industrial-wire sculptures were getting notice in the national press, though invariably her pieces were dismissed as women’s craft work, as opposed to art. “These are ‘domestic’ sculptures in a feminine, handiwork mode,” ArtNews said in 1956. Such critiques masked her relentless subversiveness. After dark, on March 18, 1968, she installed her first public sculpture, in Ghirardelli Square in San Francisco: two mermaids in a fountain, one nursing a merbaby.
… The landscape architect in charge of the square’s renovation, Lawrence Halprin, described the sculpture as a suburban lawn ornament and sought to replace it with a modernist abstraction — a 15-foot shaft. San Franciscans, especially women, successfully rallied behind Asawa.
One of Asawa’s pieces:
From Emily Rizzo and Arne Adolfsen on Facebook, a link to this site for Ed Wheeler:
Ed Wheeler, a photographer, superimposes himself on famous paintings while dressed in a Santa costume.These hysterical renditions are inspired by Ed’s long time traditions of dressing as Santa for holiday cards he created for fun. For years, Wheeler would send out photographs of himself as Santa doing strange and comical things to clients around the holiday.
… As you can see in these photos, Santa (Wheeler) has made appearances in many famous paintings. He appeared in his long underwear as Venus de Milo in Botticelli’s most iconic painting, and has also posed as a pensive, and a very spirited Santa, over Claude Monet’s Water Lillies. Through Wheeler, Santa has ridden Napoleon’s horse, sipped a cup of coffee in a 1940s diner, played poker with dogs, and floated in a flock of businessmen into the stratosphere in these humorous interpretations of some of art’s most iconic works.
Today’s Zippy, back on the diner track:
The text of the strip veers Zippy-fashion through politics, art (Andrew Wyeth), and pop food (Mallomars), to culminate in an outrageous pun on “I never met a man I didn’t like” (attributed to Will Rogers).
In an AZBlogX posting this morning, there’s an image (#3) evoking Hercules / Heracles / Herakles together with Antaeus / Antaios — a grinning man hoisting his lover over his shoulder (something my man Jacques did with me when we were young, vigorous, and playful). In an earlier AZBlogX posting, there was
a version of Hercules lofting Antaeus, brought firmly into the modern gay world by tattoos, an earring, Antaeus’s muscular butt and thighs, and Antaeus’s hand stroking Hercules’s hard cock
The legend lives on, now with an explicitly homoerotic context. And with an echo of Jacob wrestling the angel (posting here).