Peering Down Trump’s Lie Hole.

Kate Kretz, “Lie Hole IV” (2017), colored pencil on black Rives BFK paper, 10 x 8 inches, from the “Lie Hole” series.

This mouth has bullied and cheated its way through the world.

This mouth has claimed self-invention, but was born gnawing a silver spoon.

This mouth blusters and brags.

This mouth promises to pay the builders of its empire; then refuses, counter-sues, and laughs.

This mouth can’t suppress its instinctive, arrogant sneer.

This mouth incites hatred and violence, spreading intolerant aggression like a cancer.

This mouth expresses glee at its own retaliatory cruelty.

This mouth will say and do anything to win.

This mouth is oblivious to its own stupefying ignorance.

This mouth, wet with slime, has forced open countless unwilling lips.

This mouth degrades the women he can’t manage to get  his tiny, swollen hands on.

This mouth has a predatory predilection for young girls (daughter included).

This mouth…

Head on over to Hyperallergic to read the rest of Kate Kretz’s piece. Blunt, and brilliantly done.

In other Trump-based artwork, check out ‘As a satirist, I can barely keep up’: the stories behind the Trump magazine covers.

The Mass Produced Civil War Monuments…

The soldier page of Monumental Bronze Co.’s 1882 catalog, completed with drawings and testimonials. Internet Archive/Public Domain.

Most people are aware that most of the civil war monuments which went up were a blatant product of later propaganda, and a convenient way to oppress and terrorize those not white enough. Atlas Obscura has a look at the company that had a lock on so many of these “bronze monuments”, the Monumental Bronze Co., who had discovered white bronze, which is actually zinc, and started mass producing monuments of all kinds. Described as the Wal-Mart of monuments.

White bronze isn’t white. It’s more of a chromy gray that, over time, gets progressively blue. It isn’t bronze, either: it’s zinc, cast into shape in a mold, and blasted with sand to add a rough, stony texture. But “bluish-gray sand-blasted zinc” doesn’t sound that appealing, and the company trafficking in this material, Monumental Bronze Co., of Bridgeport, Connecticut, was focused hard on selling it. From 1879 until 1914, Monumental Bronze Co. offered statues, grave markers and monuments that were, in their words, “beautiful in appearance and unequaled for durability.”

…They also had a whole muster of Civil War statues in various designs, the parts of which could also be easily interchanged, Mr. Potato Head-style. “Statue of American Soldier” was a man with a mustache and a billed cap, holding his gun in both hands. “Colorbearer” had a flag draped over his shoulder. “Confederate Soldier,” introduced in 1889, wore a broad-brimmed hat and carried a bedroll. You could also get your soldiers custom-made: the Confederate Monument in Portsmouth, Virginia has four Monumental Bronze Co. statues on it, each fashioned after a local man.

Another of their selling points was price: thanks to their choice of material (as well as their distribution model, which relied on independent “agents” and eliminated the need for storerooms) they could easily undersell stone-based companies.

The cover of this 1885 issue of Scientific American was dedicated entirely to “The White Bronze Monument Industry”—aka Monumental Bronze Co. Internet Archive/Public Domain.

A fascinating glimpse into the not so distant past. You can read and see much more at Atlas Obscura, and browse a Monumental Bronze Co. catalogue here.

Little Things.

Mica powder mixes beautifully with transparent airbrush paint, imparting a lovely warmth. Note to self: next time, genius, do your mixing in another room, and remember to wash your hands. That shit gets everywhere. I’ll be dealing with it 5 years from now.

Time for Paint.

Finally. After what seems like a thousand coats of stinkhorror. Vala’s given up on me breaking out the paint. Black backgrounds are dramatic, but what a pain in the arse. Of course, if there is a pain in the arse way to do something, I’m sure to find it. The Simurgh is 25″ x 12″.

© C. Ford.

Targeting Twitter.

A man takes pictures of “hate tweets”, a part of the art project “#HEYTWITTER” created by Shahak Shapira, outside Twitter office in Hamburg, Germany August 4, 2017 in this picture obtained from social media. Youtube via REUTERS.

BERLIN (Reuters) – A German-Israeli artist who accuses Twitter of failing to delete hate speech tweets has taken matters into his own hands – by stencilling the offending messages on the road in front of the company’s Hamburg headquarters.

A post on video-sharing site YouTube showed Shahak Shapira and fellow activists stencilling tweets saying “Germany needs a final solution to Islam” and “Let’s gas the Jews” – clear references to the Nazi regime’s World War Two genocide of Europe’s Jews. [youtu.be/jzMTBINlLFU]

Shapira said he had reported some 300 incidents of hate speech on Twitter but had received just nine responses from the company.

“If Twitter forces me to see these things, then they should have to see it as well,” he said in the video, posted on Monday, describing the comments as violations of the social network’s community guidelines.

A very clever idea! You can read more about this at Reuters.