First Reaction: Bad Flash Update.

So sorry for the bad flash, between one zillion things to do today, serious medication, and cancerland in general, I’m lucky I remember how to use a camera. Not a good effort, but it’s too damn cold to wander outside in my robe.

First Reaction, © C. Ford, all rights reserved.

First Reaction, © C. Ford, all rights reserved.

Upper left corner, WTF Duck and Face, bound and gagged. Middle left, the remnant of pre-cancerous me. Lower left corner, the Welcome to Cancerland Mesmerowlbat. Upper right corner, the Cell Slug, she’s a good one. Lower right, Face – anxiety, fear. All bound in a cell matrix. The cancer cells are the red-purple ones. Markers on Bristol, 16″ x 20″.

Money Shot. (NSFW)

Judith Bernstein, “Money Shot – Blue Balls” (2017), acrylic and oil on canvas, 104 x 90 1/2 inches.

Judith Bernstein, “Money Shot – Blue Balls” (2017), acrylic and oil on canvas, 104 x 90 1/2 inches.

Judith Bernstein, “President” (2017), acrylic and oil on canvas, 90 x 89 1/2 inches (all images courtesy the artist and Paul Kasmin Gallery).

Judith Bernstein, “President” (2017), acrylic and oil on canvas, 90 x 89 1/2 inches (all images courtesy the artist and Paul Kasmin Gallery).

Judith Bernstein, who is finally getting the attention she should have had all along (only took until she was 72), has a new show, Money Shot, and it is a scathing indictment of our current state of regime.

In Money Shot, Schlongface is an omnipresent demagogue. The character (similar to Cockman, who debuted in Bernstein’s works of the 1960s) has a cock and balls for a face. Schlongface is meant to represent Trump, but the figure can be spliced into innumerable moments of history. He is the pathetic villain, the dictator whose rampant destruction betrays both his predilection for rape and impotence.

What hits you on the nose feels like a kick to the crotch. The seriousness of these political and psychosexual implications, told through tongue-in-cheek (or cock-and-nose) wordplay and humor, are important themes in Bernstein’s work. In her impactful scale, enraged mark-making, and caricature, there is never an either/or. There are only contradictory couplings. Laugh. But fear.

[…]

In “President” (2017), Schlongface seems to merge with a foreshortened female figure whose legs are spread-eagle in the foreground. The figure’s crotch is stamped with the US Presidential Seal – with an asshole like a target beneath it. The political and psychosexual dynamic of Bernstein’s work turns on the complexities derived by the receiver.

Judith Bernstein: Money Shot continues at Paul Kasmin Gallery (293 Tenth Avenue, Chelsea, Manhattan) through March 3. You can see, and read much more at Hyperallergic.

Mother’s Nightmare.

Kate Kretz, “Cri de Cœur (Heart Cry)” (2018, after a detail of “Scène du Déluge,” 1827, by Joseph-Désiré Court), graphite on paper, 14 x 11 inches (courtesy of the artist).

Kate Kretz, “Cri de Cœur (Heart Cry)” (2018, after a detail of “Scène du Déluge,” 1827, by Joseph-Désiré Court), graphite on paper, 14 x 11 inches (courtesy of the artist).

While I understand poetic license, I’ll just add this is a father’s nightmare, too. That said, powerful artwork and poetry from Kate Kretz…

Here
the bitter dusty old men
dream
of the battle they shoulda won at Gettysburg
or finally
showing Daddy they could be a man
(in the street at High Noon)

Here
the young ones (who can’t get laid)
are
momentarily
Duke Nukem from Bulletstorm Full Clip
(in overkill mode, for extra points)
Finally scoring.

Here
another walking-anger-management-issue
finds a people-killing machine
(no problem)
It fires
fast and hard
a jolt
to finally feel something
Make their mark.

Here
mothers
must forever wade in the nightmares that
their children
might be the next collateral damage
in
yet another lost man’s
fantasy
of self-actualization

Via Hyperallergic.

The Beauty and Art of Cells.

The Pancreatic Milky Way. By Jürgen Mayer, Centre for Genomic Regulation, Barcelona.

The Pancreatic Milky Way. By Jürgen Mayer, Centre for Genomic Regulation, Barcelona.

I’m a bit obsessed with cells at the moment, living in Cancerland will do that to a person. That said, our bodies are a wonder of microcosms, a universe we rarely think about or delve into with any true interest. Cell Picture Show has an astonishing range of cell images, from humans to plants to ocean to invertebrates. You can stay happily busy there for hours! And for all the textile artists out there, there’s a wealth of inspiration in the ‘Art Under The Microscope‘ section, where a textile artist has tackled various cell imagery:

Fire In Her Eyes, Rebecca Bernardos, University of Michigan Art Quilt by Judy Busby, Fiber Artists@Loose Ends.

Fire In Her Eyes, Rebecca Bernardos, University of Michigan
Art Quilt by Judy Busby, Fiber Artists@Loose Ends.

In this Picture Show, we continue the theme of beauty in science with artistic interpretations of scientific images. We partnered with the University of Michigan Health System to showcase a selection from the traveling exhibit Art Under the Microscope. Special thanks go to Fiber Artists@Loose Ends, UM Center of Organogenesis Bioartography Program, UMHS Gifts of Art Program, and Global Alliance for Arts and Health.

The zebrafish retina, unlike its human equivalent, is capable of regenerating in response to injury. Learning how zebrafish produce new photoreceptors, which are the light-detecting cells in the eye, may provide clues for designing therapies to reverse retinal degeneration in humans as a treatment for blindness.

Image: (Left) A section of the zebrafish retina is shown. The red feather-like cells are the photoreceptors, and the nuclei are marked in blue. (Right) Artist’s rendering using hand-sewn sequins to represent the bands of nuclei and red fabrics and handmade paper to depict the photoreceptors.

So, if you’re an artist, take some inspiration from ourselves, and the world around us, on a cellular level. If you just like looking at amazing and beautiful things, this is a place for you!

Cell Picture Show.

The Map of European Culinary Horrors.

Map created by Yanko Tsvetkov from Atlas of Prejudice 2: Chasing Horizons.

Map created by Yanko Tsvetkov from Atlas of Prejudice 2: Chasing Horizons.

I have to say, this made me laugh. One of my great grandmothers had a great love of blood based dishes, but I never did develop a taste for them. Out of all these, I don’t think Kyselo sounds bad at all, and that’s coming from someone who is not a fan of cooked mushrooms.

While European food has a very positive international reputation, it’s not all steak frites and pasta. As the map above shows, the continent also has its fair share of disgusting dishes and culinary horrors.

The map is the work of Yanko Tsvetkov and appears in Atlas of Prejudice 2: Chasing Horizons (also be sure to check out his first book Atlas of Prejudice: Mapping Stereotypes, Vol. 1)

You can see a linked list of all the foods in the map here, if you’re looking for more culinary info. Interesting reading all the way around! One thing is absolutely certain – there is absolutely nothing which would induce me to try maggot cheese. There are just some lines not to be crossed. :D

Illustrating Carnival.

Spider costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — <a href="https://digitallibrary.tulane.edu/islandora/object/tulane%3A4878" target="_blank" rel="noopener">Source</a> (some potential restrictions on reuse).

Spider costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

“D for Dragon” float design by Bror Anders Wikstrom for the “Alphabet” theme, Krewe of Proteus, 1904: Carnival Collection, Louisiana Research Collection, Tulane University — <a href="https://digitallibrary.tulane.edu/islandora/object/tulane%3A4382" target="_blank" rel="noopener">Source</a> (some potential restrictions on reuse).

“D for Dragon” float design by Bror Anders Wikstrom for the “Alphabet” theme, Krewe of Proteus, 1904: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

“U for Unicorn” float design by Bror Anders Wikstrom for the “Alphabet” theme, Krewe of Proteus, 1904: Carnival Collection, Louisiana Research Collection, Tulane University — <a href="https://digitallibrary.tulane.edu/islandora/object/tulane%3A4382" target="_blank" rel="noopener">Source</a> (some potential restrictions on reuse).

“U for Unicorn” float design by Bror Anders Wikstrom for the “Alphabet” theme, Krewe of Proteus, 1904: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

Coral Polyp costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — <a href="https://digitallibrary.tulane.edu/islandora/object/tulane%3A6278" target="_blank" rel="noopener">Source</a> (some potential restrictions on reuse).

Coral Polyp costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source (some potential restrictions on reuse).

Darwin as an ass costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source.

Darwin as an ass costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source.

Oh gods, these are beyond fabulous! I am so in love with the Coral polyp costume. Also in love with the bat, so cheerful!

On March 6, 1889, the New York Times breathlessly reported on the recent Carnival spectacles in New Orleans. The Krewe of Rex’s pageant, themed around “Treasures of the Earth”, included a “Crystal” float “attended by figures in gorgeous costumes and prisms by the thousand”, and a “Diamond” float featuring “a rocky diamond dell” through which flowed “limpid streams where nymphs sported and played with the gems”. The Krewe of Proteus, meanwhile, dazzled with their “Hindoo Heavens” pageant, where in one scene appeared Agni “God of Fire” riding a ram that “strides the flames, attended by the fire sprites.” This opulent, and highly exoticized, interpretation of South Asian religion concluded with a tableau where “Vishnu, under the guise of a horse with silver wings, shatters the earth with his hoof and rises to the celestial abode.”

The modern American Mardi Gras owes much of its bombastic revelry to this late nineteenth-century “Golden Age” of Carnival design. From the invitations to the costumes to the hand fans carried by spectators, artists designed entire identities for each Krewe (a group that organizes a Carnival event).

[…]

Mythology, literature, religion, and history, as well as nineteenth-century book illustration and turn-of-the-century Art Nouveau, were remixed into an eclectic excess. Up to the early 1900s, the main Krewes were Rex, Comus, Proteus, and Momus, each with their favorite artist collaborators. The names of these individuals are now obscure, but artists Jennie Wilde, Bror Anders Wikstrom, Charles Briton, Carlotta Bonnecaze, and others now anonymous all influenced the embrace of the fantastic that endures into the present. The greatest publicly accessible resource of their art is the Carnival Collection, part of the Louisiana Research Collection (LaRC) at Tulane University and supported by a bequest from the late journalist Charles L. “Pie” Dufour. In 2012, Tulane marked the completion of a two-year digitization project that put over 5,500 float and costume designs in the Carnival Collection online.

You can read and see so much more at The Public Domain Review, every single piece of artwork is utterly amazing and delightful! You can see all the images at a much larger size at the Tulane University source site. If you’re someone always on the lookout for inspired costume design, you cannot afford to miss these.

Sperm! Everywhere Sperm!

Kehinde Wiley’s portrait of President Obama.

The right wing lunatic fringe is going nuts over the portrait of President Obama. They seem to see sperm everywhere. And all other manner of evil. Don’t see it m’self.

…Corsi was online yesterday when the official portraits of Barack and Michelle Obama were released, and like so manyothers on the Right, he saw something nefarious in the paintings, asserting that the foliage and flowers in Barack Obama’s portrait were a symbol of “the pedophilia that they’re engaging in.”

“That is one of the weirdest presidential portraits I have ever seen,” Corsi said. “It’s a bizarre picture.”

“It’s a reference to the loss of virginity in terms of a physical sense,” he added. “It’s a very physical reference to loss of virginity … This whole elite globalist pedophilia is a major theme that Q continues to remind us underlies a lot of these globalists that we are dealing with. The fact that they are sitting on flowers and the deflowering could be easily an image of the pedophilia that they’re engaging in or the slavery pedophilia, you know, tend your gardens everybody, their slave gardens.”

Oh, now it’s “slavery pedophilia”. What the fuck? Do these people just sit around and do nothing all day except come up with this garbage? What a way to spend your life. Ugh.

Alex Jones, contributing to the second phase of the ongoing right-wing smear campaign against the artist who painted Barack Obama’s presidential portrait, claimed that the artist purposefully painted an image of sperm on Obama’s face to fulfill part of a globalist agenda to “have everything be a ritual of abomination.”

Today on Infowars, Jones claimed the artist Kehinde Wiley, who was hired to paint Obama, “is obsessed with sperm” and that “all of his paintings have sperm swimming all over everything.” For some reason, Jones also felt the need to clarify that the alleged sperm shape in question was a “GMO sperm” that was “fully formed.”

“You say, ‘But, it doesn’t make sense, it’s so degenerate.’ It’s a religion of degeneracy. It’s what globalism is. It’s what Satanism is,” Jones said. “So there you go, President Obama covered in sperm in new national portrait, and it’s all part of the joke in your face, because they don’t want upright strength. They want to have everything be a ritual of abomination.”

President Obama is covered in sperm. Uh huh. I think perhaps it’s someone other than Wiley who’s a tad obsessed with sperm, Mr. Jones.

You can read the full stories and more, at RWW: Corsi, Jones.

Colour In The Middle Ages.

The month of May from Très Riches Heures du Duc de Berry – three young women are dressed in green.

The month of May from Très Riches Heures du Duc de Berry – three young women are dressed in green.

Medievalists has a fun article up about colour. Me, I’m all about the red first. Black second. I was rather delighted to find out I’d be an evil knight. :D Some interestin’ bits:

Medieval scholars inherited the idea from ancient times that there were seven colors: white, yellow, red, green, blue, purple and black. Green was the middle color, which meant that it sat balanced between the extremes of white and black. It was also considered a soothing color, so much so that scribes often kept emeralds and other green objects beside them to look at when they needed to rest their eyes, while the poet Baudri de Bourgueil suggested writing on green tablets instead of white or black ones.

I wouldn’t mind keeping a few emeralds around…

Arthurian romances, one of the most popular forms of literature in the High Middle Ages, often made symbolic use of color, especially in the depiction of knights. Pastoureau writes:

The color code was recurrent and meaningful. A black knight was almost a character of primary importance (Tristan, Lancelot, Gawain) who wanted to hide his identity; he was generally motivated by good intentions and prepared to demonstrate his valor, especially by jousting or tournament. A red knight, on the other hand, was often hostile to the hero; this was a perfidious or evil knight, sometimes the devil’s envoy or a mysterious being from the Other World. Less prominent, a white knight was generally viewed as good; this was an older figure, a friend of protector or the hero, to who he gave wise council. Conversely, a green knight was a young knight, recently dubbed, whose audacious or insolent behavior was going to cause great disorder; he could be good or bad. Finally, yellow or gold knights were rare and blue knights nonexistent.

There’s also the mystery of why the colour blue took so very long to show up, and much more.

Michel Pastoureau has written extensively about symbolism and colors in the Middle Ages. His series A History of a Color, has four books that have been translated into English – Black, Blue, Green and Red.

I’ve already tracked these down at B&N and put my order in! :D Not only a lovely little history, but a nice read, and fun resource for artists. You can read everything at Medievalists.net.

Tatsuya Tanaka: Miniature Calendar.

© Tatsuya Tanaka.

Everyone must have had thoughts like these before:
Broccoli and parsley may sometimes look like a forest of trees, and tree leaves floating on the surface of water may sometimes look like little boats. Everyday occurrences seen from a miniature
perspective can bring us lots of fun thoughts.
I wanted to take this way of thinking and express it through photographs, so I started to put together a “MINIATURE CALENDAR.” These photographs primarily depict diorama-style figures surrounded by
daily necessities.
Just like a standard daily calendar, the photos are updated daily on my website and SNS page, earning it the name of “MINIATURE CALENDAR.”

It would be great if you could use it to add a little enjoyment to your everyday life.

Add a little enjoyment to your world, by visiting Tatsuya Tanaka’s worlds, they are wonderful! You can see the current month and all the archives at Miniature Calendar.

Mermecoleon.

A poor sketch by the same hand as f.94r. The open stone, lying on green water, takes in the heavenly dew in order to grow a pearl.

A poor sketch by the same hand as f.94r. The open stone, lying on green water, takes in the heavenly dew in order to grow a pearl.

Nothing but preaching.

Text Translation:

Of the stone called mermecoleon. There is a stone in the sea which is called in Latin mermecoleon and in Greek concasabea, because it is both hollow and round. It is, moreover, divided into two parts, so that if it wants to, it can close up. The stone lies at the bottom of the sea and comes to life early in the morning. When it rises from its resting-place to the surface of the sea, it opens its mouth and takes in some heavenly dew, and the rays of the sun shine around it; thus there grows within the stone a most precious, shining pearl indeed, conceived from the heavenly dew and given lustre by the rays of the sun. The stone, therefore, is called conchus; it symbolizes Saint Mary, of whom Isaiah foretold, saying: ‘There shall come forth a rod out of the stem of Jesse’ (Isaiah, 11:1). And again: ‘Behold a virgin shall conceive and bear a son’ (Isaiah, 7:14). Of the rod and the virgin, Saint Mary, it is said: ‘A flower was born of Saint Mary, our Lord Jesus Christ’. For just as the stone rises from the sea, so Saint Mary went up from the house of her father to the temple of God and there received the dew from heaven. These are the words which were said to her by the archangel Gabriel: ‘The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee; therefore also that holy thing which shall be born of thee shall be called the Son of God’ (Luke, 1:35). Behold these words are the heavenly dew, just as before her, the patriarch Isaac, blessing his son, signifying that Christ would be born from his seed, said to him: ‘God give thee of the dew of heaven and the fatness of the earth’ (Genesis, 27: 28), signifying the chaste, untouched virgin Mary. ‘Early in the morning’ refers to the time of prayer. The mussel opening its mouth signifies the occasion when Mary says to the angel: ‘Behold the handmaiden of the Lord; be it unto me according to thy word’ (Luke, 1:35).

Folio 96r – the adamas stone, continued. De lapide qui dicitur mermecoleon; Of the stone called mermecoleon.