Sunday Facepalm: Jesus’s Nets of Neo-Porn.

Then-Bishop Vincenzo Paglia appears in an "erotic" net in his cathedral mural clutching another semi-nude man.

Then-Bishop Vincenzo Paglia appears in an “erotic” net in his cathedral mural clutching another semi-nude man.

A mural in a cathedral-church has gotten much attention, of the “blasphemous, disgusting, and demonic” kind. It is deliberately erotic, which is what has so many uptight knickers in a knot. Why, you can even sort of see Jesus’s tarse, oh no! Naturally, this isn’t just about the mural, it’s about Paglia’s oh-so-debased nature in designing a sex-ed class which was decried as “thoroughly immoral,” “entirely inappropriate,” and “quite tragic.”

Personally, I don’t see a problem with depicting people in a body-based manner, we are our bodies after all. When it comes to Christian thought, the idea is that while people might strive to overcome their carnal nature, this doesn’t happen until after death, and you get to heaven or wherever, yada, yada. In that sense, the mural would be accurate. Anyroad, this is being dragged into the limelight again, because Paglia has been promoted in the church.

Paglia commissioned homosexual Argentinean Ricardo Cinalli to paint the cathedral mural in 2007. It depicts Jesus carrying nets to heaven filled with naked and semi-nude homosexuals, transsexuals, prostitutes, and drug dealers, jumbled together in erotic interactions.

[…]

Dr. Ward questioned Paglia’s recent appointments to influential posts within the Vatican given his artistic sensibilities.

“Given that Archbishop Paglia is in the net of erotic figures going to heaven, and given that he discussed every detail with the painter, the question has to be asked by parents worldwide why was this man put in charge of a prototype of sex education aimed at Catholic children throughout the world?” he said.

“Catholic parents must look at the scale of evil [that has infiltrated the Church at the highest levels]. They have to wake up to what is going on: It’s a moral nuclear wasteland,” he added.

Christine Vollmer, president of the Latin American Alliance for the Family as well as a founding member of the Vatican’s Pontifical Academy for Life, called the mural “disgusting.”

[…]

Wilson said it is “incomprehensible” that Pope Francis appointed Paglia not only as head of the Academy for Life but also as the Grand Chancellor of the Saint John Paul II Pontifical Institute for Studies on Marriage and the Family. She also called it “scandalous” that he was selected to oversee the launching of the Vatican sex-education course for teens, a course that she said is “repulsive and destructive to the innocence of children” as well as “contrary to the true teachings of the Catholic Church.”

[…]

Catholic artist and author Michael D. O’Brien criticized the mural for giving the viewer the “false message” that “all sexual activity, regardless of how depraved, is blessed by God.”

You can read much more here.

Wrap My Hijab!

Mona Haydar, a Syrian Muslim-American poet and activist, released her first-ever single and rap music video in honor of the world’s first-ever Muslim Women’s Day on Mar 27 … all while she’s pregnant.

Given the current rise of Islamophobia around the world, Haydar wanted to fight the hate. And what better way to do that than with music?

“This song is a party,” Haydar wrote in a Facebook post.

After the song went live, some people began shaming Haydar and the other hijabis in the video for having fun, as they sing and dance away.

“So even if you hate it – I still wrap my hijab!” the lyrics say in anticipation of the hateful remarks.

But, Haydar did not let the hate ruin the moment, and instead kept on celebrating.

You can read more here. I think it’s a grand song!

The Pretension and Fawning Go On.

George Bush, “Sergeant Leslie Zimmerman U.S. Army, 2001-2004” (undated), oil on stretched canvas, 20 x 24 in.

George Bush, “Sergeant Leslie Zimmerman U.S. Army, 2001-2004” (undated), oil on stretched canvas, 20 x 24 in.

It’s no secret how much I loathe the pretentiousness of the art world. It’s not easy to find equal levels of pompous puffery, arrogance, and pretentious fawning that infest the art world. The latest person being painted over with fawning pretension is George W. Bush. Seph Rodney at Hyperallergic takes on the fawning of the New York Times.

Take the recent New York Times piece, “‘W.’ and the Art of Redemption” by Mimi Swartz, about the portrait-painting practice of former President George W. Bush. The piece, among other things, reports the landing of the book of his paintings, Portraits of Courage: A Commander in Chief’s Tribute to America’s Warriors, on the New York Times best seller list. It’s part reputation rehab, part art review, part commendation, and part audition for the job of Bush’s headstone writer. We might one day see, etched in marble, something like: “Here lays the former president who found his true calling only after serving the highest office in the land.” And verily there will be tears.

[…]

The piece veers upward from there, lifted by the imprimatur of key art critics Jerry Saltz and Peter Schjeldahl, who use terms like “innocent,” “sincere,” “earnest,” and “honestly observed” to describe Bush’s portraits.

I don’t think Bush’s paintings are awful, they aren’t. I don’t think they are terribly good, either. They’re okay. If you inhabit the art world, or have wandered into it on occasion, you’ll find that “innocent”, “sincere”, and “earnest” are code words for primitive and childish, not worth anything as art, but hey, former president! I haven’t been in the art world for a while, so I’m not sure about “honestly observed”, but I’d wager a guess that it means something along the lines of “he’s doing his best.”

Swartz continues her transformation of the feckless leader into a sensitive and empathetic artist by tracing his tutelage under several art teachers: Gail Norfleet, Roger Winter, Jim Woodson, and Sedrick Huckaby. She makes Bush out to be a student, willingly learning from others, instead of the leader and “decider” he once touted himself to be. We are led to believe that all of this learning, nurturing, and patient working in obscurity, outside of the “swamp” that is Washington, DC, have now turned him a perceptive human being. Swartz tells us that “the proceeds from sales [of the book] will go to a nonprofit organization that helps veterans and their families recover,” and the George W. Bush Presidential Center website confirms this. (The hardcover edition costs $35, while the deluxe, signed and personalized edition costs $350.) But Swartz doesn’t ever acknowledge that it was Bush and his employees who started the Iraq war and put these very same people in harm’s way in the first place.

This is also a fine example of the dishonesty which comes into play when those in the art world decide to play at pointless flattery.

To be clear, this is the same man who, as president, pursued a war that was illegal and declared that coalition partners were “either with us or against us in the fight against terror” terror only as he and his administration defined it. Even his press secretary, Scott McClellan, later admitted that a sophisticated propaganda campaign sold the war to the public. Bush manipulated and strong-armed the media into supporting his reprehensible war, and this is what we lost in it: 134,000 Iraqi civilians, though Reuters notes that the conflict “may have contributed to the deaths of as many as four times that number”; “$1.7 trillion with an additional $490 billion in benefits owed to war veterans,” according to Reuters, referencing the Costs of War Project by the Watson Institute for International Studies; and $33 billion in “U.S. medical and disability claims for veterans after a decade of war,” according to the initial Costs of War report in 2011, with that number rising to $134.7 billion just two years later.

The idea that people should forget such an enormous cost because Bush now paints portraits of military personnel is a pernicious one, at best.

What’s insidious about the Times piece is that it puts readers in the position of feeling the need to forgive Bush and recognize his current artistic work as somehow redemptive; otherwise we seem mean-spirited or, perhaps worse, unfairly unable to evaluate another person beyond stereotype. Swartz writes: “Mr. Bush discovered what many who paint discover: that as he worked on their portraits, he came to understand his sitters, and their pain, as well as their love for one another.” But art of this nature is not redemptive — it never is unless you shut your eyes, put your fingers in your ears, and yell nonsense. Art does not restore a soldier’s arms or eyesight, or provide them with physical therapy in order to learn to walk on prostheses. It does not heal their PTSD or bring back innocent Iraqi civilians from the dead.

I don’t believe Bush came to understand those he painted; I certainly don’t think he has the slightest idea of their pain, trauma, or bonds. I’m sure he’s selling that idea, and it’s a pity some people are licking the kool-aid off the floor. To even come close to a deep understanding of your subject, well, more is required than just painting. Going by the portraits at Hyperallergic, Bush didn’t even come to a shallow enough understanding for it to be reflected in the paintings. When an artist has an access of empathy while working, that tends to get into the work, in a visible way.

But we need to expand our imaginative faculties to viewing people in terms other than the ecclesiastical story of fall and redemption. Sometimes when you lose, you truly lose. And we lost that war, lost thousands of lives and trillions of dollars and a dwindling supply of international credibility and respect. George W. Bush may be a good painter and a caring friend to soldiers, but he’s also the man who callously put those soldiers in harmful situations, and has now reduced them to characters within a feel-good narrative that he can tell to friends, family, and the rest of the world.

I agree with that, absolutely. I can, and do, see Bush’s work as a way for him to feel better about himself, and in the end, it all comes back to putting focus on Bush. It’s yet another way of using people, the same people he used before. Well, at least the ones who survived.

The full article is at Hyperallergic.

The Penis Seat.

Men using Mexico City’s metro trains got a shock when they sat down on a seat featuring a lifelike penis.

Campaigners against sexual violence placed the seat, which is moulded in the shape of a male body – complete with genitals, on public transport in a drive designed to show men the difficulties women face every day.

A note on the floor in front of the seat read: “It’s uncomfortable to sit here, but that’s nothing compared to the sexual violence suffered by women on their commute.”

A video promoting the stunt has been watched some 800,000 times on YouTube and is part of a UN Women campaign, alongside the Mexico City government, to tackle the problem of sexual assault.

In it, men can be seen leaping straight back up after trying to sit in the seat. Bemused, confused and disgusted expressions are seen on passengers’ faces as they catch sight of the moulding.

Mexico City moved in 2000 to make the first three carriages of metro trains women-only all day because of a surge in complaints about harassment, but it appears the problem remains.

This is a great idea, because it drives home the problem of harassment in a very real way, not only with the seat, but as you can see later in the video, the camera screens at the station were focusing in on men’s arses, much to their consternation and alarm. As a woman, it’s quite easy to laugh about the reaction of the men, because we spend whole lifetimes putting up with such shit, and it is always a difficult task to get the depth of the problem through to men. Here’s hoping this campaign does get more men to understand.

Holly Kearl, founder of the Stop Street Harassment campaign in the US, told the BBC: “Too often initiatives around women’s safety focus on what women should or should not do, so it is refreshing to see a creative campaign aimed at men.”

On YouTube, the reaction was not universally positive.

One angry male commenter condemned the video as “misandrist” and said it accused an “entire gender” over the actions of an “idiotic and uneducated percentage”.

A woman wrote under the video: “These misandrist campaigns make me angry. To other women I say, ‘Don’t you have sons, fathers or partners? Do you agree with generalising and demonising the male sex in this way?’”

As there has been little done to diminish centuries worth of generalising and demonising women, I’d say when that sort of shit stops, we can stop targeting those who commit the highest levels of harassment. Why is is alright to continue on with the “don’t do this! don’t do that!” garbage women and girls get from day one? Why is it not alright to target harassers and rapists? Those campaigns actually work. And the standard disclaimer: No, not all men harass, assault, or rape. All men do know other men who do those things. All men know other men who are sexist assholes, who tell very nasty jokes about women, who complain constantly about how evil women are, so it’s okay to do this or that, and so on. And the probability is very high that most men don’t tackle all those other men about that sort of stuff. Until men stand up to other men, we won’t get far.

Full story here.

Art Focus: TDOV.

Today is the Transgender Day of Visibility. In celebration, and in the spirit of always learning, visit Jes Fan, and their work. Hyperallergic has a good look at Fan’s current body of work, No Clearance in the Niche, exhibiting at the Museum of Arts & Design, NYC, through April 30th.

Jes Fan, “Stranded between one act and another” (2016), polished resin, hair (all images courtesy of Museum of Arts & Design, unless noted).

Jes Fan, “Stranded between one act and another” (2016), polished resin, hair (all images courtesy of Museum of Arts & Design, unless noted).

If gender is learned and performed, as scholars like Judith Butler have argued, then can it also be reinforced at a biological, molecular level? Jes Fan’s No Clearance in the Niche poses this question by exploring how our bodies are already engineered, and the ways we can take control of engineering them better to serve our own needs and desires.

The exhibition stems from Fan’s experiences transitioning between genders and also between continents. As Fan explained to me before the opening, “I started thinking, how pervasive is the patriarchy in organizing power structures, and even bio-politically? Birth control pills are a cocktail of progestogens and estrogen. What are the feminizing effect on bodies who take birth control pills? Why are the bodies of uterus-owners policed more rigorously than others?” Fan’s work falls in line with much of the current discourse about the ways that drug use and administration are influenced by cultural, racial, and gender biases. Decisions about who has access to drugs and how they are packaged remains in the hands of a white capitalist patriarchy, and many marginalized people are forced to find ways to navigate these exclusionary policies.

Jes Fan, “Testo-candle” (2016), Depo-testosterone, lye, water, silicone base.

Jes Fan, “Testo-candle” (2016), Depo-testosterone, lye, water, silicone base.


You can read and see much more at Hyperallergic. * Jes Fan in their Studio: The Miracle of Gender. * Jes Fan’s Site.

Cool Stuff Friday.

all photos courtesy parnassus.

all photos courtesy parnassus.

Located roughly an hour north from central Tokyo is a fairly nondescript government building: Itakura Town Hall in Gifu prefecture. The building houses a small gallery that counts among its collections various obscure pottery work and paintings as well as a glass-enclosed sculpture of a Buddhist deity made from roughly 20,000 beetles in numerous varieties. If you have any form of entomophobia or insectophobia I suggest you don’t read on.

The sculpture was made almost 40 years ago in 1978 by a man named Yoneji Inamura, who was in his 50s at the time. We recently learned that Inamura had passed away earlier this year in January at the age of 98, which is what prodded us to look into his work.

Although Inamura created several sculptures out of beetles, he spent 6 years in the 1970s constructing this one, which has become his masterpiece and the largest sculpture he ever made. When it was done he donated it to the city.

The sculpture, made from rhinoceros beetles, winged jewel beetles, drone beetles, longhorn beetles and other types of local beetles, depicts the senju kannon bosatsu (1000-armed bodhisattva), a popular Buddhist deity in Japan.

You can see and read more at Spoon & Tamago.

Jade suit, unearthed from Tomb 2, Dayun Mountain, Xuyi, Jiangsu (2nd century BCE) (photo © Nanjing Museum).

Jade suit, unearthed from Tomb 2, Dayun Mountain, Xuyi, Jiangsu (2nd century BCE) (photo © Nanjing Museum).

Exceedingly wealthy, the royalty of the Western Han dynasty (206 BCE–220 CE) lived indulgently, and these aristocrats were determined to enjoy their accustomed luxuries in the afterlife as well. While their strong affinity for the extravagant is largely unrecorded in historical texts, modern archaeology has immensely helped to shed light on these lifestyles from 2,000 years ago. Since 2009, archaeologists have uncovered thousands of telling treasures buried in royal tombs that date to the Jiangdu kingdom. They found not only exquisite mortuary objects and finely crafted domestic wares but also artifacts that speak to the body’s needs and desires — including a number of ancient sex toys.

You can see and read more at Hyperallergic.

And last, an animal so Disneyfied it makes Disney animals look woefully inadequate:

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You can see more of a Japanese Dwarf Flying Squirrel here.

Nemo’s Megalodon! And Giant Squid! And Cycloptopus! And…

Oh, the work of Nemo Gould is so many things. Wonderful. Awesome. Imaginative. Out of the Box. Fun. Every good thing. His outlook relates very much to mine, and I love that, but it’s hard to see how anyone wouldn’t take joy in his work. Also, he has a thing for tentacled beings, what’s not to love? He even did work for the Monterey Aquarium!

Nemo Gould.

Nemo Gould.

The Megalodon is Gould’s latest work, a 16-foot-long salvaged fuel tank from an F-94 bomber plane’s wing. The shark has working propellors for fins, and a tail that glides back and forth ominously. A cutaway on the side reveals various boiler and control rooms, each with their own delicately installed moving parts. It’s packed full of tiny human figures and whimsical creatures alike, all in mid-task as they operate their predatory underwater vessel.

The project took Gould a little over two years to finish. “I’d wanted to make a cutaway vessel for years, and had been putting objects aside for that purpose,” he explains. “I know it sounds backwards, but the tank was the last missing piece.” He found it at an aircraft salvage business, and from there he was able to assemble the final sculpture.

Gould says his process is a lot like solving a puzzle. “I maintain an extensive collection of things that I feel strongly about one way or another,” he says. “The challenge is to find which of the million potential relationships between these things could lead to the best art.” More so than his skills as an artist, machinist, fabricator, woodworker, et al., Gould says that “maintaining a vast, organized library of seemingly random objects is the real trick.”

Megalodon 2016 (extended) from Nemo Gould on Vimeo.

Just two more, and it’s killing me to not post all of them, and there are so many, so you’ll have to go visit!

Nemo Gould.

Nemo Gould.

Cycloptopus is a fearsome hybrid of two of my favorite monsters, one real, one mythical.  This creature is particularly dangerous because of its irritability.  You’d be irritable too if you were powered by an open flame and your body was made of wood.

Materials:

Radio cabinets, rocking chairs, fake fireplace, decorative clock elements, cabinet knobs, wall paper, chair parts, lamp parts, wheel hub, motors, LEDs.

Nemo Gould.

Nemo Gould.

I have been fascinated by the Giant Squid for quite some time. A real life, terrifying mystery of the deep.

I have posted a step-by-step essay of this piece with lots of process photos over at Instructables.com

Materials:

Street light covers, belt wheels, railing sections, brass fireplace hardware, candle sticks, drawer pulls, chandelier parts, wood planks, vanity mirror frame, timing motor, gear motor, LEDs, lawn sprinkler, pop rivets.

There are videos for most all the wondrous creations, showing them in their full glory and movement! Fair warning, you’ll be lost in Nemo’s world for a long time, but that is in no way a bad thing!

Oh, and don’t miss Octovarius! * Nemo Gould, Kinetic Sculpture from Found Materials. Go visit!

Via Make.

Laika Come Home.

From rq, who says: A piece of large format art I ran across on the way to visit a friend. The name (from the back of the piece) seems to be “Laika Come Home”, which is also the title of a Gorillaz remix album by Spacemonkeyz – artist unknown. At first I thought its gaze might be significant, but the Russian embassy is too far out the right of the frame, where I tried to capture that. So who knows, probably just a tribute to the album. :) Still, a surprise!

Click for full size!

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