Hortensia, Couronne Impériale (Hydrangea, Crown Imperial). J.J. Grandville, Les fleurs animées.
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Art, Fun, & Nonsense.
Hortensia, Couronne Impériale (Hydrangea, Crown Imperial). J.J. Grandville, Les fleurs animées.
Dahlia. 999miil]]]]9 (Vala decided to help me post this.) J.J. Grandville, Les fleurs animées.
Courtesy Wind Over Fire Healing Arts Center/Facebook
A New Age “ghost dance” held in southwestern Minnesota has many indigenous people wondering just when the cultural appropriation will end.
White “aggrieved entitlement” people. They never seem to run out of excuses for their bloated sense of entitlement, of helping themselves to the least little thing; of exploiting marginalized peoples. It’s damn near a way of life for many white people. When it comes to “new age” rites, seems to me there’s a wealth of pagan history to mine, gosh, you might even find some you’re related to in some way.
Towards the later days at the No DAPL camp, I wasn’t quiet about all the entitlement-minded white people there, who had no use for the rules laid down by the people running things. Because of course, rules, they are never for white people are they? I wasn’t quiet about all the white protest/event tourists, either. People who were there to honestly provide support and help, no problem. As usual though, they weren’t the ones making a fuss or making it all about them, because they knew it wasn’t about them. They knew that in the end, they would go home, and not have to deal with it all.
In Minnesota, there’s a group who recently held their 2nd annual “Ghost Dance”. When called on this, they denied it was a ghost dance. They said it was a “Ten Moons” dance. Then they decided to go with “Ghost Dance isn’t exclusive to Indigenous people! Lots of cultures had ancestor dances! China! Africa! So it isn’t indigenous in nature.” Oddly enough, their not indigenous at all dance is decidedly indigenous in appearance, and specifically so. The history of the Ghost Dance is a dark one, once the colonials got terrified and started up more wholesale slaughter, and brutally oppressed indigenous peoples all the more out of fear. It’s not a toy for white people to play pagan. It’s not yours. It’s not your culture, it’s not your history. If non-indigenous people ever wonder why various rites and dances have been closed to outsiders, look no further.
“It would be great if everyone just joined together,” said Laven, discontented by the scrutiny of their ceremony and the charges of cultural appropriation. “We have enough crap. I was at Standing Rock, and I hear the Native Americans, and I had heard them.”
Oh my. What a fine example of white entitlement. There’s really nothing else like it. Golly, white people have had enough crap! It’s just like everything indigenous people have gone through! And now, Standing Rock is the latest excuse. Fuck you, Ms. Laven. A universe of fuck yous. You have not heard one godsdamn thing. You don’t give one little shit about indigenous people or their struggles. All you care about is exploiting them to make money. I hope you are bad-mouthed from here to the end of the galaxy, because that’s the very least of what you deserve.
Belle de Nuit (Mirabilis jalapa, Four o’clock). J.J. Grandville, Les fleurs animées.
Click for full size.
William T. Horton is an artist little know these days. His work is stark, yet full of expressiveness and intensity. The Public Domain has an excellent article up, with many images. Just a few more here. Click all for full size.
The publisher Leonard Smithers (1861–1907) launched, bankrolled or otherwise helped the careers of an impressive variety of names: Richard Burton, Aubrey Beardsley, Aleister Crowley, Ernest Dowson, Oscar Wilde, W. B. Yeats, and Max Beerbohm were all referred to as “Smithers People” at one time or another. He drew to his circle the most eccentric and interesting characters of the era and in 1896 launched the arts and literary magazine the Savoy to showcase many of them. Aubrey Beardsley was made art editor while Arthur Symons was placed at the editorial helm. While not entirely a “Decadent” outfit (it also published George Bernard Shaw and Joseph Conrad), the magazine became a lightning rod for the curious and in it, as Bernard Muddiman wrote, “the abnormal, the bizarre, found their true home”1. It also launched the career of an illustrator and mystic named William T. Horton. Arguably one of the most fascinating and most unusual of all the “Smithers People”, he published very little work and remains almost completely unknown today.
The Path to the Moon from Horton’s A Book of Images (1898). Click for full size.
Horton’s cover for Knut Hamsun’s Hunger (1899) — Source: private scan from book. Click for full size.
One of two Horton images featured in H. Rider Haggard’s The Mahatma and the Hare, a Dream Story (1911) — Source. Click for full size.
You can read and see much more at The Public Domain. Horton’s A Book of Images can be seen in its entirety here. W.B. Yeats’s introduction to A Book of Images is well worth reading, too.
Primevere, Perce-Neige (Primrose and Snow Drop). J.J. Grandville, Les fleurs animées.
“Wouldn’t it be wonderful if all our letters could be published in the future in a more enlightened time. Then all the world could see how in love we are.“
Rose. J.J. Grandville, Les fleurs animées.
Okay, got the head done, mostly. I shouldn’t be painting today, my mood…it’s not suitable. Clickety for full size.
© C. Ford, all rights reserved.
A group of “book women” on horseback in Hindman, Kentucky, 1940. Kentucky Library and Archives.
They were known as the “book women.” They would saddle up, usually at dawn, to pick their way along snowy hillsides and through muddy creeks with a simple goal: to deliver reading material to Kentucky’s isolated mountain communities.
The Pack Horse Library initiative was part of President Franklin Roosevelt’s Works Progress Administration (WPA), created to help lift America out of the Great Depression, during which, by 1933, unemployment had risen to 40 percent in Appalachia. Roving horseback libraries weren’t entirely new to Kentucky, but this initiative was an opportunity to boost both employment and literacy at the same time.
“Sometimes the short way across is the hard way for the horse and rider but schedules have to be maintained if readers are not to be disappointed. Then, too, after highways are left, there is little choice of roads,” c. 1940. Kentucky Libraries and Archives.
Another fascinating article at Atlas Obscura, with absolutely splendid photos! Click on over and see.
Camellia. J.J. Grandville, Les fleurs animées.
Eglantine. J.J. Grandville, Les fleurs animées.
You do not want to miss the work of Roberto Benavidez, not one single bit of it! This artist is well worth a healthy little detour in your day. All of his work is stunning, imaginative, and very beautiful. There’s a distinct sense of humour suffused throughout, a noticing of the irony in small details. Hyperallergic has an excellent article, lots of images, and Benavidez’s website is full of delights.
Hieronymus Bosch piñata by Roberto Benavidez.
…How appropriate, then, that Los Angeles-based artist Roberto Benavidez has made wild, larger-than-life representations from the Hieronymus Bosch painting, “The Garden of Earthly Delights,” in piñata form.
“Sin is inherent in both the Bosch painting and the piñata, so to me it was a perfect pairing,” said Benavidez, in an email interview with Hyperallergic. “I like that my work is a blend of both Mexican and European art forms, which in a way represents who I am. Plus, I have always admired and gravitated towards old painting techniques. The oddness of the creatures and people, the odd perspective — they were captivating. As a sculptor, the challenge of taking these odd 2D forms and recreating [them] into 3D is the most fulfilling challenge for me right now.”
Benavidez has an interdisciplinary practice that includes sculpture, photography, and print work, but has experimented extensively with piñatas as a medium, including a collection of “Sugar Skull Piñatas” and a set of “Painting Piñatas,” in which he renders landscapes out of his own handcrafted version of the cheap paper fringe found on piñatas.
One of Roberto Benavidez’s “Painting Pinatas”.
“The painting piñatas are predominately vessels as well,” said Benavidez. “These were inspired by the layering of the crêpe paper when fringing the 3-D forms and realizing how similar it was to blending and layering colors with paint, although a bit more limiting … I love the absurdity of taking the cheapest and most unimaginative form of the piñata and putting hours of such meticulous fringe work into it.”
Have a bit of a wander this day, and delight in the work of Roberto Benavidez. The full article is at Hyperallergic.