Egyptian Case Mod is Fit for a Pharoah
June 9th, 2009 By Jai
Chris Kramer decided to do something different during summer holidays and what he ended up was building an Egyptian themed computer mod. He used some really specialized jewelry metal working, and lapidary skills which involve gemstone cutting and polishing, stone working, several dozen pounds of limestone tiles and a stuffed dog in order to create an authentic Egyptian themed case mod that transports us back to the days of pharaohs and hieroglyphics.
The idea was not to create something highly technical but something that is artistic and drool worthy, and hence the only geek components that went into the project were some components and a computer system board. He recreated partially the Tutankhamen chariot scene and in order to get some authentic hieroglyphic text, he used several passages from E. A. Wallis Budge’s “The Egyptian book of the Dead”.
With some amazing LED lights, jewelry, Egyptian art and painting, the case looks almost like Queen Cleopatra’s armoire and the computer that sits within it is almost a juxtaposition of cultures. The stuffed dog sits regally over the case as if it is guarding a new kind [of] tomb. ...
June 9th, 2009 By Jai
Chris Kramer decided to do something different during summer holidays and what he ended up was building an Egyptian themed computer mod. He used some really specialized jewelry metal working, and lapidary skills which involve gemstone cutting and polishing, stone working, several dozen pounds of limestone tiles and a stuffed dog in order to create an authentic Egyptian themed case mod that transports us back to the days of pharaohs and hieroglyphics.
The idea was not to create something highly technical but something that is artistic and drool worthy, and hence the only geek components that went into the project were some components and a computer system board. He recreated partially the Tutankhamen chariot scene and in order to get some authentic hieroglyphic text, he used several passages from E. A. Wallis Budge’s “The Egyptian book of the Dead”.
With some amazing LED lights, jewelry, Egyptian art and painting, the case looks almost like Queen Cleopatra’s armoire and the computer that sits within it is almost a juxtaposition of cultures. The stuffed dog sits regally over the case as if it is guarding a new kind [of] tomb. ...
The kids are back in school, and it seems the rest of us are back to the "same-old, same-old" once more. I don't really remember the last time I got that cliché assignment to write about the summer break, but that doesn't mean I have not been busy. "Doing what?" you might well ask, and I would have to reply with "Building yet another computer, of course." My project this time was not one selected for the technology aspect, but one I wanted to do just for the "artistic" modification phase.
In the QuetzalMod Feathered Serpent case, I suggested that one did not have to use anything other than some simple craft techniques to create a unique, personalized, computer chassis. However, for this project, I applied some of my more specialized jewelry metal-working and lapidary (gemstone cutting and polishing) skills. Add a dash of rough stone working, sixty or seventy pounds of limestone floor tile, and a stuffed dog and I created my EgyptianMod case. Oh yeah, I did add a computer system board and some other components in there somewhere too.
Starting with an approach like the Quetzal case, I took a decent five 5.25-bay Nzxt Nemesis gaming case (it was on sale, what can I say...) and promptly stripped the case down to the side panels and frame. As with the other system, I covered the side panel window with steel sheet. In place of the front bezel, I attached lengths of 3/4 inch square aluminum tubing to extend out beyond the front of the chassis to enclose the drive bays. Two brass plates were cut for front doors and riveted to sections of piano hinge. The lower door fastens with a simple cabinet latch, and covers the front fan opening and provides access for the power switch and LED indicator lights. The upper door covers the five 5.25 inch drive bays and has a strong magnet glued on the outside; a second magnet glued inside the aluminum tubing creates a hidden magnetic latch.
The tile store suggested using epoxy to attach the tile to metal, but I was concerned about differences in expansion and contraction of the metal and stone, and have seen epoxy shear away from metal under those conditions. Discussing this with them, I asked about silicon adhesive, which would be much more flexible; they agreed this should work fine as long as the surface was rough enough to bond to. To prepare the case for the limestone tile, I used a coarse grinding wheel over the top, sides and front doors. ...
... With the limestone shell complete, it was time to get creative. Before starting this part of the construction phase, I had sifted through numerous books on Egypt, Egyptian Jewelry, Tutankhamen, hieroglyphics, and did lots of Internet photo searches for inspiration or possible source material. Rather then depicting some static deities just standing or sitting, I ultimately decided on a composite hunt scene for one of the panels and a partial recreation of a Tutankhamen chariot scene for the other. For some "authentic" hieroglyphic text, I selected several translated passages from "The Egyptian Book of the Dead" by E. A. Wallis Budge. ...
[Ed. Note: Curious the way the last image is broken up in places, like an ancient papyrus scroll. ;) ]
Ta much, dear MSiegel
The Dread Cthulhu Tries to Relax
Cthulhu Fail
By robert | Published: January 26, 2010
In honor of Dread Cthulhu and the Twitter Fail Whale.
By robert | Published: January 26, 2010
In honor of Dread Cthulhu and the Twitter Fail Whale.
NYC – Diogenes
LA
Park City, Utah
Camden / Regents Canal
Hadta bump this.
Baroque: When you're out of Monet.
Paris art museum theft the work of lone robber
CCTV captures thief stealing paintings by Picasso, Matisse, Braque, Modigliani and Léger
Lizzy Davies in Paris, Sam Jones and agencies
Thursday 20 May 2010
A lone thief broke into a Paris museum last night and stole five paintings possibly worth hundreds of millions of euros, including masterpieces by Pablo Picasso and Henri Matisse, French police said today.
A police spokesman said works by Picasso, Matisse, Georges Braque, Amedeo Modigliani and Fernand Léger were reported missing early this morning from the Paris Museum of Modern Art. The total value of the paintings was initially put at €500m (£430m) by the Paris prosecutor's office, but Christophe Girard, the deputy culture secretary at Paris City Hall later said it was "just under €100m".
The pictures are: Le Pigeon aux Petits Pois (Pigeon with Peas) an ochre and brown Cubist oil painting by Picasso; La Pastorale (Pastoral), an oil painting of nudes on a hillside by Matisse; L'Olivier Près de l'Estaque (Olive Tree near Estaque) by Braque; La Femme a l'Eventail (Woman with a Fan) by Modigliani; and Nature Morte aux Chandeliers (Still Life with Chandeliers) by Léger.
The burglary was discovered just before 7am. A single masked intruder was caught on a CCTV camera taking the paintings away, according to the prosecutor's office. A window had been broken and the padlock of a grille giving access to the museum was smashed. The paintings appeared to have been carefully removed from their frames, rather than sliced out.
Police and investigators have sealed off the museum. ...
Ta much, dear Glenn321
CCTV captures thief stealing paintings by Picasso, Matisse, Braque, Modigliani and Léger
Lizzy Davies in Paris, Sam Jones and agencies
Thursday 20 May 2010
A lone thief broke into a Paris museum last night and stole five paintings possibly worth hundreds of millions of euros, including masterpieces by Pablo Picasso and Henri Matisse, French police said today.
A police spokesman said works by Picasso, Matisse, Georges Braque, Amedeo Modigliani and Fernand Léger were reported missing early this morning from the Paris Museum of Modern Art. The total value of the paintings was initially put at €500m (£430m) by the Paris prosecutor's office, but Christophe Girard, the deputy culture secretary at Paris City Hall later said it was "just under €100m".
The pictures are: Le Pigeon aux Petits Pois (Pigeon with Peas) an ochre and brown Cubist oil painting by Picasso; La Pastorale (Pastoral), an oil painting of nudes on a hillside by Matisse; L'Olivier Près de l'Estaque (Olive Tree near Estaque) by Braque; La Femme a l'Eventail (Woman with a Fan) by Modigliani; and Nature Morte aux Chandeliers (Still Life with Chandeliers) by Léger.
The burglary was discovered just before 7am. A single masked intruder was caught on a CCTV camera taking the paintings away, according to the prosecutor's office. A window had been broken and the padlock of a grille giving access to the museum was smashed. The paintings appeared to have been carefully removed from their frames, rather than sliced out.
Police and investigators have sealed off the museum. ...
Ta much, dear Glenn321
May 15, 2010
When Picasso came round to play
To the young boy, he was just a friend of his artist father. Finding out that Picasso was a towering figure came later
Antony Penrose
Pablo Picasso’s work still finds unexpected ways of astounding us even if only for the boggling $106.5 million recently realised at auction by his 1932 painting of his mistress Marie Thérèse Walter titled Nude, Green Leaves and Bust. Now Picasso: Peace and Freedom at Tate Liverpool promises a new look at the political dimension ever present in his life but intimately known only to a few. The Picasso I knew did not wear his politics as an emblem. He came to my home, Farley Farm in Chiddingly, Sussex, in November 1950. My earliest memories are of a person of great warmth. He was generous with hugs, cuddles and games on the floor, and he smelt distinctively of cologne and soap. We liked the same things. My teddy, the pets, Gypsy the old draft horse and our handsome Ayrshire bull, named William, with his retinue of cows.
These events return to me as snatches of conversations, hazy images, smells and emotional traces from memories long ago. I was well into my teenage years before I realised that other people saw Picasso, Paul Éluard, Joan Mirò, Max Ernst, Man Ray and others as the leading artists of the 20th century. For me they were habitué friends of my family. They were warm, funny, hugely talented and sometimes flawed people who were bonded by their love of art and their desire to use it as an agency for bringing change to the world. I urge those who jump to the conclusion that Surrealism was a naive and self-indulgent movement to look at the risks run and the ultimate price paid by the Surrealists who proved their principle against the Nazis. Many of them died as a result.
It was discovering the work of my mother, Lee Miller, hidden in the attic of Farley Farm House that prompted me to research her life and that of my father. Neither of them had ever spoken much of the Second World War, of politics and the principles that guided their lives but gradually these things emerged and meshed with my memories of them as parents. In their external lives, they stopped being my parents and became “Penrose” and “Miller”. They still remain as my mother and father in my internal life.
Picasso had met my father, the painter Roland Penrose, in Mougins in 1936, thanks to the poet Éluard who had invited him there for a beach holiday on the Côte d’Azur. Éluard, a close friend of Picasso, had helped Penrose to gather the loans for his First International Surrealist Exhibition in London held in June of that year. Its success established Penrose as the ambassador of Surrealism in Britain, a nation still struggling to come to terms with Post-Impressionism. ...
...Becoming super-rich was important to him only because it allowed him to be private and to quietly help the people and the causes he admired. Naturally his wealth made it impossible for him to enjoy the simple pleasures of the beach he loved or the townspeople around him, but he found secret ways through trusted friends of supporting what mattered to him, and that allowed him to carry on simply being Picasso. ...
When Picasso came round to play
To the young boy, he was just a friend of his artist father. Finding out that Picasso was a towering figure came later
Antony Penrose
Pablo Picasso’s work still finds unexpected ways of astounding us even if only for the boggling $106.5 million recently realised at auction by his 1932 painting of his mistress Marie Thérèse Walter titled Nude, Green Leaves and Bust. Now Picasso: Peace and Freedom at Tate Liverpool promises a new look at the political dimension ever present in his life but intimately known only to a few. The Picasso I knew did not wear his politics as an emblem. He came to my home, Farley Farm in Chiddingly, Sussex, in November 1950. My earliest memories are of a person of great warmth. He was generous with hugs, cuddles and games on the floor, and he smelt distinctively of cologne and soap. We liked the same things. My teddy, the pets, Gypsy the old draft horse and our handsome Ayrshire bull, named William, with his retinue of cows.
These events return to me as snatches of conversations, hazy images, smells and emotional traces from memories long ago. I was well into my teenage years before I realised that other people saw Picasso, Paul Éluard, Joan Mirò, Max Ernst, Man Ray and others as the leading artists of the 20th century. For me they were habitué friends of my family. They were warm, funny, hugely talented and sometimes flawed people who were bonded by their love of art and their desire to use it as an agency for bringing change to the world. I urge those who jump to the conclusion that Surrealism was a naive and self-indulgent movement to look at the risks run and the ultimate price paid by the Surrealists who proved their principle against the Nazis. Many of them died as a result.
It was discovering the work of my mother, Lee Miller, hidden in the attic of Farley Farm House that prompted me to research her life and that of my father. Neither of them had ever spoken much of the Second World War, of politics and the principles that guided their lives but gradually these things emerged and meshed with my memories of them as parents. In their external lives, they stopped being my parents and became “Penrose” and “Miller”. They still remain as my mother and father in my internal life.
Picasso had met my father, the painter Roland Penrose, in Mougins in 1936, thanks to the poet Éluard who had invited him there for a beach holiday on the Côte d’Azur. Éluard, a close friend of Picasso, had helped Penrose to gather the loans for his First International Surrealist Exhibition in London held in June of that year. Its success established Penrose as the ambassador of Surrealism in Britain, a nation still struggling to come to terms with Post-Impressionism. ...
...Becoming super-rich was important to him only because it allowed him to be private and to quietly help the people and the causes he admired. Naturally his wealth made it impossible for him to enjoy the simple pleasures of the beach he loved or the townspeople around him, but he found secret ways through trusted friends of supporting what mattered to him, and that allowed him to carry on simply being Picasso. ...
Banksy gives band £200k painting 'in apology for stealing their name'
Banksy, the graffiti artist, gave a £200,000 painting to a band after he accidentally "stole" their name as the title to his new film, Exit Through the Gift Shop.
Banksy, the graffiti artist, gave a £200,000 painting to a band after he accidentally "stole" their name as the title to his new film, Exit Through the Gift Shop.
What's in a name? For Simon Duncan's band, a £200,000 Banksy...
The group formerly known as Exit Through the Gift Shop receives an unexpected reward for acceding to graffiti artist's request
Vanessa Thorpe, arts and media correspondent
Sunday 25 April 2010
... "I am a drummer in a band that was called Exit Through the Gift Shop that I started with friends 18 months before I turned 40. It was a kind of midlife crisis, but we are still going, with a different line-up, and it has become a bit more serious," said Duncan, who agreed to change his band's name to Brace Yourself in an arrangement with Banksy.
"We had these hilarious emails from someone saying he was Banksy, but we didn't know if they were genuine," said Duncan. "Then a scruffy white van arrived. The driver had no idea what he was carrying."
The band plan to unveil their new name and backdrop, which shows the grim reaper riding a dodgem car, at a London gig this week.
"When we saw the painting we could not believe it," said Duncan. "It is the size of a double bed, for a start. We had to insure it, so a man from Sotheby's came over to see it in my loft. He said to me, 'This is surreal. I have just been valuing an 18th-century portrait in a stately home, but it is not as valuable as this.'"
The band have put the painting in storage at Sotheby's and will perform in front of a full-size copy.
The group formerly known as Exit Through the Gift Shop receives an unexpected reward for acceding to graffiti artist's request
Vanessa Thorpe, arts and media correspondent
Sunday 25 April 2010
... "I am a drummer in a band that was called Exit Through the Gift Shop that I started with friends 18 months before I turned 40. It was a kind of midlife crisis, but we are still going, with a different line-up, and it has become a bit more serious," said Duncan, who agreed to change his band's name to Brace Yourself in an arrangement with Banksy.
"We had these hilarious emails from someone saying he was Banksy, but we didn't know if they were genuine," said Duncan. "Then a scruffy white van arrived. The driver had no idea what he was carrying."
The band plan to unveil their new name and backdrop, which shows the grim reaper riding a dodgem car, at a London gig this week.
"When we saw the painting we could not believe it," said Duncan. "It is the size of a double bed, for a start. We had to insure it, so a man from Sotheby's came over to see it in my loft. He said to me, 'This is surreal. I have just been valuing an 18th-century portrait in a stately home, but it is not as valuable as this.'"
The band have put the painting in storage at Sotheby's and will perform in front of a full-size copy.
As the crowds trickled through the Sully wing of the Louvre one recent afternoon, a stocky, middle-aged Frenchman looked around furtively before whipping a gilt-framed painting from under his leather jacket and fixing it to the wall.
Placed alongside the august portraits of Salle 59, the miniature – a vanité depicting two skulls – held its own amid the splendour of the room's more conventional treasures.
But its presence was not welcome and when the artist returned to see it today it had been removed by irate museum staff. "Now I have to write a letter to the president director-general or someone to get it back. It's pathetic," he said.
Pascal Guérineau, 47, has in recent weeks become the bête noire of Paris's most prestigious galleries and their eagle-eyed security guards.
The stunt this week was not his first offence. Last month he hung one of his own works in the Musée Maillol in between a Christian Boltanski and a drawing by Jean-Michel Basquiat. The museum, which only spotted the rogue picture at closing time, was not amused.
Though his venture may smack to many of self-promotion, Guérineau insists his actions are less about him and more about les oubliés: the legion of overlooked and under-appreciated French artists he claims to represent.
By hanging pictures in some of the capital's most high-profile exhibitions, he says, he is drawing attention to the desperation felt by many contemporary creatives who struggle to gain recognition. The French art world, he says, has time only for artists who have made it big, or who are already dead. ...
Placed alongside the august portraits of Salle 59, the miniature – a vanité depicting two skulls – held its own amid the splendour of the room's more conventional treasures.
But its presence was not welcome and when the artist returned to see it today it had been removed by irate museum staff. "Now I have to write a letter to the president director-general or someone to get it back. It's pathetic," he said.
Pascal Guérineau, 47, has in recent weeks become the bête noire of Paris's most prestigious galleries and their eagle-eyed security guards.
The stunt this week was not his first offence. Last month he hung one of his own works in the Musée Maillol in between a Christian Boltanski and a drawing by Jean-Michel Basquiat. The museum, which only spotted the rogue picture at closing time, was not amused.
Though his venture may smack to many of self-promotion, Guérineau insists his actions are less about him and more about les oubliés: the legion of overlooked and under-appreciated French artists he claims to represent.
By hanging pictures in some of the capital's most high-profile exhibitions, he says, he is drawing attention to the desperation felt by many contemporary creatives who struggle to gain recognition. The French art world, he says, has time only for artists who have made it big, or who are already dead. ...
...I don't know what LSD is but I admire the graphic art in this vintage poster. Minimalist but not boring. I like the use of color in this. ...
Ate it circa 1982. The walls breathed and the floors rippled like water, but it was pretty mellow - like Goofy himself.
A friend had some Donald Duck at the same time, and it was much like Mr Duck: crazed.
The King!
¡Ay caramba!
This is the back of the Getafix stuff. 200 mics!
My current desktop wallpaper, albeit thus ensmallened.
March 02, 2010
Horace Walpole’s treasures from Strawberry Hill
Drawing of Strawberry Hill, Twickenham, by William Marlow
Horace Walpole’s treasures from Strawberry Hill
Drawing of Strawberry Hill, Twickenham, by William Marlow
Jesus of Peeps
by Janet Galore
494 marshmallow Peeps with wood frame
4.5ft x 3.5ft
Those aren't boxer shorts, they're tighty....um......well, they're not boxers.
... "During the thirties, Man Ray made a large number of drawings while in Paris or travelling in the south of France. Man Ray had shown these drawings to Eluard, who had asked him to leave them with him. On Man Ray’s return, some weeks later, he found to his delight that his friend had 'illustrated' each drawing with a poem. This new and unexpected proof of Eluard's esteem resulted in the publication of Les Mains Libres, a book in which more than sixty pen-and-ink drawings are reproduced, fifty-four of them opposite Eluard's poem." ...
Marcel Duchamp's Secret Masterpiece
by Rachel Wolff
For two decades, Marcel Duchamp fooled the world into thinking he had retired, while quietly creating his last great work. Rachel Wolff on the multiple love affairs that inspired it.
... Working in secret for 20 years, Duchamp constructed much of Étant donnés in his diminutive studio on West 14th Street in New York, confiding only in three women (two lovers, one wife, to be exact) and, in the work’s later stages, artist/collector William Nelson Copley. By the 1940s, Duchamp had gone “underground” with his art, claiming to have given it up entirely for chess. “Nobody had any interest in what he was doing because nobody, including myself, knew he was doing anything,” Copley once said. “This gave him all the freedom in the world.”
Duchamp decided in the 1950s to will his pièce de résistance to the Philadelphia Museum of Art to join the largest collection of the artist’s work. Étant donnés was permanently installed at the museum in 1969, one year after Duchamp’s death. It has since beguiled artists, critics, and art historians alike with its uncharacteristic look and perceivably lewd message. Jasper Johns called it “the strangest work of art any museum has ever had in it”; visitors feigned shock, bemoaning the piece to the director and even, at times, to guards and staffers in the galleries; and in his New York Times review, John Canaday wrote: “For the first time, this cleverest of 20th-century masters looks a bit retardataire.” It became sort of an art world in-joke and there’s little existing scholarship on the piece. It seemed, for the longest time, that no one quite got it.
The Philadelphia Museum of Art hopes to change that with Marcel Duchamp: Étant donnés, a[n]...exhibition...The show gathers a fascinating array of photographs, documents, objects, and artworks related to Étant donnés and its conception....
by Rachel Wolff
For two decades, Marcel Duchamp fooled the world into thinking he had retired, while quietly creating his last great work. Rachel Wolff on the multiple love affairs that inspired it.
... Working in secret for 20 years, Duchamp constructed much of Étant donnés in his diminutive studio on West 14th Street in New York, confiding only in three women (two lovers, one wife, to be exact) and, in the work’s later stages, artist/collector William Nelson Copley. By the 1940s, Duchamp had gone “underground” with his art, claiming to have given it up entirely for chess. “Nobody had any interest in what he was doing because nobody, including myself, knew he was doing anything,” Copley once said. “This gave him all the freedom in the world.”
Duchamp decided in the 1950s to will his pièce de résistance to the Philadelphia Museum of Art to join the largest collection of the artist’s work. Étant donnés was permanently installed at the museum in 1969, one year after Duchamp’s death. It has since beguiled artists, critics, and art historians alike with its uncharacteristic look and perceivably lewd message. Jasper Johns called it “the strangest work of art any museum has ever had in it”; visitors feigned shock, bemoaning the piece to the director and even, at times, to guards and staffers in the galleries; and in his New York Times review, John Canaday wrote: “For the first time, this cleverest of 20th-century masters looks a bit retardataire.” It became sort of an art world in-joke and there’s little existing scholarship on the piece. It seemed, for the longest time, that no one quite got it.
The Philadelphia Museum of Art hopes to change that with Marcel Duchamp: Étant donnés, a[n]...exhibition...The show gathers a fascinating array of photographs, documents, objects, and artworks related to Étant donnés and its conception....
In 1913 I had the happy idea to fasten a bicycle wheel to a kitchen stool and watch it turn.
A few months later I bought a cheap reproduction of a winter evening landscape, which I called "Pharmacy" after adding two small dots, one red and one yellow, in the horizon.
In New York in 1915 I bought at a hardware store a snow shovel on which I wrote "In advance of the broken arm."
It was around that time that the word "Readymade" came to my mind to designate this form of manifestation.
A point that I want very much to establish is that the choice of these "Readymades" was never dictated by aesthetic delectation.
The choice was based on a reaction of visual indifference with at the same time a total absence of good or bad taste ... in fact a complete anaesthesia.
One important characteristic was the short sentence which I occasionally inscribed on the "Readymade."
That sentence instead of describing the object like a title was meant to carry the mind of the spectator towards other regions more verbal. ...
A few months later I bought a cheap reproduction of a winter evening landscape, which I called "Pharmacy" after adding two small dots, one red and one yellow, in the horizon.
In New York in 1915 I bought at a hardware store a snow shovel on which I wrote "In advance of the broken arm."
It was around that time that the word "Readymade" came to my mind to designate this form of manifestation.
A point that I want very much to establish is that the choice of these "Readymades" was never dictated by aesthetic delectation.
The choice was based on a reaction of visual indifference with at the same time a total absence of good or bad taste ... in fact a complete anaesthesia.
One important characteristic was the short sentence which I occasionally inscribed on the "Readymade."
That sentence instead of describing the object like a title was meant to carry the mind of the spectator towards other regions more verbal. ...
I've tripped out on and adored these since childhood.
I have forced myself to contradict myself in order to avoid conforming to my own taste.
- Marcel Duchamp
- Marcel Duchamp
Everything important that I have done can be put into a little suitcase.
—Marcel Duchamp
New York, March 1952
—Marcel Duchamp
New York, March 1952
... Barledeanu describes himself as a "director" of his own films and considers each collage to be a movie in itself. While many are light-hearted, others are darker, infused with black humour and often focusing on the man he calls his "greatest fear". "I knew that if he knew about my work Ceausescu would not sleep in peace in his grave," he said. "If people had found out about my work they could have chopped my head off … But this is my revenge."
Many of the most explosive collages were made after 1989, but those that were made during the regime have already interested collectors. Antoine de Galbert of La Maison Rouge art foundation said he appreciated "the risk involved" in Barledeanu's work, while Jérôme Neutres of the Grand Palais said the artist's background lent the collages a unique appeal. "Of course there is a fairytale aspect to his work, but that is not important to me. What I like is that he has been spared the usual artistic circles and his work is refreshing as a result," he said.
Whatever the world thinks, Barladeanu says he will carry on working regardless. "It's like eating pie or sandwiches. It fulfils me," he said in his fast-paced Romanian slang. "If I were reincarnated in another life I would still be making collages, and if I could take them to the moon I would."
Many of the most explosive collages were made after 1989, but those that were made during the regime have already interested collectors. Antoine de Galbert of La Maison Rouge art foundation said he appreciated "the risk involved" in Barledeanu's work, while Jérôme Neutres of the Grand Palais said the artist's background lent the collages a unique appeal. "Of course there is a fairytale aspect to his work, but that is not important to me. What I like is that he has been spared the usual artistic circles and his work is refreshing as a result," he said.
Whatever the world thinks, Barladeanu says he will carry on working regardless. "It's like eating pie or sandwiches. It fulfils me," he said in his fast-paced Romanian slang. "If I were reincarnated in another life I would still be making collages, and if I could take them to the moon I would."
... When looking through some really neat groups on Flickr.com, I came across a unique profile of the name Adopt-a-bot. Brian Marshall, a middle school teacher by day, is kept busy at night as the wild and crazy orphans crawl up from the deep dark recesses of his basement. Brian has a very creative mind, using found objects or items he finds from garage sales, eBay, scrap yards etc. Some of his favorite items to use are old oil cans, aluminum measuring spoons, electrical meters, retro blenders, anodized cups, and pencil sharpeners.
If you are ever in Wilmington, Delaware, you must stop by to see the menagerie of robotic creatures at the Adopt-a-bot orphanage. For as long as he can remember, Brian has always had a passion for building things. Legos and Lincoln Logs occupied his time as a youngster, but as he grew older and his construction techniques progressed, he sought out new and unusual materials that would allow his imagination to run wild. Then, one lazy afternoon while watching movies Brian was inspired by an unusual lamp and his artistic career was born. Lamps led to clocks, small tables, chandeliers and his first attempt at robots with his Night Watchmen series. The Night Watchmen were robotic heads that lit up to scare away the evil monsters that hide under beds. Then came the day when the first robot emerged from his basement, and he knew he had found his true passion. His basement became a place where all the unwanted, used up parts from commercial enterprises and residential homes could now come to find hope. This was when Brian created the world’s first robot orphanage. Just because these parts were no longer desired for their original purpose, they refused to believe they should die an agonizing death in a big smelting pot or a landfill. So with a little help, these parts were coming together with new and unusual friends to fulfill their dreams of once again bringing joys to others. And bringing joy they are to families as far away as Hong Kong. ...
Booton & Watts
No. 12
CB Checker
Robofish
Robo Band
Marshall
Ta much, dear Edosan
If you are ever in Wilmington, Delaware, you must stop by to see the menagerie of robotic creatures at the Adopt-a-bot orphanage. For as long as he can remember, Brian has always had a passion for building things. Legos and Lincoln Logs occupied his time as a youngster, but as he grew older and his construction techniques progressed, he sought out new and unusual materials that would allow his imagination to run wild. Then, one lazy afternoon while watching movies Brian was inspired by an unusual lamp and his artistic career was born. Lamps led to clocks, small tables, chandeliers and his first attempt at robots with his Night Watchmen series. The Night Watchmen were robotic heads that lit up to scare away the evil monsters that hide under beds. Then came the day when the first robot emerged from his basement, and he knew he had found his true passion. His basement became a place where all the unwanted, used up parts from commercial enterprises and residential homes could now come to find hope. This was when Brian created the world’s first robot orphanage. Just because these parts were no longer desired for their original purpose, they refused to believe they should die an agonizing death in a big smelting pot or a landfill. So with a little help, these parts were coming together with new and unusual friends to fulfill their dreams of once again bringing joys to others. And bringing joy they are to families as far away as Hong Kong. ...
Booton & Watts
No. 12
CB Checker
Robofish
Robo Band
Marshall
Ta much, dear Edosan
Day of the Dead papercut made in San Salvador Huixcolotla, Mexico (1980s) on Flickr - Photo Sharing!
Day of the Dead papercut made in San Salvador Huixcolotla, Mexico (1980s)
... They hung out with Allen Ginsberg and Janis Joplin and Andy Warhol and Sam Shepard. This was in the days when Mapplethorpe didn't have the patience to take pictures, before he became "smitten" with photography; when Smith had no idea she would one day front a rock'n'roll band. They were, as she neatly puts it, "in a fresh state of transformation", about to become the artists they would go on to be. "Patti, you got famous before me," he said a decade later, when they walked down the street and heard her hit record "Because the Night" blaring from storefronts.
"He was teasing me," Smith tells me now, "because I always told him I didn't care if I was famous, I just wanted him to be famous. But Robert wanted people to see me as he saw me – it didn't matter so much to me whether the world saw me or not, but it was very important for Robert that the world acknowledge me. He believed in me."
It has taken Smith 10 years to write the book. Initially, after Mapplethorpe died, she wrote instead of weeping, and came up with a series of linked prose poems in his honour, entitled The Coral Sea. But his death was succeeded by the death of Smith's pianist, Richard Sohl, at the age of 37, the death of her husband, the guitarist Fred "Sonic" Smith, and the death of her brother, Todd, all in the space of a few years, and though she'd promised Mapplethorpe on his death bed that she would one day write their story, she couldn't return to the first loss in the midst of the others. "Robert was the first great death in a series of great deaths," she says, "and it almost taught me how to grieve. Although you grieve differently for each person, the important part of grieving is to live." ...
"He was teasing me," Smith tells me now, "because I always told him I didn't care if I was famous, I just wanted him to be famous. But Robert wanted people to see me as he saw me – it didn't matter so much to me whether the world saw me or not, but it was very important for Robert that the world acknowledge me. He believed in me."
It has taken Smith 10 years to write the book. Initially, after Mapplethorpe died, she wrote instead of weeping, and came up with a series of linked prose poems in his honour, entitled The Coral Sea. But his death was succeeded by the death of Smith's pianist, Richard Sohl, at the age of 37, the death of her husband, the guitarist Fred "Sonic" Smith, and the death of her brother, Todd, all in the space of a few years, and though she'd promised Mapplethorpe on his death bed that she would one day write their story, she couldn't return to the first loss in the midst of the others. "Robert was the first great death in a series of great deaths," she says, "and it almost taught me how to grieve. Although you grieve differently for each person, the important part of grieving is to live." ...
January 27, 2010
The gay cartoonists who had the last laugh
Humour was a vital weapon in the campaigning gay press, a new exhibition of cartoon strips reveals
Joseph Galliano
... [David] Shenton and his fellow cartoonist Kate Charlesworth, 59, are mounting an exhibition, Drawn Out and Painted Pink, at the Drill Hall in Central London, of about 240 of their four-panel, line-drawn cartoon strips from the 1970s to the present day, arranged like brickwork and with the floor space filled with wry installations that comment on gay culture and history.
It includes the “Out of the Closet rail” full of joke clothes. Thus they have what Shenton calls a Rubik’s cube harness. “Harnesses were so difficult to put on, so we’ve made a complicated one with a set of instructions that are impossible to follow.” They’ve also made a three-armed, two-man rainbow-flag shirt and the “Duvet of Love” mosaic made from badges. It is typical of such playful artists that even the objects they make are cartoonish.
The show is presented like a 1980s nightclub, all black-painted walls and glitter balls. A pink stripe guides the visitor through the exhibition and functions as a timeline of landmark events for gay people.
The meat of the show is the work that both artists published in papers such as Gay News in the 1970s, Capital Gay and The Pink Paper in the 1980s and 1990s, where they (along with a small handful of fellow cartoonists such as Cath Jackson and Alison Bechdel) put everyday gay experience on the page. By default they were documenting the history of gay liberation in Britain. They turned gay people from the butt of the joke to those delivering the punch lines. ...
The gay cartoonists who had the last laugh
Humour was a vital weapon in the campaigning gay press, a new exhibition of cartoon strips reveals
Joseph Galliano
... [David] Shenton and his fellow cartoonist Kate Charlesworth, 59, are mounting an exhibition, Drawn Out and Painted Pink, at the Drill Hall in Central London, of about 240 of their four-panel, line-drawn cartoon strips from the 1970s to the present day, arranged like brickwork and with the floor space filled with wry installations that comment on gay culture and history.
It includes the “Out of the Closet rail” full of joke clothes. Thus they have what Shenton calls a Rubik’s cube harness. “Harnesses were so difficult to put on, so we’ve made a complicated one with a set of instructions that are impossible to follow.” They’ve also made a three-armed, two-man rainbow-flag shirt and the “Duvet of Love” mosaic made from badges. It is typical of such playful artists that even the objects they make are cartoonish.
The show is presented like a 1980s nightclub, all black-painted walls and glitter balls. A pink stripe guides the visitor through the exhibition and functions as a timeline of landmark events for gay people.
The meat of the show is the work that both artists published in papers such as Gay News in the 1970s, Capital Gay and The Pink Paper in the 1980s and 1990s, where they (along with a small handful of fellow cartoonists such as Cath Jackson and Alison Bechdel) put everyday gay experience on the page. By default they were documenting the history of gay liberation in Britain. They turned gay people from the butt of the joke to those delivering the punch lines. ...
Banksy film set for Sundance premiere
Banksy describes his first film Exit Through the Gift Shop as 'the story of how one man set out to film the unfilmable - and failed'
Esther Addley
Thursday 21 January 2010
He is better known for his work on brick, plasterwork, portable toilets and even, on one memorable occasion, an elephant. But until now the artist known as Banksy, in creating his satirical artworks, has largely stuck to the old-fashioned mediums of painting and sculpture.
Today, however, it emerged that the graffiti artist and cultural bête noire has branched into filmmaking, with the release of what is described as "the worlds first street art disaster movie".
Exit Through the Gift Shop, which will have its international premiere on Sunday at the Sundance film festival, is described by its creator as "the story of how one man set out to film the unfilmable - and failed", and by the festival's organisers as "an amazing ride, a cautionary modern fairy tale ... with bolt cutters".
Banksy's spokeswoman, Jo Brooks, declined to elaborate much further on the plot of the 89-minute feature film, though the festival's website helpfully provides some details, describing it as the account of what happened when a French filmmaker, Terry Guetta, set out to record the "secretive world" of street art, only to meet Banksy, at which point "things took a bizarre turn".
Pressed for more detail, the artist himself offered the following, hardly illuminating, elaboration through his publicist: "It's a film about a man who tried to make a film about me. Everything in it is true, especially the bits where we all lie." ...
Banksy describes his first film Exit Through the Gift Shop as 'the story of how one man set out to film the unfilmable - and failed'
Esther Addley
Thursday 21 January 2010
He is better known for his work on brick, plasterwork, portable toilets and even, on one memorable occasion, an elephant. But until now the artist known as Banksy, in creating his satirical artworks, has largely stuck to the old-fashioned mediums of painting and sculpture.
Today, however, it emerged that the graffiti artist and cultural bête noire has branched into filmmaking, with the release of what is described as "the worlds first street art disaster movie".
Exit Through the Gift Shop, which will have its international premiere on Sunday at the Sundance film festival, is described by its creator as "the story of how one man set out to film the unfilmable - and failed", and by the festival's organisers as "an amazing ride, a cautionary modern fairy tale ... with bolt cutters".
Banksy's spokeswoman, Jo Brooks, declined to elaborate much further on the plot of the 89-minute feature film, though the festival's website helpfully provides some details, describing it as the account of what happened when a French filmmaker, Terry Guetta, set out to record the "secretive world" of street art, only to meet Banksy, at which point "things took a bizarre turn".
Pressed for more detail, the artist himself offered the following, hardly illuminating, elaboration through his publicist: "It's a film about a man who tried to make a film about me. Everything in it is true, especially the bits where we all lie." ...
I found this thanks to dear Edosan; it's part of the below post.
All the lush Steampunkery in th' above posts were found thanks to this very flickr page.
Back of Marcel Duchamp's head - tonsured by Georges de Zayas
1920
Jul 22, 2008
canned chance; an escape from taste
David Need is in New York and visited MOMA yesterday. He sent a note to a listserv we're on that he came upon Marcel Duchamp's Three Standard Stoppages. There are two artifacts by that title in MOMA -- a boxed set of three wooden templates and glass panels, and then a painting that uses the template shapes.
Duchamp took three meter-long strings and dropped them from a meter's height above treated canvas. Then he fixed them just how they landed, producing three wavering curves that he called stoppages and mounted on glass panels. Then he cut a wooden template along each of these three stoppages.
The whole lot fits in a repurposed croquet box, which gives it a sanctioned feel. Keep in mind that at this time (around the onset of WWI) the definition of the meter was the distance between two lines on a standard bar of 90% platinum and 10% iridium at 0° Celsius. Of course that distance was based on an erroneous geographical measurement...
canned chance; an escape from taste
David Need is in New York and visited MOMA yesterday. He sent a note to a listserv we're on that he came upon Marcel Duchamp's Three Standard Stoppages. There are two artifacts by that title in MOMA -- a boxed set of three wooden templates and glass panels, and then a painting that uses the template shapes.
Duchamp took three meter-long strings and dropped them from a meter's height above treated canvas. Then he fixed them just how they landed, producing three wavering curves that he called stoppages and mounted on glass panels. Then he cut a wooden template along each of these three stoppages.
The whole lot fits in a repurposed croquet box, which gives it a sanctioned feel. Keep in mind that at this time (around the onset of WWI) the definition of the meter was the distance between two lines on a standard bar of 90% platinum and 10% iridium at 0° Celsius. Of course that distance was based on an erroneous geographical measurement...
Fingers
1930
Picasso, other art works stolen from French villa
Sat Jan 2, 2010
MARSEILLE, France (Reuters) - Thieves have stolen about 30 paintings, including a work by Spanish master Pablo Picasso, from a private villa in the south of France, police said on Saturday.
The haul, which also included a painting by post-impressionist Henri Rousseau, was worth about 1 million euros ($1.43 million), a judicial source said.
The theft was discovered on Thursday by a caretaker at the house in the Provençal village of La Cadiere d'Azur....
Sat Jan 2, 2010
MARSEILLE, France (Reuters) - Thieves have stolen about 30 paintings, including a work by Spanish master Pablo Picasso, from a private villa in the south of France, police said on Saturday.
The haul, which also included a painting by post-impressionist Henri Rousseau, was worth about 1 million euros ($1.43 million), a judicial source said.
The theft was discovered on Thursday by a caretaker at the house in the Provençal village of La Cadiere d'Azur....
Ta much, dear Edosan
Makers from all over the nation will make their way to The Henry Ford, in Dearborn, Michigan for Maker Faire, July 31-August 1, 2010. This two-day, family-friendly event celebrates creative and resourceful people in the areas of science and technology, engineering, food, and arts and crafts. Additional information will be released as it becomes available. ...
Ta much, dear MSiegel!
WOO - HOO!!!
Ta much, dear MSiegel!
WOO - HOO!!!
Each pic's a link to a different site so click away, Gentle Categorian.
Paintings by dog sell for more than £1,000
Paintings done by a dog called Sam are selling for up to £1,045 in Maryland, USA.
19 Oct 2009
Selling for up to $1700 (£1,045) for an individual work, Sam has put his brush to 22 different canvases Photo: BARCROFT MEDIA
Using the lush surroundings of his home town of Eastern Shore, Maryland as his muse, Sam's paintings are attracting a loyal art world following.
Some of his 22 paintings - done using a tailor-made paintbrush held in his mouth - have sold for up to $1700 (£1,045).
"Sam is a regular renaissance dog and his abstract paintings are all the rage with the hip New York galleries," says Mary Stadelbacher, Sam's owner.
"He loves his painting and would happily carry on for hours if I left him to it.
"He loves to work in a variety of colours and layers his paintings with darker shades first and then moves on to lighter ones later."
Mary, who runs Shore Service Dogs, in the United States took in six-year-old Sam four years ago as a rescue dog.
"He had been bounced around a couple of dog pounds, so I couldn't have that," says Mary about Sam, who is a bloodhound, sheep-dog cross. ...
Paintings done by a dog called Sam are selling for up to £1,045 in Maryland, USA.
19 Oct 2009
Selling for up to $1700 (£1,045) for an individual work, Sam has put his brush to 22 different canvases Photo: BARCROFT MEDIA
Using the lush surroundings of his home town of Eastern Shore, Maryland as his muse, Sam's paintings are attracting a loyal art world following.
Some of his 22 paintings - done using a tailor-made paintbrush held in his mouth - have sold for up to $1700 (£1,045).
"Sam is a regular renaissance dog and his abstract paintings are all the rage with the hip New York galleries," says Mary Stadelbacher, Sam's owner.
"He loves his painting and would happily carry on for hours if I left him to it.
"He loves to work in a variety of colours and layers his paintings with darker shades first and then moves on to lighter ones later."
Mary, who runs Shore Service Dogs, in the United States took in six-year-old Sam four years ago as a rescue dog.
"He had been bounced around a couple of dog pounds, so I couldn't have that," says Mary about Sam, who is a bloodhound, sheep-dog cross. ...
Cuzco Newsboy, 1948. The picture of a Mexican boy was one of the earliest photographs by Irving Penn, who started out in the art department at US Vogue. It is one of the lots being auctioned at Christie's New York on October 8. (All photographs courtesy of Christie's)
Photographer’s death drives up prices at Christie's auction in New York
By Sophie Taylor
FIRST POSTED OCTOBER 9, 2009
As expected, the news of Irving Penn's death appeared to help drive up prices at an auction of photography at Christie's, New York yesterday. His photograph Cuzco Newsboy, which adorned the opening page of The First Post's picture essay to mark the photographer's death, went for nearly three times its upper pre-sale estimate.
The photograph, taken in Mexico in 1948, and presented as a gelatin silver print, went to an anonymous bidder for $72,100. The estimate was $15,000 - $25,000.
But the photo that beat all the others - there were 14 Penns for sale in total - was Chimney Sweep, London, one of a series of portraits Penn took of ordinary working people in New York, Paris and London in 1950. It fetched $74,500, way above the $10,000 - $15,000 estimate.
None of the pictures was among Penn's most iconic images, but they still fetched a total of $492,850, more than double the auction house's total lower estimate of $235,000. ...
By Sophie Taylor
FIRST POSTED OCTOBER 9, 2009
As expected, the news of Irving Penn's death appeared to help drive up prices at an auction of photography at Christie's, New York yesterday. His photograph Cuzco Newsboy, which adorned the opening page of The First Post's picture essay to mark the photographer's death, went for nearly three times its upper pre-sale estimate.
The photograph, taken in Mexico in 1948, and presented as a gelatin silver print, went to an anonymous bidder for $72,100. The estimate was $15,000 - $25,000.
But the photo that beat all the others - there were 14 Penns for sale in total - was Chimney Sweep, London, one of a series of portraits Penn took of ordinary working people in New York, Paris and London in 1950. It fetched $74,500, way above the $10,000 - $15,000 estimate.
None of the pictures was among Penn's most iconic images, but they still fetched a total of $492,850, more than double the auction house's total lower estimate of $235,000. ...
... So you have to hand it to the maharajas. We’ve underestimated them. Their talent for exploiting their populace and growing rich, disgracefully, was close to superhuman. That admitted, I see the V&A has set out to understand them in deeper and different ways.
Every now and then in this display, you encounter a map of India placing a particular nawab, nizam, rana, raja or sultan — the maharajas were a federation of royals, rather than a single species — in his shifting geographic kingdom. There are newsreels, too, and documentary-style black-and-white photographs of jewel-encrusted maharaos with curly moustaches meeting stiff British dignitaries with brooms up their jackets. On one of its strata, the show harbours an ambition to locate the maharajas in the full history of their times. But trying to hear this documentary message above the roar of the surrounding diamonds is like listening to a chirping robin while standing next to Niagara Falls. Yes, the maharajas may have played an interesting role in the jittery relationship between India and Britain. But what really matters here is the size of their rocks.
I have seen goose eggs smaller than the yellow diamond at the centre of the great necklace commissioned from Cartier in the 1920s by Maharaja Bhupinder Singh of Patiala. It was the largest single commission ever received by the finest French jeweller. And what of the string of huge emeralds worn by Ranjit Singh’s horse in the 1830s? Wouldn’t the weight of all that priceless stonewear around its neck have slowed the nag to a hobble? At one point in the glitterfest, I found myself staring at a slab of blue glass, roughly the size of a pear, set into the centre of a turban monument from Murshidabad. It turned out to be several hundred carats of uncut sapphire. ...
Every now and then in this display, you encounter a map of India placing a particular nawab, nizam, rana, raja or sultan — the maharajas were a federation of royals, rather than a single species — in his shifting geographic kingdom. There are newsreels, too, and documentary-style black-and-white photographs of jewel-encrusted maharaos with curly moustaches meeting stiff British dignitaries with brooms up their jackets. On one of its strata, the show harbours an ambition to locate the maharajas in the full history of their times. But trying to hear this documentary message above the roar of the surrounding diamonds is like listening to a chirping robin while standing next to Niagara Falls. Yes, the maharajas may have played an interesting role in the jittery relationship between India and Britain. But what really matters here is the size of their rocks.
I have seen goose eggs smaller than the yellow diamond at the centre of the great necklace commissioned from Cartier in the 1920s by Maharaja Bhupinder Singh of Patiala. It was the largest single commission ever received by the finest French jeweller. And what of the string of huge emeralds worn by Ranjit Singh’s horse in the 1830s? Wouldn’t the weight of all that priceless stonewear around its neck have slowed the nag to a hobble? At one point in the glitterfest, I found myself staring at a slab of blue glass, roughly the size of a pear, set into the centre of a turban monument from Murshidabad. It turned out to be several hundred carats of uncut sapphire. ...
... The house, where the artist lived for 24 years, features in several of his works but this is a fresh blow to the independent museum, which now faces competition from a new museum that opened in the city this summer.
Johan Berckman’s, a policeman at the scene, said: “At 10.10am this morning someone rang the bell of the museum asking if they could visit. He was let in and when he was inside he pulled out a pistol and ordered the woman to go back to the door to let a second person come inside.
“There were three museum workers inside at the time and two Japanese tourists. All five of them were ordered out the back and told to keep quiet by the man with the gun.
“In the museum the other person stole the painting and they both made good their escape. They seemed to know which painting they wanted to steal - they took the whole painting off the wall, including the frame.”
Johan Berckman’s, a policeman at the scene, said: “At 10.10am this morning someone rang the bell of the museum asking if they could visit. He was let in and when he was inside he pulled out a pistol and ordered the woman to go back to the door to let a second person come inside.
“There were three museum workers inside at the time and two Japanese tourists. All five of them were ordered out the back and told to keep quiet by the man with the gun.
“In the museum the other person stole the painting and they both made good their escape. They seemed to know which painting they wanted to steal - they took the whole painting off the wall, including the frame.”
el lay's not all bad...................
WTF, Hackney council?!
...“It’s awful that people react to art in this manner,” said Amy Boswin, director of the Novato Ignacio Art Gallery near Petaluma. “If they opened a biology textbook, they’d see a lot more risqué stuff than that.” ...
Let us ahem pray those fuckwits never do open a biology book: they'd want them banned too, also.
Let us ahem pray those fuckwits never do open a biology book: they'd want them banned too, also.
Ta much, dear Edosan!
WAH! SCHWA! WAH!
A love of beauty and the title you gave the strip are the reasons, Griffy. Education ain't required for recognizing true beauty and 'preciatin' it.......although it certainly can enlarge the boundaries of what one considers beautiful.
Dear Edosan somehow knew I was planning to post a buncha dragons, so this site which he sent me goes first.
"Polymorphous perversion."
May 24, 2009
How Philip Mould found a Gainsborough on eBay
Philip Mould has discovered, restored and found 'lost' paintings including a Gainsborough, he reveals in his book Sleuth
Ed Caesar
As a teenager, Philip Mould loved to perform magic tricks. He’s still at it now. Indeed, in his 22 years as a debonair dealer and “sleuth” of English portraiture, he has become one of the greatest conjurors in the business. Through discovery, restoration and historical research, he has — shazam! — found “lost” paintings, turned unloved tat into minor art gems and traded portraits that have unstitched the seams of art history.
One of his most treasured foundlings — a jolly portrait of a country squire — is sitting with us now, perched on an easel in the office of Mould’s Mayfair gallery. The story of its discovery is related in his new book, Sleuth, about his adventures in the high-art world. The dealer first saw the painting two years ago while idly browsing on eBay. It was described as “American school, 19th-century”. Although it was clearly overpainted, Mould became convinced, in one of the nervous, thrilling moments that have punctuated his career, that he was on to something. He bought the lot for less than $200. When the painting arrived in London, Mould decided, for the first (and last) time in his career, that he would start the restoration work himself (see extract below). What he found confirmed his suspicions that he was looking at an original, Ipswich-era Gainsborough.
He calls the painting “Mr eBay”. It’s clear the pair are still very much in love. “I know it’s an unsophisticated early work, but there is,” says Mould, in his public-school chirrup, “a chuckling humanity in the face.” And the recent private sale of Mr eBay must have had the dealer chuckling all the way to the bank? “I can’t give you an exact figure,” he says, suddenly coy. “This is not a great Gainsborough, but his portraits can sell for anything from £15,000 to £5m. Let’s just say he paid for a couple of months’ overheads at the gallery.”
Mould’s love for the Suffolk painter has led him to a more significant discovery, which will be formally recognised by Gainsborough’s House on June 1. The dealer has promised not to reveal the exact nature of the new work, but is happy to say that the painting comes from when the artist was “14 or 15, and will shed new light on our understanding of his precocity. It will show that Gainsborough was a Mozart, a juvenile genius”. ...
How Philip Mould found a Gainsborough on eBay
Philip Mould has discovered, restored and found 'lost' paintings including a Gainsborough, he reveals in his book Sleuth
Ed Caesar
As a teenager, Philip Mould loved to perform magic tricks. He’s still at it now. Indeed, in his 22 years as a debonair dealer and “sleuth” of English portraiture, he has become one of the greatest conjurors in the business. Through discovery, restoration and historical research, he has — shazam! — found “lost” paintings, turned unloved tat into minor art gems and traded portraits that have unstitched the seams of art history.
One of his most treasured foundlings — a jolly portrait of a country squire — is sitting with us now, perched on an easel in the office of Mould’s Mayfair gallery. The story of its discovery is related in his new book, Sleuth, about his adventures in the high-art world. The dealer first saw the painting two years ago while idly browsing on eBay. It was described as “American school, 19th-century”. Although it was clearly overpainted, Mould became convinced, in one of the nervous, thrilling moments that have punctuated his career, that he was on to something. He bought the lot for less than $200. When the painting arrived in London, Mould decided, for the first (and last) time in his career, that he would start the restoration work himself (see extract below). What he found confirmed his suspicions that he was looking at an original, Ipswich-era Gainsborough.
He calls the painting “Mr eBay”. It’s clear the pair are still very much in love. “I know it’s an unsophisticated early work, but there is,” says Mould, in his public-school chirrup, “a chuckling humanity in the face.” And the recent private sale of Mr eBay must have had the dealer chuckling all the way to the bank? “I can’t give you an exact figure,” he says, suddenly coy. “This is not a great Gainsborough, but his portraits can sell for anything from £15,000 to £5m. Let’s just say he paid for a couple of months’ overheads at the gallery.”
Mould’s love for the Suffolk painter has led him to a more significant discovery, which will be formally recognised by Gainsborough’s House on June 1. The dealer has promised not to reveal the exact nature of the new work, but is happy to say that the painting comes from when the artist was “14 or 15, and will shed new light on our understanding of his precocity. It will show that Gainsborough was a Mozart, a juvenile genius”. ...
I can't think of a suitably foul epithet for these t'iefs.
These images are wonderful, but I couldn't find a home/entry/explanation page for this slideshow. Part of the URL is studypages/internal/...ArtofTibet/LECT1, so it has to do with a Tibetan art lecture.
Propeller Head
Robo Betty
Scotty Robo Dog
Robo GnomeTa much, dear Foxy!
... Long live Dadaism in word and image! Long live the Dada events of this world! To be against this manifesto is to be a Dadaist!
Berlin, April 1918
Tristan Tzara, Franz Jung, George Grosz, Marcel Janco, Richard Hülsenbeck, Gerhard Preisz, Raoul Hausmann
unpretentious proclamation
by tristan tzara
8th april 1919
Berlin, April 1918
Tristan Tzara, Franz Jung, George Grosz, Marcel Janco, Richard Hülsenbeck, Gerhard Preisz, Raoul Hausmann
unpretentious proclamation
by tristan tzara
8th april 1919
_back.jpg){kind=link}
Deliciously subversive artworks.
Delroy Anderson - Painting his way to a better life
Published: Sunday | February 8, 2009
Robert Lalah, Assistant Editor-Features
He sits on a turned-over bucket on the narrow sidewalk that runs along Olivier Road in St Andrew. Cars, buses and even large trucks whiz closely by as he focuses on the task in front of him. He grasps his paintbrush with intensity in his eyes and strokes the easel like a surgeon making a life-impacting incision.
Delroy Anderson has made this unlikely spot his base for the past year, working on paintings that he hangs on the fence beside him, hoping to attract buyers. His latest creations include images of US President Barack Obama and family. These have been catching the eyes of many a passer-by, and have forced Anderson to work overtime.
Recent Obama project
"This man really get everybody excited. Everybody want to have a painting of him in their house. I have to be focusing more and more on that now," he said when Sunday Arts paid him a visit, last week.
But there's more to this story than a man selling paintings on the roadside. ...
Published: Sunday | February 8, 2009
Robert Lalah, Assistant Editor-Features
He sits on a turned-over bucket on the narrow sidewalk that runs along Olivier Road in St Andrew. Cars, buses and even large trucks whiz closely by as he focuses on the task in front of him. He grasps his paintbrush with intensity in his eyes and strokes the easel like a surgeon making a life-impacting incision.
Delroy Anderson has made this unlikely spot his base for the past year, working on paintings that he hangs on the fence beside him, hoping to attract buyers. His latest creations include images of US President Barack Obama and family. These have been catching the eyes of many a passer-by, and have forced Anderson to work overtime.
Recent Obama project
"This man really get everybody excited. Everybody want to have a painting of him in their house. I have to be focusing more and more on that now," he said when Sunday Arts paid him a visit, last week.
But there's more to this story than a man selling paintings on the roadside. ...