Ilustração, No. 6, March 16 1926 - 15a

Ilustração, No. 6, March 16 1926 - 15a, originally uploaded by Gatochy.

Click image for 874 x 712 size. Via T of Dias que Voam blog.

Society ladies, Lisbon, Portugal.

Ilustração, No. 6, March 16 1926 - 15c

Ilustração, No. 6, March 16 1926 - 15c, originally uploaded by Gatochy.

Click image for 708 x 550 size. Via T of Dias que Voam blog.

Society ladies, Lisbon, Portugal.

Alevtina Kakhidze - Revolutionary Obedience

"Art must concern itself with the real, but it throws any notion of the real into question. It always turns the real into a facade, a representation, and a construction. But it also raises questions about the motives of that construction." - Mike Kelley

Here is how it went:
Ukrainian artist Alevtina Kakhidze has been working on value and power for a while. In one of her charming projects (The Most Commercial Project), for instance, she drew objects that she liked, most of them she couldn't afford, and gave the drawings the same value that the objects had. So, a drawing of a Louis Vuitton handbag had the same value as the object itself. And when she brought her goods into her marriage, the lawyers confirmed that her estate was worth much more than her entrepreneur husband's.
In one of her projects, back in 2008, Alevtina drew the earth seen from the sky. No, this needs more precision: the earth seen from an airplane which is not her own private airplane.
Once she made the drawing, Alevtina Kakhidze wrote to some of the richest people in Ukraine - Rinat Akhmetov and Viktor Pinchuk (who has his own adventure in the art world now) - and asked them to make a drawing for her of how the earth looks from a private plane. It was a nice portfolio she sent them, very professional and smooth. She tried encouraging them, telling them it wasn't about drawing well. If anyone can draw, so can you!
This (and the obvious silence afterwards) made for a nice work. A clean statement about what we see and the position we see it from.

But two years later, unexpectedly, an answer arrives. Akhmetov decided to make his huge foundation to support artists' projects. And Alevtina's project was thought perfect for a beginning. Unfortunately, Mr. Achmetov is too busy/shy/untalented to make a drawing, but he will be happy to rent a private plane for Ms. Kakhidze, so she can make her project herself.
And make it she did.
The project, called "I'm Late For A Plane That Cannot Be Missed", started with Alevtina going by collective transport from her house in the suburbs to the airport. She hitch-hiked a little, took a suburban mini-bus, a suburban train, and (as expected) arrived late at the small private airport near Kiev. There was already a TV crew traveling with her by then, asking everyone on the way who they were and if they knew Alevtina. At the airport, there were several more crews, and over a dozen news photographers. After all, this was an important day for art and culture in Ukraine: the richest man around decided to support real artists, and started by allowing this innocent-looking girl to realize her dream.

And off she went. Onboard, she took only a few reporters. (There was even a struggle for the seat.)

The anxious journalists were mad when, upon returning, Alevtina declared only one thing: she will tell the whole story and answer all the questions tomorrow during her lecture performance. That made no news story at all! Disappointed and frustrated, they could do nothing but wait.

However, the next day arrived quite quickly. And here they were, the journalists, and tens of artists gathered at the conference in one of the most prestigious places in Ukraine (a part of the Saint Sophia Cathedral complex). Waiting mainly to learn how to get money for their projects. And, also, to hear what Alevtina has to say. And to see the drawings.
Alevtina starts describing how she prepared for the trip, how she got clothes specially designed for the occasion, she talks about the cost of the plane rental (10 000 euros). And then she declares:

I felt so calm on the way to the airport and in the sky but now I have to account for this tranquility. What have we done on the plane? We were there. There is no result. I have nothing to show for what actually happened there.

The journalists were confused. This is surely a scandal? No drawing!
But also - no demolition! No shocking performance! No reaction! Nothing! Alevtina did strictly nothing - she did not change the game, she did not make the plane fly somewhere else, she did not paint it red, she made no drawing. She took the flight.
Did I say she didn't change the game?
Of course she did.
Her non-action was performative. It created a new reality. It brought about a challenge to the system, keeping up the power struggle between the art and the money. Who is the boss here? And why?
Certainly, they want us to do what we want. But if we do what we want our way, we are the ones defining what they want. And for a fraction, it becomes our game. And this fraction, for me, is the work.

In one of her works, Alevtina writes (or quotes, the origin is unsure): “And do you remember, I found 10 roubles, and ran home to show mom. Not the 10 roubles, but how lucky I am.”
It is not the thing we find. It is about how lucky we are.
And how we subvert this luck.


PS. The struggle continues: in the description of the event on the Foundation's site, the actual request for Akhmetov to draw the earth is not mentioned, making it all seem slightly more like making "Dreams come true in art". What dreams, exactly?

Ilustração, No. 6, March 16 1926 - 16a

Ilustração, No. 6, March 16 1926 - 16a, originally uploaded by Gatochy.

Click image for 1376 x 679 size. Via T of Dias que Voam blog.

Tennis players Lenglen and Wills.

Ilustração, No. 6, March 16 1926 - 18a

Ilustração, No. 6, March 16 1926 - 18a, originally uploaded by Gatochy.

Click image for 516 x 840 size. Via T of Dias que Voam blog.

Actress Rosita Rodrigo.

Ilustração, No. 6, March 16 1926 - 20a

Ilustração, No. 6, March 16 1926 - 20a, originally uploaded by Gatochy.

Click image for 696 x 935 size. Via T of Dias que Voam blog.

Women working at a tea plantation.

A branch with tea flowers and leafs. Click image for 696 x 935 size.

Ilustração, No. 6, March 16 1926 - 23a

Ilustração, No. 6, March 16 1926 - 23a, originally uploaded by Gatochy.

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Illustration by Martins Barata.

Ilustração, No. 6, March 16 1926 - 26a

Ilustração, No. 6, March 16 1926 - 26a, originally uploaded by Gatochy.

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Francelha Farm, Portugal.

Anna May Wong

Anna May Wong, originally uploaded by hyPIERgorgeous.

Ilustração, No. 6, March 16 1926 - 27

Ilustração, No. 6, March 16 1926 - 27, originally uploaded by Gatochy.

Click image for 1092 x 1544 size.

Buster Keaton & friends; Temple of Venus, a Fox movie, production of Henri Otto; and Laura Laplante in The Midnight Sun.

Click image for 970 x 746 size.

Ilustração, No. 6, March 16 1926 - 28

Ilustração, No. 6, March 16 1926 - 28, originally uploaded by Gatochy.

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Actors Constance Bennett, Charlie Chaplin, Pauline Starke, Diana Miller and Conrad Nagel.

Take a break

Remember Zimoun?

Zimoun : 186 prepared dc-motors, cardboard boxes 60x60x60cm, 2010. from ZIMOUN VIDEO ARCHIVE on Vimeo.

Constance Bennett, 1926

Ilustração, No. 6, March 16 1926 - 28a, originally uploaded by Gatochy.

Click image for 575 x 632 size. Scanned from Portuguese magazine Ilustração, No. 6, March 16 1926. Via T of Dias que Voam blog.

Ilustração, No. 6, March 16 1926 - 31a

Ilustração, No. 6, March 16 1926 - 31a, originally uploaded by Gatochy.

Click image for 544 x 552 size. Via T do blog Dias que Voam.

Can you see the tamer?

Ilustração, No. 6, March 16 1926 - 31b

Ilustração, No. 6, March 16 1926 - 31b, originally uploaded by Gatochy.

Click image for 656 x 1033 size. Via T of Dias que Voam blog.

Illustration by Thomas Henry.

Book Release and Sculpting Contest!

We probably should have posted something yesterday, but Pop Sculpture officially came out on October 19th, which means you no longer have to pre-order the book -- you can simply order it! Here's a variety of American outlets you can order it from, although we're still trying to resolve a glitch at Amazon. Amazon U.K. has it listed just fine... buuuut it doesn't officially come out in the U.K. until December. (Amazon Japan, on the other hand, has it now!)

Anyway, we've been sending it out to people we respect in this industry, and we've gotten mentions from Topless Robot, Agent_M, Michael Crawford, I Heart Chaos, and ToyFare magazine! Plus, Spectrum has done a full flip-through that will give you a thumbnail view of the whole shebang:



But the big news is that, to tie in to the release of the book, Tim and I will be acting as judges in the Comiquette Challenge sculpting competition at Conceptart.org! It's a comic book-centric challenge, open to sculptors of any age and skill level, and the prizes are signed copies of Pop Sculpture! Sign up now and start sculpting! Unless you need the book to do that, in which case buy the book, start sculpting, win another copy and give it to a friend! It's just that easy!

Lady, 1926

Ilustração, No. 6, March 16 1926 - 32a, originally uploaded by Gatochy.

Click image for 746 x 1050 size. Scanned from Portuguese magazine Ilustração, No. 6, March 16 1926.

Ilustração, No. 6, March 16 1926 - 33

Ilustração, No. 6, March 16 1926 - 33, originally uploaded by Gatochy.

Click image for 1116 x 1557 size. Via T of Dias que Voam blog.

Ilustração, No. 6, March 16 1926 - 33a

Ilustração, No. 6, March 16 1926 - 33a, originally uploaded by Gatochy.

Click image for 522 x 1440 size. Via T do blog Dias que Voam.

HE WHO LAUGHS LAST

This is third version of He Who Laughs Last. The first one was completed in the early 90's, the second in 2001 and this one finished on 10/15/10. Sometimes it takes awhile to understand what you're trying to do with a piece. After a couple of decades, I think I finally get this one.

Ilustração, No. 6, March 16 1926 - 33b

Ilustração, No. 6, March 16 1926 - 33b, originally uploaded by Gatochy.

Click image for 626 x 984 size. Via T do blog Dias que Voam.

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - cover

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - cover, originally uploaded by Gatochy.

Click image for 890 x 1254 size.

Anna May Wong

Anna May Wong, originally uploaded by hyPIERgorgeous.

Louise Brooks, 1929

Louise Brooks (1906-1985), originally uploaded by John McNab.

TOO WEIRD FOR THE ROOM

Some years ago, I did a poster of Spectrum, "Call for Entries". I asked Arnie Fenner if I could have another go at one for this year's poster. I've always been a big fan of early black and white animation and thought it would be cool to create a poster as if it were a playbill for a old-time cartoon. This is what I came up with. With the delicacy of thistle down, Arnie let me know that it was a little too outside of the box and maybe I should have another go at next year's poster. He's right, its too weird for the room, unless the room is padded. Check out the wonderful book review Spectrum gave us. Thanks Arnie, Kathy and Arlo!

http://www.spectrumfantasticart.com/

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 1

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 1, originally uploaded by Gatochy.

Reverse

At the BWA City Gallery in Bydgoszcz (which has the most poignant introduction of any art gallery I've seen so far: "WHAT"), the Polygonum exhibition which opens on October 14th to showcase the Polish region's visual talents has some tasty discoveries.

"Movemental" by Tomasz Dobiszewski does look a little like a furniture catalogue. And yet there is something wrong with this catalogue. It does not clarify, it does not simplify, but multiplies, undoes the tight order of things. It lets the picture breathe, opens it up, as if it was obvious: the reverse is necessary, the negative, the outline - everything our gaze seems to take for granted. Dobiszewski adds nothing, he just cuts out and moves,allowing the rhythms to become juicier through the absurd joy of things fitting like in a reverse puzzle. Do things become undone, this way, or are they put more clearly into their necessity? After all, this is the space for the space this is.


Another tasty moment requires distance.
Evidently, it's not about the painting. But the painting seems an important introduction (and the floor, and the floor). This creature, to the right (unfortunately I didn't write down the name or author), stands as its own double. It should not be approached (really, definitely, in cases like this I understand why beauty needs distance). As any mirage, it is only what it seems, a reflection, a game of angles, a line and a line and a line. It rings a bell, and another, and I wonder, is there a way of keeping it there, of not getting closer, of remaining within the illusion that there is something beyond, just a little more plenty.

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 2

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 2, originally uploaded by Gatochy.

Click image for 849 x 1230 size. Illustration for the short story "Joanico".

NYCC Wrap-Up and Our First Review!

The signing at New York Comic-Con was a great success! I signed a dozen or so books on Saturday, and I know people bought more, because I sent one guy to the shop across the aisle to get one and he never came back for me to sign it! The Watson-Guptill/Random House people were so nice, and I picked up a couple of Max Collins' zombie books while I was at the booth. The basket of pins I put out during the signing was almost completely tapped by the end, so check the lapels and satchels of any attendees you run into! I signed a few extra copies at the show, and if they didn't sell on Sunday, they'll end up back at the store that handled the sales, Word in Greenpoint, Brooklyn. Look for them there! And, of course, unsigned copies are available for pre-order at a bunch of places, although they won't ship until the 19th.

Also, we've gotten our first official review! Master toy reviewer Michael Crawford has reviewed the book and given it four stars! It must be because of our 238 points of articulation.

Artuš Scheiner, Songs And Ditties For The Children, 1920

Jaroslav Křička: Songs And Ditties For The Children, originally uploaded by josefskrhola.

Leni Riefenstahl, Javelin Thrower, Spiele der XI Olympiade, 1936

Spiele der XI Olympiade 1936 - 'Javelin Thrower' - Leni Riefenstahl, originally uploaded by Peter Crawford 1946.

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 3

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 3, originally uploaded by Gatochy.

Click image for 849 x 796 size.

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 4

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 4, originally uploaded by Gatochy.

Illustration for the short story "Fala a Pena". Click image for 864 x 1212 size.

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 5

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 5, originally uploaded by Gatochy.

Illustration for the short story "Lindalinda". Click image for 849 x 1221 size.

Walter Dorwin Teague, Camera & box, 1930

walter dorwin teague_camera & box_1930, originally uploaded by hyPIERgorgeous.

Marguerite Davis, 1925

Going A-Nutting poem illustrated by M. Davis, originally uploaded by katinthecupboard.

“The Field Fourth Reader” by Walter Taylor Field, published by Ginn and Co., 1925.

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 6

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 6, originally uploaded by Gatochy.

Illustration for the short story "Còradinha". Click image for 849 x 1209 size.

The Nicest Place of All, 1939

Greedy Cats, originally uploaded by ElfGoblin2.

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 7

Irene Lisboa, Ilda Moreira, 13 Contarelos, 1926 - 7, originally uploaded by Gatochy.

Click image for 858 x 1203 size. Illustration for the short story "Serão".

Ellen Auerbach, Edwin Denby and Claire Eckstein in Regimentstochter (Gaetano Donizetti), Theater am Schiffbauerdamm, Berlin 1930

ringl+pit, Edwin Denby and Claire Eckstein in Regimentstochter (Gaetano Donizetti), Theater am Schiffbauerdamm, Berlin 1930, originally uploaded by kraftgenie.

http://weimarart.blogspot.com/2010/09/ellen-auerbach-pit.html