Click image for 596 x 881 size. Scanned from Taschen's "All-American Ads of the 20s".
Popular Posts
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Here's the story: an artist is fascinated by falling . He takes pictures of himself falling off different things: ladders, trees, buildi...
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He's been around for a while. In 2002, for instance, he made the world a better place by putting flags on high-tension electricity lines...
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The Tea Bag garden is a landscape made of stacked bags of garden soil. The bags, padded like a bench, are essentially soft plant containers...
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If you want to know what Tim Crouch's An Oak Tree is about, and what it is like, first read his own description . You can also read the...
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Truly great art has the strange effect of making us, the spectators, feel intelligent. - António Damasio , director of the department of neu...
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Exactitudes (= exact attitudes), by photographer Ari Versluis and stylist Ellie Uyttenbroek, is an exercise in style (or rather was, from ...
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This house which is almost gone. Which still has the lines and weight of a house, yet could very well be called landscape. This house which ... -
Just so you don't think I'm ignoring you - check out some great projects by Marc Kremers : As found , a site with images found on th...
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In a comment in the Portuguese daily newspaper Público , my colleague Tiago Bartolomeu Costa commented on a controversial artistic residency...
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Brick of Coke is part of the Experience the Experience project by Monochrom ( from the site : monochrom is an art-technology-philosophy gr...
Friday, 31 December 2010
Thursday, 30 December 2010
Mocidade Portuguesa Feminina, Nº 4, August 1939
Mocidade Portuguesa Feminina, Nº 4, Agosto 1939, Curso de Graduadas, originally uploaded by Gatochy.
Click image for 828 x 2040 size. Scanned from the book "Mocidade Portuguesa Feminina" by Irene Flunser Pimentel, published by A Esfera dos Livros, 2007.
Young girls learn how to cook, so they can be good house-wives.
Wednesday, 29 December 2010
Gertrude Abercrombie, White Cat, 1935-38
Click image for 1172 x 1400 size. Via Still Life, Quick Heart.
Gertrude Abercrombie, American, (1909-1977).
Tuesday, 28 December 2010
Monday, 27 December 2010
Sunday, 26 December 2010
Saturday, 25 December 2010
Friday, 24 December 2010
Thursday, 23 December 2010
JOKER:DC DYNAMICS
I vowed never again to sculpt smoke. But the Joker is such a persuasive fellow, I had to give in just this one last time. Eighth in the DC Dynamics collection and the most fun. I want to thank everyone who has supported our efforts over this past year. There’s a real sense of community and we very much appreciate it. As 2011 looms large, we hope that you’ll continue to join us in our quest to bring the art of pop sculpture to a larger audience. Keep up the good work, all. See you on the other side… of 2010.
Wednesday, 22 December 2010
Tuesday, 21 December 2010
Ilustração Portugueza, Salão da Trindade, 1920s
Click image for 1498 x 1000 size.
Photo by Serra Ribeiro: high society people enact a play for charity.
TIS THE SEASON
"And it was a very uncommon kind of torch, for once or twice when there were angry words between some dinner-carriers who had jostled each other, he shed a few drops of water on them from it, and their good humor was restored directly. For they said, it was a shame to quarrel upon Christmas Day. And so it was! God love it, so it was!"- A Christmas Carol, Charles Dickens
Monday, 20 December 2010
Ilustração Portugueza, 1920s
Click image for 1000 x 1508 size.
Opera singer Branca Bellincioni-Stagno, photo by Pinto. Painter João Reis, piano player Raymundo de Macedo, actress Jesuina de Chaby, actor Chaby Pinheiro, and painter Carlos Reis, photographed by Maria Sampaio Coelho.
Sunday, 19 December 2010
Melting ears (on Cory Arcangel's two works)
The one I liked was this:
while the one that goes further is this:
Both are fragments of works by Cory Arcangel.
The difference between them is significant. The first one is a joke - it is a repetition, a trick played on the idea of reproduction or universality.
The other one too. But the other one moves towards something else. It provides us with the doubt as to what it should be like. I don't know Schoenberg's op. 11, 3. I might have heard it, but I'm not sure how it sounds. Yet it certainly doesn't sound like these cats. Or does it? What is it about Schoenberg that makes him sound like Schoenberg? And why do we need him to sound like Schoenberg? (Why do we call artists people who interpret in the most faithful way? And no, this is not a rhetorical question. What is it about repetition that still makes it move us aesthetically? And no, any form of the answer "the difference within the repetition" will not satisfy me as long as I keep putting the same piece on my mp3 player and enjoy it beause it is the same, and still appreciate its freshness, not its "difference".) The thing, here, is not just about the cats, it isn't the old elephant-making-oil-paintings trick. It is rather about other possibilities of listening, of paying attention, of defining what you hear. Can we hear the Schoenberg in the original cat videos? Can we hear Bach in the original music versions? The Bach composition, in that sense, says too much - it states a clear correspondence between the original YouTube videos and Bach's work. The second says less: it says "it is out there, but it's hard to say where exactly, and why exactly we would stop there". (And does it while being damn funny). And that's when our ears melt and reconsolidate, they become other ears, and other, and other. We are forced to listen to what might be there, and not what we think is there.
So why do I like the first video more? Maybe because I still enjoy what is there a lot.
Or because I'm not a fan of Schoeberg.
while the one that goes further is this:
Both are fragments of works by Cory Arcangel.
The difference between them is significant. The first one is a joke - it is a repetition, a trick played on the idea of reproduction or universality.
The other one too. But the other one moves towards something else. It provides us with the doubt as to what it should be like. I don't know Schoenberg's op. 11, 3. I might have heard it, but I'm not sure how it sounds. Yet it certainly doesn't sound like these cats. Or does it? What is it about Schoenberg that makes him sound like Schoenberg? And why do we need him to sound like Schoenberg? (Why do we call artists people who interpret in the most faithful way? And no, this is not a rhetorical question. What is it about repetition that still makes it move us aesthetically? And no, any form of the answer "the difference within the repetition" will not satisfy me as long as I keep putting the same piece on my mp3 player and enjoy it beause it is the same, and still appreciate its freshness, not its "difference".) The thing, here, is not just about the cats, it isn't the old elephant-making-oil-paintings trick. It is rather about other possibilities of listening, of paying attention, of defining what you hear. Can we hear the Schoenberg in the original cat videos? Can we hear Bach in the original music versions? The Bach composition, in that sense, says too much - it states a clear correspondence between the original YouTube videos and Bach's work. The second says less: it says "it is out there, but it's hard to say where exactly, and why exactly we would stop there". (And does it while being damn funny). And that's when our ears melt and reconsolidate, they become other ears, and other, and other. We are forced to listen to what might be there, and not what we think is there.
So why do I like the first video more? Maybe because I still enjoy what is there a lot.
Or because I'm not a fan of Schoeberg.
Friday, 17 December 2010
Thursday, 16 December 2010
Mocidade Portuguesa Feminina, Nº 4, August 1939 - cover
Click image for 1000 x 1435 size. Scanned from Portuguese book "Mocidade Portuguesa Feminina" by Irene Flunser Pimentel, published by A Esfera dos Livros, 2007.
Mocidade Portuguesa was a fascist organization for kids in Portugal.
Wednesday, 15 December 2010
Mocidade Portuguesa Feminina, Nº 4, August 1939
Mocidade Portuguesa Feminina, Nº 4, Agosto 1939, Em Louvor das Batas Brancas 2, originally uploaded by Gatochy.
Click image for 1004 x 657 size. Scanned from the book Mocidade Portuguesa Feminina by Irene Flunser Pimentel, publishing house A Esfera dos Livros, 2007.
Mocidade Portuguesa Feminina was a fascist organization for young girls in Portugal.
Tuesday, 14 December 2010
Mocidade Portuguesa Feminina, Nº 7, November 1939 - cover
Click image for 772 x 1118 size. Scanned from the book Mocidade Portuguesa Feminina by Irene Flunser Pimentel, publishing house A Esfera dos Livros, 2007.
Mocidade Portuguesa Feminina was a fascist organization for young girls in Portugal.
Sunday, 12 December 2010
Status Update: Where The Pop Sculpture Authors Are Now, Part 2
Most of these pieces are available through Sideshow Collectibles.
Saturday, 11 December 2010
Mocidade Portuguesa Feminina, Nº 5, September 1939
From the Book Mocidade Portuguesa Feminina by Irene Flunser Pimentel, published by A Esfera dos Livros, 2007. Click image for 1000 x 1439 size.
Hats worn by girls of the Mocidade Portuguesa Feminina, a Portuguese fascist organization for the youth.
Friday, 10 December 2010
Mocidade Portuguesa Feminina, Nº 8, December 1939, Menina e Moça, Nº41, October 1950
Mocidade Portuguesa Feminina, Nº 8, Dezembro 1939, M&M, Nº 41, Outubro 1950, originally uploaded by Gatochy.
Click image for 1580 x 2275 size. Scanned from Portuguese book "Mocidade Portuguesa Feminina" by Irene Flunser Pimentel, published by A Esfera dos Livros, 2007.
Mocidade Portuguesa was a fascist organization for kids in Portugal.
Thursday, 9 December 2010
Wednesday, 8 December 2010
Ads for Pagéol, urinary tract antiseptic, and Urodonal, kidneydetoxifyer, 1923
Scanned from Portuguese magazine Ilustração Portugueza, Nº 904, Junho 16 1923. Click image for 1000 x 1503 size.
Click image for 583 x 711 size. 
Click image for 856 x 675 size. 
Tuesday, 7 December 2010
Monday, 6 December 2010
Sunday, 5 December 2010
Ilustração Portugueza, Nº 904, June 16 1923 - back-cover
Click image for 1000 x 1511 size.
"Stock" farm tractors.
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