BE EMBRACED MILLIONS!

Bill Sullivan, More Turns (2008)

Tue, 22 May 2012 17:51:20 -0400

Bill Sullivan, More Turns (2008)

hyperallergic: Soviet Cosmonaut Propaganda Posters “From 1958...

Thu, 26 Apr 2012 13:03:09 -0400

Soviet Cosmonaut Propaganda Posters

“From 1958 to 1963 the Union of Soviet Socialist Republics created an incredible collection of posters with over-the-top propaganda lines like that to inspire Russians in the space race.”

Timeline Portfolio | Tutorialzine

Sat, 07 Apr 2012 15:12:22 -0400

Timeline Portfolio | Tutorialzine

Video

Mon, 05 Mar 2012 23:24:23 -0500

Beyond Locative Media

Mon, 05 Mar 2012 21:05:37 -0500

Beyond Locative Media

Against Situationism

Mon, 05 Mar 2012 21:05:27 -0500

Against Situationism

stickyembraces: Philosophy Valentine’s cards, #1

Fri, 24 Feb 2012 10:34:04 -0500

stickyembraces:

Philosophy Valentine’s cards, #1

Photo

Fri, 24 Feb 2012 10:31:32 -0500

deadpaint: Man Ray, Kiki de Montparnasse

Fri, 24 Feb 2012 10:31:26 -0500

deadpaint:

Man Ray, Kiki de Montparnasse

seethroughleper: Llyn Foulkes - Crucifixion - 1985

Fri, 24 Feb 2012 10:31:15 -0500

seethroughleper:

Llyn Foulkes - Crucifixion - 1985

pumpkinfrommars: (via xkcd: Good Cop, Dadaist Cop)

Fri, 24 Feb 2012 10:28:05 -0500

pumpkinfrommars:

(via xkcd: Good Cop, Dadaist Cop)

Photo

Fri, 24 Feb 2012 10:22:06 -0500

fuckyeahlatinamericanhistory: unaguerrasinfondo: Fidel Castro...

Fri, 24 Feb 2012 10:21:21 -0500

fuckyeahlatinamericanhistory:

unaguerrasinfondo:

Fidel Castro playing basketball in Poland in 1972. Source here.

"Undoubtedly there is a right way of reading, so it be sternly subordinated. Man Thinking must not be..."

Wed, 22 Feb 2012 09:36:05 -0500

“Undoubtedly there is a right way of reading, so it be sternly subordinated. Man Thinking must not be subdued by his instruments. Books are for the scholar’s idle times. When he can read God directly, the hour is too precious to be wasted in other men’s transcripts of their readings. But when the intervals of darkness come, as come they must,—when the sun is hid, and the stars withdraw their shining, —we repair to the lamps which were kindled by their ray, to guide our steps to the East again, where the dawn is. We hear, that we may speak. The Arabian proverb says, “A fig tree, looking on a fig tree, becometh fruitful.””

- EMERSON—“THE AMERICAN SCHOLAR”

"There is then creative reading as well as creative writing. When the mind is braced by labor and..."

Wed, 22 Feb 2012 04:48:05 -0500

“There is then creative reading as well as creative writing. When the mind is braced by labor and invention, the page of whatever book we read becomes luminous with manifold allusion. Every sentence is doubly significant, and the sense of our author is as broad as the world. We then see, what is always true, that, as the seer’s hour of vision is short and rare among heavy days and months, so is its record, perchance, the least part of his volume. The discerning will read, in his Plato or Shakespeare, only that least part,—only the authentic utterances of the oracle;— all the rest he rejects, were it never so many times Plato’s and Shakespeare’s.”

- EMERSON—“THE AMERICAN SCHOLAR”

"1934-35: There has likely been no more serious lapse of judgment on the part of the European..."

Tue, 21 Feb 2012 19:12:05 -0500

“1934-35: There has likely been no more serious lapse of judgment on the part of the European cultural intelligentsia and artistic avant-garde, including among the political Left, than the reception paid Leni Riefenstahl’s Triumph of the Will. Easily the most renown and lauded of propaganda films in history, it is also one so influential in terms of cinematic technique and formal organization, that its innovations can still be seen in film, video, even commercial advertising today. For such aesthetic excellence, the cultural establishment accorded Triumph of the Will lavish praise and the top honors of the day—including the 1935 Venice Biennale gold medal and the 1937 Grand Prix at the Paris World Exhibition. It has been said that the aura of aesthetic grandeur which Riefenstahl projected onto the 1934 Nazi Party Congress in Nuremberg, and of Hitler’s personal charisma as a leader, was so influential, she was in great degree responsible not only for the selling of the Third Reich to the German people, but in winning for it allies and admirers around the world.”

- Diego Rivera at MoMA Makes Us Ask, What Happened to the Radical Left in Art? - The Huffington Post

"1942-45: The havoc unleashed in the Second World War overshadows all intellectual and artistic..."

Tue, 21 Feb 2012 14:24:06 -0500

“1942-45: The havoc unleashed in the Second World War overshadows all intellectual and artistic production. The Surrealists who sought asylum in New York have a major impact on Jackson Pollock, Arshile Gorky, Robert Mothewell and Robert Matta. The bombing of Europe and the Pacific nations, the Holocaust, the nuclear destruction of Nagasaki and Hiroshima—in short the virtual devastation of the centers of the civilized world—set off an angst that permeates the global intellgentsia and informs the rise of philosophical Existentialism. Writers and artists in all media question human existence while seeking to purge humanity of the notions of essence that spur great nations and civilizations to adopt the conceit of their superiority over less powerful societies. In visual art, this philosphy informs Abstract Expressionism in its rejection of the aesthetics of the great masterpieces of art for having failed to tame the barbarism of civilization. By taking art back to its origins of making primordial and direct marks on a surface—the kind of art which the most primitive of humans made to record their existence—artists now sought to purge civilization of its warrior impulse.”

- Diego Rivera at MoMA Makes Us Ask, What Happened to the Radical Left in Art? - The Huffington Post

"today’s political iconoclasts can become tomorrow’s blue chip investments."

Tue, 21 Feb 2012 09:36:05 -0500

“today’s political iconoclasts can become tomorrow’s blue chip investments.”

"Abstract Expressionism in the 1950s and Minimalism in the 1960s are especially susceptible to being..."

Tue, 21 Feb 2012 04:48:05 -0500

“Abstract Expressionism in the 1950s and Minimalism in the 1960s are especially susceptible to being “co-opted” by both Left and Right because of their visually apolitical or politically ambiguous formalism — the empty slate to be written on at will by political ideologists. As the Culture Wars and the ever-spiraling prices of blue-chip art entrench the Professional Left of universities and journalism against the Corporate Sponsorship of Abstract Expressionism, Minimalism, and Pop Art, the three art movements become identified with mainstream patronage. By the late 1960s, all three are largely abandoned by the Left in the U.S., in favor of Conceptual and Performance Art.”

- Political Art Timeline, 1945-1966: Postwar Art of the Left - The Huffington Post

"1945: With the Pacific war ended, Japanese officials begin a program of whitewashing Japan’s..."

Mon, 20 Feb 2012 19:12:05 -0500

“1945: With the Pacific war ended, Japanese officials begin a program of whitewashing Japan’s military and administrative actions during the war. One of those actions is to permanently erase masterpieces of Army propaganda from public memory. We to this day still don’t know the extent of the propaganda produced by the Great Japan Army Painters’ Association, the war effort’s employment of several hundred artists to glorify the Army and the Emperor before citizens and captives alike. We have no idea how many artworks were destroyed by the Japanese to hide their atrocities. We only know that 153 war paintings that had been confiscated by the US occupying forces remain in storage in Japan’s national museum. To this day, successive prime ministers have kept the paintings from being shown for fear of offending the neighboring nations depicted”

- Political Art Timeline, 1945-1966: Postwar Art of the Left - The Huffington Post