Category: Art & Design

Trout Mask Replica

Posted by DanielS on Monday, March 23, 2015 at 04:42 PM

In fact, a smooth and amazingly blended rainbow trout mask replica..

  for Carolyn..
                  trout
Particularly recommended for your listening pleasure are the cuts: Ella Guru
                              ...“here she comes walkin’, lookin’ like a zoo, high YElla Guru”

                          Hair Pie Bake2        Dachau Blues      She can’t go to the beach because her hands are too small                                          

...but they are all quite good  

                              ...drives a cartoon..

              iside phote
Graham doesn’t want us exporting our American culture :(

meredith
     
A conspiracy theory of a conspiracy theory about hippies

    ..fast and bulbous           ..fast and bulbous                       ..and a tin tear drop.

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A flat chested woman is infintely better than with implants

Posted by DanielS on Saturday, September 6, 2014 at 07:12 AM

                        kieran
                            A flat chest is infinitely better than implants…


A big nose far better than a character-depriving nose job..
sofia


          bignose

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“Wise men see outlines and therefore they draw them”

Posted by DanielS on Monday, September 1, 2014 at 10:19 PM

                                    blakecompass
                “Wise men see outlines and therefore they draw them”

  D: Don’t be silly. I can’t draw a conversation. I mean things.

  F: Yes—I was trying to find out just what you meant. Do you mean “Why do we give things outlines when we draw them?” or do you mean that the things have out-lines whether we draw them or not?

  D: I don’t know, Daddy. You tell me. Which do I mean?

  F: I don’t know, my dear. There was a very angry artist once who scribbled all sorts of things down, and after he was dead they looked in his books and in one place they found he’d written “Wise men see outlines and therefore they draw them” but in another place he’d written “Mad men see outlines and therefore they draw them.”

  D: But which does he mean? I don’t understand.

  F: Well, William Blake—that was his name—was a great artist and a very angry man. And sometimes he rolled up his ideas into little spitballs so that he could throw them at people.

  D: But what was he mad about, Daddy?

  F: But what was he mad about? Oh, I see—you mean “angry.” We have to keep those two meanings of “mad” clear if we are going to talk about Blake. Because a lot of people thought he was mad—really mad—crazy. And that was one of the things he was mad-angry about. And then he was mad-angry, too, about some artists who painted pictures as though things didn’t have out-lines. He called them “the slobbering school.”

  D: He wasn’t very tolerant, was he, Daddy?

  F: Tolerant? Oh, God. Yes, I know—that’s what they drum into you at school. No, Blake was not very tolerant. He didn’t even think tolerance was a good thing. It was just more slobbering. He thought it blurred all the outlines and muddled everything—that it made all cats gray. So that nobody would be able to see anything clearly and sharply.

  D: Yes, Daddy.

  F: No, that’s not the answer. I mean “Yes, Daddy” is not the answer. All that says is that you don’t know what your opinion is—and you don’t give a damn what I say or what Blake says and that the school has so befuddled you with talk about tolerance that you can-not tell the difference between anything and anything else.

 

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Did I Really See That??

Posted by DanielS on Friday, August 1, 2014 at 03:27 AM

Am I really seeing that?


Did I Really See That?

Posted by DanielS on Friday, August 1, 2014 at 02:38 AM

Did I really see that?


Queers Assuming The Position

Posted by DanielS on Monday, June 16, 2014 at 03:09 AM

I am one who tends to think that concern regarding homosexuality is exaggerated beyond its true importance in WN circles.

Perhaps because I was at one time confronted directly and from a complexity of different angles with the implication to myself, but having no doubt that I wasn’t, and wanting to be unburdened of any accusation’s tedium, I was forced to make efficient intellectual work of putting aside any such accusation, to master the ways in which the issue could be deftly set aside as it is - largely irrelevant.


4,308 words

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The Maze - Part 3

Posted by Guest Blogger on Sunday, March 30, 2014 at 08:33 AM

by Neil Vodavzny

Re-animating nature is another way of thinking of Whitehead’s conception of more or less “letting it be”. The ancient Greeks may well have thought of nature in a more animated sense than we do. Materials such as limestone and wood have an organic origin, and the sense of inherent dynamism may have come naturally (Greek temples evolved from wooden ones, retaining the organic sense). The Bible alludes to Man being moulded from clay, clay being the raw material for the potter’s wheel.

If nature wasn’t animate, even the greatest artist would be unable to let it be, so that’s probably a traditionalist view of art, ie, studying nature, life-drawing, landscape etc. Since the Renaissance, what seems to have happened is that nature has been corralled by science, so it is no longer the preserve of artists. Modern art is correspondingly thanatopsic, with no understanding of materials or craft, deathlike in its nihilism. Almost all traditionalist contemporary art is popular and commercial, where studying the essentials is a prerequisite. Art as a wordling or narrative form of myth-making is alive and well - in pop-culture.

A near-perfect instance of someone presenting a personal mythology through a mastery of various techniques and intricate craftwork, allied to subconscious or intuitive powers, is Patrick Woodroffe’s Mythopoeikon.  Just how far you can go with an etching is shown in Mickey’s New Home, a self-produced children’s book); depth and stop-out (to bleed the sky), then aquatint applied in graduated tone (creeping bite) mythopoeikon2. You know what they say about etchings, and this plate shows why. As you see from the illo, he’s essentially self-taught. What that means is he learnt a trade, the practical skills and techniques needed to become an artist who uses the subconscious, instinct and feeling. In fact, this applies to others in the field who work “in the school” of .. (comic artist/creator Rob Liefeld is routinely scorned for his naïve style but at least he possesses adequate skills, and the work has a sort of rough honesty).

Known primarily for sci-fi book jackets, here’s a typical multi-media effort, Neq The Sword (Piers Anthony, Transworld) mythopoeikon3.

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The Maze – Part 2

Posted by Guest Blogger on Tuesday, March 25, 2014 at 12:14 AM

Neil Vodavzny

Having conscientiously done preliminary research for this part of The Maze on craftwork, I have to say that both Derek Whitehead and David Hamilton have a tendency to abstraction. Doubtless this goes with the territory, but it isn’t easy to sell such things except to the converted, it can be admitted. Some practical examples help to it make palatable, so I’ll attempt to weave those into the discussion.

Whitehead delves into the interrelation in Greek art of techne, praxis (production), and poiesis (world-founding). The work of art brings into being through a type of facility of production something imbued with the tension of spontaneity

Both the artist’s vision and the activity of production combine in the world-founding. It might not be recognized so much nowadays, but the aim of art is not expression. Up to the late Renaissance, it was more to do with apprenticeship, learning a trade then, after long years of strenuous graft, finally practising the craft and discipline of art-making.

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