Cleaned up that sketch and made it into a thing. :D She is so lovely to draw!
Got booted out of the Livestream again. But lookit the pretty!
I love the powerful solidity of this rendering.
Thomas Barbey (Switzerland/USA)
Geneva-born Las Vegas-based artist has been a photographer for over twenty years. More recently, he has been doing Black and White Photomontages for the sole purpose of doing Fine Art. He has combined several images taken over a period of twenty years to create surreal situations with the help of the enlarger in a dark room. His work has a specific style and is very characteristic. The picture takes you into an imaginary world where you can see the captain telling the passengers to fasten their safety belts and get prepared for the descent, and so on. Thomas exhibits in galleries throughout the world and is included in many private collections.
Also relevant to artists.
(She says, not having made anything in weeks)
David Maisel - Library of Dust (2008)
“In 1913, the Oregon State Insane Asylum began to cremate the remains of unclaimed patients and their ashes were stored in copper canisters.
After decades in storage the canisters have undergone chemical reactions resulting in explosions of vivid blue-green corrosion. Maisel was granted access to the room in which the canisters were stored to document them for his book.”
“Among my concerns with Library of Dust are the crises of representation that derive from attempts to index or archive the evidence of trauma; the uncanny ability of objects to portray such trauma; and the revelatory possibilities inherent in images of such traumatic disturbances.
While there are certainly physical and chemical explanations for the ways these canisters have transformed over time, the canisters also encourage us to consider what happens to our own bodies when we die, and to the souls that occupy them.”
For months, every morning when my daughter was in preschool, I watched her construct an elaborate castle out of blocks, colorful plastic discs, bits of rope, ribbons and feathers, only to have the same little boy gleefully destroy it within seconds of its completion.
No matter how many times he did it, his parents never swooped in BEFORE the morning’s live 3-D reenactment of “Invasion of AstroMonster.” This is what they’d say repeatedly:
“You know! Boys will be boys!”
“He’s just going through a phase!”
“He’s such a boy! He LOVES destroying things!”
“Oh my god! Girls and boys are SO different!”
“He. Just. Can’t. Help himself!”
I tried to teach my daughter how to stop this from happening. She asked him politely not to do it. We talked about some things she might do. She moved where she built. She stood in his way. She built a stronger foundation to the castle, so that, if he did get to it, she wouldn’t have to rebuild the whole thing. In the meantime, I imagine his parents thinking, “What red-blooded boy wouldn’t knock it down?”
She built a beautiful, glittery castle in a public space.
It was so tempting.
He just couldn’t control himself and, being a boy, had violent inclinations.
Her consent didn’t matter. Besides, it’s not like she made a big fuss when he knocked it down. It wasn’t a “legitimate” knocking over if she didn’t throw a tantrum.
His desire — for power, destruction, control, whatever- - was understandable.
Maybe she “shouldn’t have gone to preschool” at all. OR, better if she just kept her building activities to home.
I know it’s a lurid metaphor, but I taught my daughter the preschool block precursor of don’t “get raped” and this child, Boy #1, did not learn the preschool equivalent of “don’t rape.”
Not once did his parents talk to him about invading another person’s space and claiming for his own purposes something that was not his to claim. Respect for her and her work and words was not something he was learning. How much of the boy’s behavior in coming years would be excused in these ways, be calibrated to meet these expectations and enforce the “rules” his parents kept repeating?
There was another boy who, similarly, decided to knock down her castle one day. When he did it his mother took him in hand, explained to him that it was not his to destroy, asked him how he thought my daughter felt after working so hard on her building and walked over with him so he could apologize. That probably wasn’t much fun for him, but he did not do it again.
There was a third child. He was really smart. He asked if he could knock her building down. She, beneficent ruler of all pre-circle-time castle construction, said yes… but only after she was done building it and said it was OK. They worked out a plan together and eventually he started building things with her and they would both knock the thing down with unadulterated joy. You can’t make this stuff up.
Take each of these three boys and consider what he might do when he’s older, say, at college, drunk at a party, mad at an ex-girlfriend who rebuffs him and uses words that she expects will be meaningful and respecte, “No, I don’t want to. Stop. Leave.”
The “overarching attitudinal characteristic” of abusive men is entitlement
This is so brilliant. We learn things from socialization process. What our parents, friends and peers do, media and all. I think perhaps rape is because parents think boys will be boys, they bully, fight and destroy things, it’s their characteristics so they don’t bother to stop them. But it manifests in them, knowing or unknowingly, they will just think, because I’m a boy and boys tend to do these, so it doesn’t matter even if the girl hates it, says no, because I’m a boy.
Just reblog this, this message is really powerful. For parents and future parents.
What’s also interesting, is if you frame this as about spoiling your children, and about spoiled children, people tend to agree and get it. They’ll agree that children whose parents lay down no boundaries for them when they hurt others, who let them have whatever they want at the expense of others, and justify away the harm they do, will probably grow up thinking they can do this to others (usually weaker than them, or they perceive as weaker) as adults. But if you mention the word “privilege”, “entitlement” or anything relating to gender, everybody freaks the f- out and will deny up, down, back, forth, and sideways that how you raise a child, what you allow them to get away with, or training them that their hurtful behaviour will always be justified, can affect them at all.
ALL OF THIS.
Obligatry read FOR EVERYONE
Tumbling over the past year and a half has made me see the problems of gender roles that exist in media, but sometimes it gets to the point where I over analyze every single piece of television or film that I come across. (However this in no way means that I think feminist media criticism is wrong, or should be avoided!) Mostly I just over think everything.
I’ve thought about this a lot and I think the answer is MORE, and MORE DIVERSE female characters.
We’re used to having one or two female characters in a cast of mostly men, and hold them to a higher standard because of that. So all of feminism is resting on the shoulders of one female character - and that DOESN’T WORK. Because there isn’t one right way to be a woman.
If casts had more diversity of gender, we could have warrior women and non-warrior women, sexual women and non-sexual women, feminine and non-feminine, and mixtures of all of the above…all are completely legitimate ways to be a woman.
We’re used to seeing a lot of hypersexualized, scantily clad, one-dimensional stereotypes of women without stories or motives of their own. We respond by asking for characters that AREN’T THAT, but we may end up pushing too far in the opposite direction, and demonize traits like sexuality, conventional attractiveness, and traditional femininity as “sexist.” That’s why the most popular female characters are the ones that are most similar to male heroes - the Arya Starks - emotionally distant, unattached, solve their problems with violence, not remotely sexual. That’s fine too of course. I love Arya. It’s just not…the only way to be.
Get to see Judy again in July. Yaaaaa.
Cool! Are you doing Encausticamp again? I keep meaning to, but haven’t been able to make it work yet.
Leafy Sea Dragons
These stunning sea dragon pictures illuminate their mysterious beauty and extraordinary adaptations. The near-invisibility of their fins gives the sea dragons the appearance of floating seaweed that is drifting with the currents. Instead of scales, they have protective armor to ward off predators. The row of spines along their backs can also wound attackers. At other times they will curl into balls like porcupines in self defense. Truly extraordinary creatures.
George Bridgetower (1779 - 1860) and Beethoven: a troubled relationship
George Bridgetower, the celebrated English violin virtuoso, came to Vienna in 1803 and met Beethoven. They played together and Beethoven was impressed.
At Bridgetower’s urging, Beethoven agreed to compose a new Violin Sonata, to be performed by the two of them at one of the celebrated morning concerts in the Augarten pavilion, run by Ignaz Schuppanzigh.
Bridgetower was tall and good-looking, with an eye for the ladies. He was a mulatto - his mother Polish, his father West Indian.
Recognised as being of exceptional talent, he had performed for King George III at Windsor Castle, the Prince Regent at the newly built Brighton Pavilion, the Pump Rooms at Bath and across southern England.
For the new sonata, Beethoven took the final movement from an earlier sonata (which he replaced) and composed a new first and second movement. The first movement was huge, opening with solo double-stopping across all four strings for the violinist. He delivered the new movements to Bridgetower only the day before the performance!
A glittering audience assembled for the premiere of the new piece - including the British ambassador, Archduke Rudolph, Prince Lichnowsky, Prince Lobkowitz , and other patrons of the arts.
The performance began. In bar 35 of the first movement Beethoven had written a huge run just for piano, spanning several octaves. It comes in a passage marked ‘to be repeated’. In the repeat, after Beethoven executed the run, Bridgetower imitated it on the violin.
Beethoven looked up from the piano in astonishment, ran across the stage, embraced Bridgetower, ran back to the piano and continued playing.
The performance was a triumph. At celebrations afterwards, Beethoven announced he was dedicating the new Violin Sonata to Bridgetower. He wrote on the top of the title page of the manuscript: Sonata per uno mulaticco lunattico.
Later, the two men were drinking, when Bridgetower made an off-colour remark about a lady Beethoven knew. Beethoven was outraged. He demanded that Bridgetower return the manuscript of the sonata, and informed him he was withdrawing the dedication. He would dedicate it instead, he told Bridgetower, to Europe’s greatest violin virtuoso, who was resident in Paris.
Bridgetower pleaded with Beethoven to change his mind, but Beethoven was adamant. The rift between the two men was not healed, before Bridgetower left Vienna a week later to visit relatives of his mother in Poland.
Beethoven and Bridgetower never met again. Long after Beethoven’s death, Bridgetower - an old man - was living in poverty in a home for the destitute in Peckham, south London. A Beethoven researcher went to see him and asked him if it was true he had once met Beethoven.
Bridgetower related the story of the first performance of the Violin Sonata, how he had copied the piano run, and how Beethoven had dedicated the sonata to him. And how one stupid remark about a lady had made Beethoven withdraw the dedication.
It should be the Bridgetower Sonata, he told the young researcher, his name that should be known across Europe, his name that would live for ever.
Instead he was unknown to history, and destined to remain that way. Bridgetower died in poverty, the woman who witnessed his death signing her name on his death certificate with a cross. He is buried today in Kensal Green cemetery, just off the A40 flyover west of London - his name forgotten.
And the violin virtuoso in Paris to whom Beethoven sent the sonata? Rudolphe Kreutzer, whose name adorns the greatest Violin Sonata Beethoven ever composed: the Kreutzer Sonata.
So next time you hear a performance of the Kreutzer Sonata, spare a thought for the man who gave it its first performance and after whom it should really be named. George Bridgetower.
One final point. When Kreutzer received the manuscript in Paris, he looked at it and declared it impossible to play. Beethoven does not understand the violin, he said, and he never once performed it in public - the sonata that today bears his name.
Test Number Two. Stay tuned. Next week she uses the sword.
For those of you who missed it: Test Number One.
Look at this beautiful cool comic my friend Jake is making. I can’t wait to fins out more about this character. Also, I love her clothes.