Pop Arcana/Cultural Bodega

Tom Friedman — Untitled (Pizza), 2013

Thu, 16 May 2013 11:34:44 -0400

Tom Friedman — Untitled (Pizza), 2013

Bauhaus: Art as Life – review | Art and design | guardian.co.uk

Thu, 16 May 2013 08:36:24 -0400

Bauhaus: Art as Life – review | Art and design | guardian.co.uk:

by Adrian Searle
Wednesday 2 May 2012 12.35 EDT

[A review of Bauhaus: Art as Life Barbican Art Gallery, London EC2, 3 May - 12 August, 2012]

Tracing the trajectory of the radical German art and design school from its founding in Dessau by Walter Gropius in 1919 to its closure in Berlin in 1933, the exhibition Bauhaus: Art as Life is superb. It is filled with fascinating and often beautiful things, from table lamps to ceramic pots, glove puppets to advertising posters for Nivea, school party invitations, dresses, photographic portraiture, gorgeous weaving and much besides.

The Bauhaus tried to encompass both old and emerging technologies and bring a new approach to everything – from stained glass to advertising, theatre design to packaging, furniture to painting and sculpture. It was the last thoroughgoing attempt to apply a consistent idea to modern living, and we still live with and among its ideas and artefacts. At the time, everyone involved was feeling the way forward. There is a sense here of the genuinely exploratory.

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The Bauhaus: costume for the Neue Sachlichkeit [New...

Thu, 16 May 2013 08:28:37 -0400

The Bauhaus: costume for the Neue Sachlichkeit [New Objectivity] Party, 1925

“The Bauhaus was held together as much by social gatherings and festivities as by [Walter] Gropius’s vision for a new art school. These celebrations promoted contact between school and public, giving free rein to masters and students to demonstrate creativity and design invention, conceiving invitations, posters, costumes and decorations.

“The Bauhaus parties moved from improvisations and seasonal Festivals to spectacular and monumental stage productions in Dessau. The highpoint was in 1929 with the resplendent Metal Party. They entered the building by sliding down a large chute that deposited them in the first of several rooms decorated with silver spherical balls”

— Barbican Art Gallery, 2012. Bauhaus: Art as Life; Koenig Books

Photo

Thu, 16 May 2013 08:15:18 -0400

Microsoft admits zero-day bug in IE8, pledges patch - Computerworld

Wed, 15 May 2013 16:27:16 -0400

Microsoft admits zero-day bug in IE8, pledges patch - Computerworld:

Computerworld - Microsoft late Friday confirmed that a “zero-day,” or unpatched, vulnerability exists in Internet Explorer 8 (IE8), the company’s most popular browser.

According to multiple security firms, the vulnerability has been used in active exploits, including “watering hole”-style attacks against the U.S. Department of Labor and U.S. Department of Energy, targeting workers at the latter agency involved in nuclear weapons research.

On Friday, Microsoft published a security advisory that acknowledged the bug. In the advisory, the company also said that other versions of Internet Explorer, including the newer IE9 and IE10, are not affected, and that the firm is working on an update to patch the problem.

No timetable for a fix was provided. The next scheduled security update from Microsoft will ship Tuesday, May 14.

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futurejournalismproject: White Men, Everyone Else: Gender and...

Tue, 14 May 2013 10:14:42 -0400

futurejournalismproject:

White Men, Everyone Else: Gender and Ethnic Diversity on Cable News

Media Matters spent the month of April reviewing evening guests on cable news. The results, unfortunately, don’t surprise: CNN, Fox News, and MSNBC “overwhelmingly host male and white guests.”

Read through for the details as the watchdog group breaks down the numbers for each network. We learn, for instance, that “Out of 1,677 total guests, CNN had the largest proportion of men — 76 percent — during the month of April;” and “Fox News had the largest proportion of white guests — 83 percent.”

Hat tip to Chris Hayes, whose show is the most diverse in cable evening news. And getting there isn’t very difficult. “We just would look at the board and say, ‘We already have too many white men. We can’t have more,’” Hayes told Ann Friedman at the Columbia Journalism Review back in March. “Really, that was it.”

Images: Diversity On Evening Cable News, via Media Matters. Select to embiggen.

San Diego Air and Space Museum Archive — F-117 Tests Catalog #:...

Tue, 14 May 2013 10:10:32 -0400

San Diego Air and Space Museum Archive — F-117 Tests

Catalog #: 10_0016120
Title: F-117 Tests
Date: 1985-1989
Additional Information: Wind Tunnel Model Lockheed Martin
Tags: F-117 Tests, Wind Tunnel Model Lockheed Martin, 1985-1989
Repository: San Diego Air and Space Museum Archive

From Wikipedia:

Lockheed Have Blue was the code name for Lockheed’s demonstrator (i.e., “proof of concept”) that preceded the F-117 Nighthawk production stealth aircraft. Have Blue was designed by Lockheed’s Skunk Works division, and tested at Groom Lake, Nevada. The Have Blue was the first fixed-wing aircraft designed from anelectrical engineering (rather than an aerospace engineering) perspective. The aircraft’s plate-like, faceted shape was designed to deflect electromagnetic waves, greatly reducing its radar signature. Two flyable vehicles were constructed, but both crashed during the flight-test program.

[…]

To design the aircraft, the Skunk Works’ design team devised acomputer program to calculate the radar cross-sections (RCS) of various designs. The eventual design characteristically featured faceted surfaces to deflect radar waves elsewhere. It had highly-swept wings and inward-canted vertical stabilizers, which led to its being nicknamed “Hopeless Diamond”. The first operational aircraft made itsmaiden flight on 1 December 1977. The flight test program validated the feasibility of a flyable stealth aircraft. However, both prototypes were lost due to mechanical problems. Nevertheless, Have Blue was deemed a success, paving the way for the first operational stealth aircraft, Senior Trend, or F-117 Nighthawk.

cjwho: Westpol architects created this wonderfully picturesque...

Tue, 14 May 2013 09:44:09 -0400

cjwho:

Westpol architects created this wonderfully picturesque spot in Vöcklabruck, Austria.

Jaybo Monk —Graffuturism, 2013

Tue, 14 May 2013 09:43:10 -0400

Jaybo Monk —Graffuturism, 2013

nevver: Kurt Vonnegut, Wampeters, Foma and Granfalloons

Mon, 13 May 2013 06:29:01 -0400

nevver:

Kurt Vonnegut, Wampeters, Foma and Granfalloons

austinkleon: Saul Steinberg, “Trash,” from the October 27,...

Mon, 13 May 2013 06:26:23 -0400

austinkleon:

Saul Steinberg, “Trash,” from the October 27, 1986 New Yorker cover. (via)

thezartorialist: the Hagia Sophia

Sat, 11 May 2013 10:45:10 -0400

thezartorialist:

the Hagia Sophia

Photo

Fri, 10 May 2013 17:35:42 -0400

Little Feat — Fat Man in the Bathtub Live from Waiting for...

Fri, 10 May 2013 10:06:42 -0400

Little Feat — Fat Man in the Bathtub Live from Waiting for Columbus (1977)

Robert Palmer - Sneakin’ Sally Through the Alley Art...

Fri, 10 May 2013 09:57:58 -0400

Robert Palmer - Sneakin’ Sally Through the Alley

Art Neville - keyboards
Leo Nocentelli - guitar
George Porter, Jr. - bass
Simon Phillips - drums
Lowell George - slide guitar

From Wikipedia:

Sneakin’ Sally Through the Alley is Robert Palmer’s debut solo album, released in 1974. It was his first effort after three album releases co-fronting the band Vinegar Joe.

Palmer is backed by The Meters and Lowell George of Little Feat. Multiple reviewers have commented that Palmer sang confidently on this album, despite being backed by more accomplished musicians such as Lowell George, Art Neville and New Orleans singer-songwriter Allen Toussaint.

Recorded in New Orleans, Louisiana, New York, and Compass Point Studios in Nassau, the album was released on compact disc in 1990.

Lenny White — Stew, Cabbage, And Galactic Beans (1978) Lenny...

Fri, 10 May 2013 09:36:00 -0400

Lenny White — Stew, Cabbage, And Galactic Beans (1978)

Lenny White - synthesizer, drums, syndrums, percussion
Alex Blake - bass
Nick Moroch - guitar
Jeff Sigman - guitar
Don Blackman - piano, electric piano, organ, synthesizer

Lenny White — Rapid Transit (1977) Written by Ray...

Fri, 10 May 2013 09:24:02 -0400

Lenny White — Rapid Transit (1977)

Written by Ray Gomez, Arranged by Ray Gomez and Lenny White

Lenny White - Drums, Synthesizer (Oberheim Polyphonic)
Verdine White - Bass
Herbie Hancock - Electric Piano, Yamaha Electric Grand
Pat Gleeson - Synthesizer (Arp String Ensemble)
Ray Gomez - Guitar

Jean-Michel Basquiat: The Radiant Child (2010) Dir: Tamra...

Fri, 10 May 2013 08:20:00 -0400

Jean-Michel Basquiat: The Radiant Child (2010)
Dir: Tamra Davis

Published Oct 25, 2012

Jean-Michel Basquiat: The Radiant Child is a respectfully vivid, accurate, and entertaining homage to a painter who led a radical life and left an ambitious body of work behind after his premature death. The film opens with 1986 footage of Basquiat being interviewed in a hotel room by friends Becky Johnston and director Tamra Davis. For Basquiat fans, this film will prove essential viewing to flesh out an understanding of downtown New York’s art scene in the 1980s, and to see Basquiat’s pivotal role in this. While Downtown 81 is an awesome fictionalized portrait of Basquiat and his crew, and Julian Schnabel’s feature Basquiat serves as tribute via Schnabel’s dramatic artistic interpretation, Radiant Child offers the best possible documentary coverage of Basquiat’s triumph and demise. This feature-length film, constructed after Davis unearthed her 10-years-buried Basquiat footage to make a 20-minute short, then buried that another 10 years because of her strong wish to avoid exploitation, contains so much footage of Basquiat painting, partying, and being his charismatic self that one trusts it immediately. Additionally, Davis has interviewed every affiliated gallerist, among them Diego Cortez, Larry Gagosian, Bruno Bischofberger, Tony Shafrazi, Annina Nosei, and Jeffrey Deitch, not to mention all of Basquiat’s surviving close friends, including Schnabel, Fab 5 Freddy, Glenn O’Brien, Maripol, and Thurston Moore. The film, organized chronologically to chart Basquiat’s move out of Brooklyn to Manhattan, his beginnings as an itinerant street artist named Samo, his rise to gallery stardom, and his struggles at the end, marks time by showing paintings throughout that commemorate moments in Basquiat’s life. While the film obviously ends on a melancholy note as a warning about sudden fame and fortune, this film is ultimately more than a documentary about one man. It is a well-made testament, from the actual participants’ perspectives, about what conspired in New York to allow Basquiat to shine. For viewers who recall those times, it may feel nostalgic; for viewers who glorify 1980s New York, this film will solidify New York’s greatness; viewers who are artists may identify most, as one experiences a glimpse of a New York lifestyle that has come and gone.

Basquiat's Ex-Girlfriend Reveals Major Trove of Unseen Works

Fri, 10 May 2013 08:07:08 -0400

by Rachel Corbett

Published: March 27, 2013

Before Jean-Michel Basquiat could afford studios and canvases, he painted all over his apartments — on walls, doors, refrigerators, and any other bare surface he could find. In 1979, the still unknown artist began transforming his girlfriend Alexis Adler’s East Village home into just such a living installation, covering one wall in a glyph-like mural that reads “Olive Oyl,” painting crowns and “Famous Negro Athletes” on a door, and the word “Milk” on a radiator. Although the couple broke up a year later, and Basquiat died in 1988, Adler, now an embryologist at New York University, bought the apartment they once shared and never painted over his work.

Obviously that turned out to be a wise decision — as was storing his notebooks, postcards, painted clothes, photographs, and drawings on yellow legal paper. Thirty years later, Adler has now begun to assemble a team of advisors to help sort through the material in preparation for a book on the collection and, in all likelihood, an exhibition and sale. “Part of the issue has been that I am a working biologist who has raised two kids on my own and have not had time or energy to deal with it,” Adler said. “Now is the time, however.”

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"I don't think about art when I'm working. I try to think about life."

Fri, 10 May 2013 08:00:08 -0400

e-v-i-lemons: