décalcomanie (13. 668)

Corresponding with the frequency bias of the previous post as well as being illustrative of way humans use the internet to check spelling and how for a small sample size can create random noise—or possibly an art exhibit, however the methodology might be flawed, this look at the most searched terms by the US was intriguing. Overall, from this study, it seems as if Americans are seeking the definition of societal factors rather than objects or something driven by a particular news story with gaslighting, socialism, equity, fascism, empathy, anxiety, etc. The outlier seems to be Montana’s top query in gouache, which defies explanation—other than maybe the above gallery opening—or, though equally unlikely but aligned with the other results a check on spelling for gauche. Similar to watercolour, the technique and paint produces a heavier and more opaque as it dries and employs a binding agent to remain colourfast on the canvas. The related process of decorative technique of art transfer, decalcomania, usually clipped to decal, came to English from the French décalquer, “to transfer the tracing of” and is in turn derived from the Italian calcare for to “stomp, stamp or trample,” with its etymology ultimately from the Latin calx or heel.

musca depicta (13. 665)

Subject to various interpretations by art historians, as Boing Boing informs, the “painted fly” was a somewhat of a viral meme in early Renaissance paintings on Europe. Ranging from an emblem of mastery, an in-joke, a symbol of the worthiness and dignity even in small pests to secularise the subject and conversely a symbol of sin, corruption and mortality—included as a form of apotropaic magic, the detailed fly as a conspicuous element features in over twenty extant works from various artists in the Low Countries, Germany and Italy. The pictured Portrait of a Woman of the Hofer Family by an unknown artist (the identity of the sitter is also lost to time) dates from circa 1470 from the Swabian region and currently resides in London’s National Gallery, acquired by Prince Albert and gifted to Queen Victoria in 1863.  The fad seems to have ended around 1510.

synchronoptica 

one year ago:  asymmetrical appeasement (with synchronoptica) plus assorted links to revisit

two years ago: a history of Elvis-officiated weddings

three years ago: sculptor Vinnie Ream plus more links to enjoy

four years ago: Eilean Donan plus the palace of Linlithgow

five years ago: your daily demon, more links, a minor supervillain plus a Yugoslav space opera

six years ago: artist Léon Spilliaert, cartoonist R Sikoryak, even more links plus advances in fusion technology

emsh (13. 662)

Via { feuilleton }, we are pleased to have had made the acquaintance of visual artist and experimental filmmaker, Ed Emschwiller, a WWII veteran who used his GI bill educational stipend to study at École des Beaux Arts (there meeting his wife and co-creative, scif-fi novelist Carol Fries) and the Art Students League of New York in the late 1940s. Using his veterans’ benefits again, the couple bought a house in Levittown, pursuing their art from a home studio—described as the only beatniks in the, segregated, planned community of Long Island. Often using Carol as a model for his commercial work, Emschwiller (usually signing his painting with the titular abbreviation) created covers for pulp publications including Galaxy, Infinity and Astounding Stories magazines, as well as paperback covers for Philip K Dick and Samuel R Delaney, whom considered his wife a peer. Despite a lucrative career and garnering several Hugo Awards (see previously here and here), in the early 1960s—in part inspired by Andy Warhol and the New American Cinema movement—Emschwiller turned to Factory-style filmmaking in suburbia with multimedia performance vignettes, as well as cinematography for documentaries on diverse subjects from Bob Dylan, voter-registration drives in Mississippi to the New York art scene for diverse commissions from the US Information Agency, NASA and Expo ’67. In the late 1970s, Emschwiller became interested in computer animation, eventually becoming professor and provost of the CalArts of the institutions television workshop and laboratory. More examples of Ed Emschwiller’s work spanning all the stages of his career and incomplete filmography are curated by Dennis Cooper at the link above.

meanwhile back at the manse (13. 657)

When presented the opportunity to relocate from Denver to New Mexico, artist Johnny DeFeo was captured by a vision for the Land of Enchantment that came to him in a dream of a zoomorphic ensemble of buildings. Unable to act on this monumental impulse immediately after it came to him, DeFeo deferred his inspired idea but the vision lingered, until serendipity or svengali appeared in the form of a contest, call-for-submissions sponsored by an infamous unlicensed lodgings company—displacing local residents, hollowing out the souls of cities, contributing to overtourism and to the housing crisis—that would fund projects for the quirkiest rental properties. DeFeo was reluctant at first to even put in his entry, fearing it would compromise his yet unformed plans. Coyote Casita, otherwise known as The Trickster, was selected as a winner, eventually resulting in a one-of-a-kind guest accommodation executed in concrete and adobe, an abode that does not go unoccupied when there is a vacancy and benefited local artists whom helped design it. More from Wallpaper and the artist’s website at the links above.

synchronoptica

one year ago: Trump returns to his Scottish golf course (with synchronoptica) plus more inflorescence flowers 

two years ago: the Paris Games opening ceremonies 

three years ago: a banger from Peter Gabriel,  a fine art ranking plus RIP Shuhada' Sadacat

four years ago: around the Isle of Skye plus more of the Inner Hebrides

five years ago: office space, the Feast of Saint Anne, linoleum flooring patterns plus words that exist only in plural form

six years ago: Esperanto Day, segregation ends in the US military (1948) plus assorted links to enjoy

abdominal quadrants (13. 654)

We enjoyed studying this small collection of antique nineteenth century ukiyo-e prints that illustrate the inner-anatomical functions, to promote good health and moderation as well as a civics lesson with bodily fitness as an allegory of not necessarily of industry (see also) but of an ordered society. The pictured woodblock is by artist Utagama Kuisada (歌川 国貞), among the most prolific designers and commercial successive artists of the medium who in his own time was far better known than contemporaries Hokusai and Hiroshige, and is titled the “Mirror of the Physiology of Food and Drink.” Much more from Open Culture at the link up top.

synchronoptica

one year ago: Battle Beyond the Stars (with synchronoptica), cheese advocacy, Trump seeks to fire the Federal Reserve chair for cause plus a completist’s drinking adventure

two years ago: the arch of Constantine plus assorted links worth revisiting

three years ago: more links to enjoy 

four years ago: Ullapool and environs plus a historic NATO outpost

five years ago: the first colour advert on monochrome TVs (1967), Einstein on the Beach, St Thomas à Kempis plus an epic mosaic along the Thames

six years ago: cognitive fitness, Wikipedia 1.0, the US Space Force, St Cucuphas, Sino-US tensions plus enduring character tropes

the diffusion pilot (13. 645)

We enjoyed this interrogation of the medium that reflects on artistic control and authorship partnered with the rapid pace of the infusion of generative AI in everything, neither celebrating nor wholly condemning the technology, in this animated short by Aurelijus Čiupas. By turns overpowering and empowering, the piece, divided into two distinct halves seems to ask, if the traditional animator creates the magic motion out a series of static images, what is their role with an infinite number of them? Caution, the video below contains flashing images. More from Aeon Magazine at the link above.

*    *    *    *    *

synchronoptica

one year ago: the bicycle from Pee-wee’s Big Adventure on display at the Alamo (with synchronoptica) plus the Epstein files

two years ago: enduring lessons of technology plus a thistle cousin

three years ago: Mary Magdalene 

four years ago: the Firth of Cromarty, a banger from Take That plus the North Coast 500

five years ago: Plan 9 from Outer Space 

six years ago: white Jesus 

deep blue something (13. 574)

Via Quantum of Sollazzo and deliciously reminiscent of the harried and hued colour profiles appearing in the Paris Review and the Awl right before folding, we are directed to this delightful project chasing down the paper trail of pigments, one colour per day with its chemistry, provenance and poison. There are over two-hundred fifty already indexed, like the pale jade glaze originally from ancient Chinese ceramic-making techniques, this greenwear copied by Korean and Japanese artisans (the greyish shade comes from oxidising iron during the firing of kilns, Fe₂O₃→FeO, and the Western namesake is from a character in a popular seventeenth century French pastoral novel, L’Astrée by Honoré d’Urfé, who dressed in light green garb—no relation to the Celadons Ovid’s Metamorphoses or International Klein Blue, a synthetic ultramarine with connections to the Nouveau réalisme movement and among the first pigments to be successfully patented. Each entry has adjacent palettes and new specimens are posted Sundays. I feel like this is site I will return to often.

cómo hace el pequeño cocodrilo (13. 552)

Having made the acquaintance of singular artist and writer Leonora Carrington (see previously here and here) through her surreal paintings informed by Celtic and Mesoamerican folklore and her own lived experience, we were excited to discover a special exhibition that curates Carrington’s works in other media—chiefly through large scale bronze figures sculpted using the lost-wax casting technique, her mythic and primordial figures walking off the canvas but also jewellery and vases and platters.
Though many of these characters are untitled and pass unnamed, whose story was only known to their creator, one is pressed to give a narrative and lore to these apparitions and wonder what they portend.  Much more from Colossal at the link above including the departed artist's personal website, lovingly maintained by her estate, and more details on showings and public art, like the title fabulist, monumental sculpture gifted to Ciudad de México depicting the Lewis Carroll (previously) poem, Alice reciting the parody as she attempts to memorise the Isaac Watts’ moralistic litany “Against Idleness and Mischief”—how doth the little busy bee improve each shining hour...

8x8 (13. 520)

bff: open-source branding for fast foods and convenience stores  

slopaganda: the fake Canadians behind Alberta’s separatist movement  

painting with light: a look back at the pioneering Quantel Paintbox system that debuted in 1981  

it is long since i saw you: the flying monk Eilmer of Malmesbury who witnessed Halley’s Comet twice  

jam handy to the rescue: The Girl on the Magazine Cover (1940)—say do you mind if I take a picture?  

biosphere: the unrealised spherical, utopian architecture of nineteenth century France—via Messy Nessy Chic  

homefront: mapping all Russian casualties in the Ukraine war in order to expose the human costs of the fighting  

at participating locations: a 1977 commercial for the McFeast

synchronoptica

one year ago: assorted links to revisit (with synchronopticæ) plus photographer Lycien-David Cséry

arts agricoles (13. 510)

Courtesy of Things magazine, we are introduced to Montréal based graphic designer and collage maker Raymond Biesinger and very much enjoyed his pastiche posters (more of his own work in this omnibus post from MetaFilter) and moreover appreciated his side-by-side curation of inspirational samples, as in this archive of covers of publications from the Canadian department of agriculture, scores dating between 1944 and 1977 with topics ranging from animal husbandry, canning and preserves, victory gardens, household economics, dealing with a nuclear winter on the farm, to mushroom foraging. More appreciation of the artist at the links above.

9x9 (13. 499)

of all the us presidents he’s still the mussoliniest: Randy Rainbow reprises his rendition of the Major General’s Song, see previously—via Miss Cellania  

twenty-first century nightmares: Bill Hsu presents a collection of dark animated films 

hello dalí: a marginally remastered copy of the bizarre 1973 ITV profile of the artist surfaces on Youtube  

éolienne: an innovative nineteenth century redesign for the windmill  

responding with improvisation and exhaustion: meeting the subliterate where they are is a disservice to education  

necropolis: marine researchers discover the site of a whale fall in a deep rift valley of the Indian ocean  

guest-starring in alphabetical order: Poseidon’s Underworld on the short-lived 1984 television series Glitter about the cast of a glossy magazine  

the meatseller: an harrowing and brutal animation of a young migrant’s journey from Nigeria to Italy 

 there was nothing in al capone’s vault but it wasn’t geraldo’s fault: premiere episode of America’s history in one hundred objects (see also) begins with an underwhelming time capsule opened in 1976

unstable geometries (13. 494)

We appreciated the introduction to abstract artist Sanford Wurmfeld whose studies in shifting hues and tones across large scale grids explore the act of perception and mood as a function of the time it takes to look at something. His installations of cycloramas and wall-mounted works are methodical and precise and are to my mind the opposite of optical illusion—no trickery or fatigue which sets no mood. Crediting the works of Josef Albers and Mark Rothko as his influncers, Wurmfeld is considered a co-founder of the Hunter Colour School, a heuristic for the phenomenology of the transformative effect on the viewer. More from Hyperallergic at the link above and the artist’s website.

synchronoptica

one year ago: the death of Nero (with synchronopticæ) plus California national guard activated against the governor’s will

twelve years ago: a visit to Pisa 

thirteen years ago: returning from Lake Como 

fifteen years ago: credible sources plus gin and garnish

sixteen years ago: austerity measures in Germany plus oil spill impact zones

seventeen years ago: banking secrecy  

schotter plots (13. 426)

Via this demonstration of reinterpreting an ALCOL code from 1968 to regenerate the iconic early computer art (see also here and here) of pioneer Georg Nees with a modern programming language, Python with an injection of randomness, we are pleased to have made the acquaintance—courtesy of Quantum of Sollazzo—of the founding champion of computer-aided design and architecture and studies in computer graphics. Working as a mathematician for Siemens electrical engineering division in Erlangen, Nees (*1926 - †2016) got his first experience with programming in 1959, eventually graduating to a Zuse Graphomat Z64 plotter to create his computer sculptures, his original commission being charged with finding a practical use for the machine, the milling and carving of components controlled by the programme, prefiguring 3D printing and showed how code can produce such “gravel,” distorting and rotating the squares to introduce chaos or equally bringing back order. Retiring from Siemens in 1985, Nees focused on aesthetics and semiotics, the study of symbols and signs, as applied to media and design, exhibiting his collaborative work with rudimentary AI engines, as one of the first centaurs, seeding the instructions and prompts with philosophical and mythical commands to see the effects on the output. The Schotter Plots are exhibited in the Victoria & Albert museum. Much more at the links above.

blacklight special (13. 418)

The aesthetic associated with a certain lifestyle and very much of an individual age particular era, we are introduced to the ubiquitous output of a defunct company in Houston, Texas that was once the biggest producer and distributor of experiential and mostly ephemeral wall art in the blacklight poster, printed with phosphorus ink that fluoresce when exposed to the otherwise invisible ultra-violet spectrum. Though the Day-Glo Colour Corporation had produced the pigment in 1932 with mainly military applications, it was the Houston Blacklight & Poster Company founder in 1969 that solidified the technique’s association with counterculture and drug use, popular in dormitory rooms, garage hangouts and advertising in concert venues, as something that could simulate and stimulate the visual distortions and hallucinations produced by an LSD experience or marijuana high. Regarded as disposable and a relic of the 1970s—though seeing somewhat of a revival in recent years, the city’s university special collections library, aside from rare books and ancient manuscripts, also holds, as we learn courtesy of { feuilleton }, an extensive archive of the company’s posters, ranging from the puerile to the promotional to the truly transfixing, with a tour arranged by a docent or trip-sitter now that the the behaviour has been pulled from the fringes of society whose talent, influential, went on to work in the animation field, bringing their style to Star Trek: TAS among others after the company dissolved within a few short years.

bug (13. 394)

 

Pronounced “boog,” we joined our neighbours for a long Labour Day weekend on a colourful campsite just south of Bamberg on an island in the river Regnitz at the mouth of the Aurachtal. 

Though the retreat made no pretensions of being an artists’ colony, there was a surfeit of paintings and statuary everywhere, first discovering the art in the restaurant, converted from the former studio and dance hall of the camp’s founders, Fritz and Else Hoffmann-Bug (the nobiliary particle adopted for the couples’ adopted residence and long-term project) who began the campgrounds after the war in 1952, exhibiting his own works and chairing the first professional visual artists’ association for Upper Franconia.

We were going to order wine with dinner, but then remembered how Bamberg is famed for its beers, and had a Rauchbier (the flavour won from toasting the malted barley) that paired well with the smoked trout, with a distinctive taste like s’mores and campfire. The restrooms for the campers were rather vaulted affairs themselves, outfitted as a gallery of paintings and murals and a singular experience to pass through and assuredly much appreciated by guests—the camp remaining in the family over the subsequent generations and maintaining the showcase and artistic spirit of the establishment. The village was until recently also host to the museum and publishing house for the adventure franchise of Karl May before being repatriated in 1995 to the writer’s native Radebeul.

 

windows on the world (13. 365)

Opening on this day in 1976 and in operation until destroyed during the September 11th terror attacks in 2001, the complex of dining and entertainment venues developed under the guidance of restauranteur Joe Baum (responsible for renovating the Rainbow Room of Rockefeller Center and creator of America’s first themed destination dining establishments) and architect Warren Planter (student of Eero Saarinen) whose concept for the interior was that of a grand ocean liner with plush accents and brass railings and a terraced layout that afforded views from every table with logo, dinnerware and lighting designed by Milton Glaser.  Housed in the upper storeys of the North Tower (Building One) of the World Trade Center, all staff present on the day of the attack perished, the impact of American Airlines Flight 11 cutting off all means of escape above the ninety-second floor. Though never conclusively confirmed, it is speculated that the identity of The Falling Man is restaurant audio engineer, Jonathan Briley, brother of Alexander, the soldier and later seaman character from the disco recording act, Village People. The iconic photograph is owned by Elton John and was named after the 1950 oil painting by Max Beckmann that seems to foreshadow the trapped jumpers.

synchronoptica

one year ago: a return visit to the Störmthaler See (with synchronopticæ)

fourteen years ago: comparmentalising the internet 

fifteen years ago: the life and afterlife of William Shakespeare 

sixteen years ago: around town, a visit to the Kyffhäuserdenkmal plus default browsers

9x9 (13. 340)

sen̓áḵw: the return of a Squamish Nation village exempt from zoning laws and an elegant solution to Vancouver’s housing shortage—first heard on NPR  

patience: a meditation on Solitaire—see previously  

tanker war: veterans of the 1981-1988 Persian Gulf crisis share flash-back inducing parallels  

granny shelf: an appreciation of the overlooked products in one’s grocery aisle—via Web Curios  

rückenfigur: a retrospective exhibition of Expressionist artist Gabriele Münter  

season ticket: brilliant vintage bus passes of the Milwaukee metro  

easter armistice: attacks continue as thirty-six hour truce for the Orthodox holiday between Ukraine and Russia approaches  

phreak box: an emulation of tones that hacked payphones—via Kottke—see previously  

diego garcia: US opposition forces UK to abandon plans to return the Chagos islands to Mauritius

ex’23 (13. 318)

Courtesy of fellow peripatetic Messy Nessy Chic’s latest batch of finds, we are acquainted with pioneering theorist and consultant Faber Birren (whose given name, from his maternal grandmother’s surname is a flourish of nominative determinism, a close anagram of Luxembourgish for colour) whom after an adolescent period of experimenting with dyes and painting murals pursued a a programme of pedagogy at the University of Chicago. Unable to surrender his conviction in the importance of colour, regarding it as an article of faith, and dissatisfied with the lacking curriculum in his field of study, Birren dropped out and began a course of self-study in 1921, publishing several influential articles on putting chromatics and contrast to use, eventually establishing his own firm with clients including Monsanto, General Electric, DuPont and the US military. Birren was later contracted as a consultant colourist for Disney advising animators for the schemes of Bambi, Pinocchio and Fantasia and with the outbreak of World War II, Birren was conscripted to make work environments safer for the influx inexperienced workers coming to factories to replace the workforce diverted to the war effort. The coding conventions Birren prescribed are still in use today with the best preserved examples being the sea-foam green used for control panels (the object of this investigation and conserved in museums and legacy installations and universally adopted, also with fire-extinguishers), the lighter shades being used on walls and consoles to reduce visual fatigue. The title nom de plume is from Birren’s colour scale of reflected light in the most calming spectrum and sourced from his trade range colour.

8x8 (13. 198)

the mckinley colonies: the US settlement on Cuba’s Isla de la Juventud 

„…“: another omnibus listing of aphorisms and sage quotations  

manannán: 1940 sci-fi Irish language novel that contains the likely first use of a mecha outside of Japanese literature  

in the realms of the unreal: outsider artist Henry Darger—see previously 

spring has sprung: early heralds of the coming season—see previously 

archive.yesterday: Wikipedia bans controversial news and features article mirror for citations after the service launches denial of service attacks on websites linking to it—via MetaFilter  

lapsis muris: linguists uncover another usage case of uh—see previously  

tron/troff: explore your neighbourhood in the virtual grid

synchronoptica

one year ago: Ukraine and Europe excluded from peace talks (with synchronopticæ), an enigmatic online diary plus an ancient cistern in Naples

thirteen years ago: elision and mishearing 

fourteen years ago: graphic artist Tim Doyle 

fondation vasarely (13. 182)

Dedicated on this day in 1976 with its inaugural opening, the architectonic museum in Aix en Provence showcases the pioneering Op Art designs of Victor Vasarely (see previously) and promote his vision of making the arts accessible for all and founding a city of tomorrow. Forty two six by eight metre cells constructed in situ house various exhibits. Coming out of the Bauhaus school tradition, the Hungarian-French artists went on to produce abstract paintings, cladding, façades and sculptures that referenced optical illusions as a sort of visual kinetics (plastique cinétique) that relied on the shifting perception of the viewer—a stylistically satisfying middle-ground between the moving artwork of Calder, Duchamp and Man Ray and the disorientating MC Escher.