Friday, December 26, 2014


WTF is wrong with the British?!!

Visitors to the State Hermitage Museum in St. Petersburg view the sculpture of the Greek river god Ilissos
Greek Statue Travels Again, but Not to Greece By STEVEN ERLANGER  DEC. 5, 2014 The New York Times
LONDON — The British Museum plunged itself into a geopolitical tempest on Friday, lending one of the most disputed Greek artifacts to Russia’s State Hermitage Museum in a surprise arrangement that outraged Greece.
The loan of the artifact, one of the so-called Elgin marbles, a British Museum collection of Parthenon sculptures, also seemed at odds with the West’s increasing ostracism of Russia over the Ukraine conflict and a range of other East-West disputes.
Not only was it the first time that the British Museum has lent part of the collection, which Greece contends was looted by Lord Elgin in the 19th century, but it also was done in secret.
The British Museum announced the loan only after the artifact, a headless statue of the Greek river god Ilissos, was spirited to the Hermitage in St. Petersburg. It will be on display from Saturday through Jan. 18 and will form part of an exhibition celebrating the museum’s 250th anniversary.
The Greek government, which has long demanded the return of the entire collection, called the loan a provocation and “an affront” to Greeks everywhere. “We Greeks are one with our history and civilization, which cannot be broken up, loaned out or given away!” Prime Minister Antonis Samaras said.
The director of the British Museum, Neil MacGregor, defended the loan as an act of cultural diplomacy between two great museums at a time of heightened tension between their governments. “Both institutions believe it is precisely at moments like this that the museums have to keep speaking,” Mr. MacGregor said.
Richard Lambert, chairman of the board of trustees of the museum, said the trustees “believe that the great things of the world should be shared and enjoyed by the people of the world.” He said a vote by the board in early October to lend the sculpture was unanimous.
But both museums, conscious of the delicacy of the situation, held off for two months before publicly disclosing the loan. It was first revealed Friday in The Times of London, which devoted most of six pages to the subject. The marble sculpture was originally removed from the left-hand corner of the west pediment of the Parthenon.
A spokeswoman for the Hermitage, Larisa Korabelnikova, said, “People need to see things — the rest is politics, not art.” Disputes between Greece and Britain “shouldn’t affect us,” she said.
The British Museum, Ms. Korabelnikova said, has given the Hermitage “a nice gift,” adding, “We have our jubilee — 250 years.”
Successive Greek governments have campaigned to have the 2,500-year-old sculptures returned to Greece. They were removed from the Parthenon and other buildings on the Acropolis by the Scottish nobleman Thomas Bruce, the Earl of Elgin, who put them on display in London in 1807. He sold them to the British government, which passed them on to the British Museum in 1816. Britain, and the museum, have insisted on keeping them — arguing that they were obtained legally by Lord Elgin (pronounced with a hard “g”) from the Ottoman rulers of Greece at the time, and that Greece was incapable of preserving them. 
Lord Elgin claimed that he was saving the marbles, which he began removing at his own expense in 1801 while he served as an emissary to the Ottoman Empire. He shipped them home and sold them to Britain for what was then 35,000 pounds, a sum less than his costs, having turned down offers from others, including Napoleon.
Greece has been demanding the sculptures back ever since it won its independence from the Ottoman Empire. Politicians and artists ranging from Melina Mercouri, when she was Greece’s culture minister, to George Clooney and his wife, the lawyer Amal Clooney, have worked to win their restoration to an independent, modern Greece that is a member of the European Union.
Lord Elgin’s actions, which many outside Britain regard as theft, were sometimes criticized here, too, including by the poet Lord Byron, who is said to have scrawled “Quod non fecerunt Gothi, fecerunt Scoti” on the Acropolis (“What the Goths spared, the Scots have destroyed”).
Greek officials also said that one of Britain’s longstanding arguments for keeping the works — that they are too delicate to be moved — was contradicted by the loan to Russia. In 2009, Mr. Samaras, the Greek prime minister, opened a new, state-of-the-art museum at the Acropolis designed to display the marbles, instead of replicas, in part to undercut the other argument against their return, which was that Greece had polluted air and no facilities to protect them.
Dimitris Pantermalis, the head of the Acropolis museum, told Reuters: “You see, they can be moved. In the same way, they can be returned to Greece one day.”
Mr. Samaras is also eager to show his patriotism, as his rule is being challenged by the anti-austerity party Syriza, which is now the official opposition in Parliament.
Greek officials made clear that they will not demand that Russia return the statue, but will continue to work through the United Nations Educational, Scientific and Cultural Organization, Unesco, to try to reach a settlement with Britain.
Mr. MacGregor said that the Greek issue had never been about loans, but about the permanent home of the sculptures. There has never been a discussion with Greece about a loan, he told The Times of London. “To date they have always made it clear that they would not return them,” he said. “That rather puts the conversation on pause.”
In a post on the museum’s website, Mr. MacGregor cited the ancient Athenian leader Pericles, who said in a funeral oration for the dead warriors of Athens that “the whole earth is their sepulcher.”
“Two and a half thousand years later, I hope that Pericles would applaud the journey of Ilissos to Russia, where ‘far away in foreign lands,’ this stone ambassador of the Greek golden age and European ideals will write ancient Athens’s achievements,” Mr. MacGregor said.
Mikhail Piotrovsky, the director of the Hermitage, which is a centerpiece of the hometown of President Vladimir V. Putin, said he was thrilled by the loan. He called it “a very big and important gesture,” and said he hoped his relations with Greek museums would not be damaged.
Mr. MacGregor is the chairman of the Hermitage’s international advisory board and has had a long friendship with Mr. Piotrovsky, who said that “culture is the last bridge to burn.” Geraldine Norman, a British adviser to the Hermitage and head of the Hermitage Foundation UK, said the loan reflected “the very close relationship” between the two directors.
Mr. MacGregor created some controversy in another effort at cultural diplomacy in 2010, when he lent the National Museum of Iran the Cyrus Cylinder, a Persian clay tablet sometimes described as the earliest charter of human rights. It was seen by as many as 500,000 people in Iran.
Roslyn Sulcas contributed reporting from London, Sophia Kishkovsky from Moscow and Rick Gladstone from New York.

Isabelle Chapuis

This photograph is hugely funny to me. Any and all of the possible sensitivity and or erotic nature intended just doesn't get there. Color-beautiful. But - hilarious

Thursday, December 25, 2014

Get off.

Wednesday, December 24, 2014

Very-VERY sexy

This is stupid and irritating...why are those brushes stuck in upside down?!!





Larry Clark


Tuesday, December 23, 2014

These two paintings embody for me, what belief in Jesus Christ means. Hearing the call. Being terrified of following His path--And the moment, very near to all of having the love of Him to face your end. Passion and fear overcome by "Agape".

Michelangelo Merisi da Caravaggi     The Martyrdom of Saint Peter    1600-1601

Michelangelo Merisi da Caravaggio    The Calling of Saint Matthew     1599-1600

Friday, December 19, 2014

Art AND History

Why a charcoal of police in Ferguson is the most important artwork of 2014

Robert Longo’s powerful drawing of police holding back protesters in Ferguson is a vital record of the resurgence of racism and a history painting for our time
Robert Longo Untitled Ferguson
A shroud for lost optimism … Untitled (Ferguson) Diptych, 2014, by Robert Longo. Photograph: Petzel Gallery
2014 has produced horrific politics. Racism has returned, that hydra-headed idiot, everywhere from Missouri to Rochester, where a Ukip candidate won a byelection after openly speculating about repatriating Europeans. It is not much by way of compensation to say the year also produced a mighty piece of political art. But it did.
Robert Longo’s Untitled (Ferguson Police August 13, 2014) is a 10-ft wide charcoal drawing of a line of faceless cops, clad and helmeted in black, silhouetted against searchlights in a swirl of illuminated smoke. This is a brilliantly powerful drawing, based on photographs taken on the angry streets of Ferguson, Missouri, after 18-year-old Michael Brown was shot dead by a police officer there on 9 August. Since the first protests and police reaction that Longo set out to draw, this has become an ever more significant moment in the old and unending story of racial injustice in America. Longo’s picture looks prophetic and monumental. It should be purchased by the Museum of Modern Art or the National Gallery of Art. This is a true history painting for our time, done from photographs in desolate charcoal.
When an artist takes a photographic image and redraws, repaints or otherwise transforms it, that photograph is lifted out of the remorseless stream of information that bombards us and given heightened significance. The artist, as Marcel Duchamp used to say, has “chosen” it. Andy Warhol made such a choice when he silk-screened a sickening news photograph of a civil rights protester being attacked in Birmingham, Alabama in 1963. Warhol’s 1964 work shows the police setting a dog on a “rioter”.
Fifty years on, the illusion that America has changed since the early 1960s has turned to ash. Longo’s tremendous drawing is ashen, funereal; a shroud for lost optimism. The police in it are demons, hellish, implacable and alien. In fact, rather than Warhol, the photo-based artwork of the 1960s that it recalls is Robert Rauschenberg’s set of illustrations to Dante’s Inferno. At a time of turmoil in America, Rauschenberg silkscreened news photographs of riot cops into his images of Dante’s Hell. The police personify demons in Rauschenberg’s nightmare modern mythology.
In Richard Hamilton’s history painting The State, a photograph of a British soldier on the streets of northern Ireland is transfigured into a monumental image of alienation and fear. The Troubles that Hamilton immortalised in art seem to belong to the past now, mercifully. But this year proved that racism in America is a history still monstrously alive.
Longo’s formidable drawing shows the shadow on America’s conscience. It takes the passing news images of this year and tells future generations which ones really mattered. Like any great historical work of art it insists on the weight of the moment it makes timeless. It is the work of art that mattered most this year.

Monday, December 15, 2014


Eric again,always-Again in a week

Returning students today.And escape of sorts.
Seems it's expected of me to absolutely hate it.
You know show that curmudgeonly valor. Old Sod stuff. Scrooge and a favorite cult mixed up in a shitty old great coat.

Truth to tell I really was overwhelmed.
My emotions.
Really missed some. Needed to give and get sloppy hugs. Nope. Can't.

Not having committed to a family.The kids,the wife, the mortgage "working towards the future"shit- seeing them shows me where, with a tip in my direction I could have been expecting to come "home" to family, love today. NO. Never a possibility. I always leave-emotionally then physically.Why do I joke about this?
Christ I hate the fact- AFTER the fact that I cried some driving back.It's the same litany of loneliness, self loathing that I couldn't keep a love in my life again. Of course.That always seems to be there lately. .

Thinking about you Eric- so very much now. You expect, at least I did, the pain and anger to ease up after so long.
Its just gotten heavier.
I wish to God I had been able to do something. Something.

I could have helped you.It's my job.A gift. You came to me to find understanding and care.
I could have saved you.Got you to experts.

I failed you Eric. I really did.
Seeing you today would have been so very wonderful.
Should have hugged you today

Saturday, December 13, 2014

Thursday, December 11, 2014

Charles Burchfield (American, 1893-1967) The Insect Chorus, 1917

Sigmund Freud, “Moses and Monotheism” 1939

“Religion is an attempt to get control over the sensory world, in which we are placed, by means of the wish-world, which we have developed inside us as a result of biological and psychological necessities. But it cannot achieve its end. Its doctrines carry with them the stamp of the times in which they originated, the ignorant childhood days of the human race. Its consolations deserve no trust. Experience teaches us that the world is not a nursery. The ethical commands, to which religion seeks to lend its weight, require some other foundations instead, for human society cannot do without them, and it is dangerous to link up obedience to them with religious belief. If one attempts to assign to religion its place in man’s evolution, it seems not so much to be a lasting acquisition, as a parallel to the neurosis which the civilized individual must pass through on his way from childhood to maturity.” Sigmund Freud, “Moses and Monotheism”  1939

You only see what you remember.You only desire what you've had. For known and missed and loved.

Winslow Homer (1836-1910), Homosassa River, Florida (1904) watercolor

Pablo Picasso - Self Portrait (1906)

Hans Holbein the Younger: Portrait of an unindentified woman (c.1540) Drawing

Monday, December 8, 2014


Saturday, December 6, 2014