Tuesday, November 26, 2013
We all love visual shorthand for our lives, whether it’s the Apple logo for technology or a flag for patriotism. Just as Thomas Nast’s version of Santa Claus endures as the quintessential Christmas image, Norman Rockwell’s classic painting of an
American family at Thanksgiving (detail shown above, full picture here)
has stood for seven decades as the single image most Americans
associate with turkey day. But few Americans know the full story behind
(or even the title of) Rockwell’s painting—the political and human
rights roots of the text Rockwell aimed at illustrating. As we plan to
sit down as a nation and give thanks, it’s important to remember what
Norman Rockwell’s Thanksgiving picture’s really about. Please come over to Picture This at Big Think to read more of "What Norman Rockwell's Thanksgiving Picture's Really About."
Thursday, November 21, 2013
When we look at the sculpture of Auguste Rodin, we can’t help but feel what his figures feel. Every inch of those sculpted bodies “speaks” the language of passion, whether it be of joy, love, yearning, or anguish. In a recent study of Rodin’s The Gates of Hell, art historian Natasha Ruiz-Gómez of the University of Essex links the figures found on those monumental doors (such as Rodin’s Damned Woman; shown above) to images from the work of Jean-Martin Charcot, one of the founders of modern neurology and one of the fathers of the malady known as hysteria. When Rodin looked for a way to break away from the tired tropes of classical sculpture, Ruiz-Gómez suggests, he turned to modern medicine, especially Charcot’s work, which linked psychological and physical states in a way that showed Rodin how to make people see what others feel. By linking art and science, this study opens a new door into Rodin’s art as well as why that art still captures our imagination today. Please come over to Picture This at Big Think to read more of "How Rodin Turned Early Neurology into Modern Sculpture."
This week we mark the loss half a century ago of President John F. Kennedy. For that generation, Kennedy’s death was the “where were you” moment. For our generation, the “where were you” moment is September 11th. In the middle of all that devastation, few knew that we “lost” JFK in that moment, too. Locked away in a safe in Five World Trade Center were 40,000 negatives of
photos of the Kennedy circle by photographer and family insider Jacques Lowe.
The trusted photographer of the Kennedys since the late 1950s, Lowe
captured many of the iconic pictures of JFK and Camelot in the making.
Thanks to the magic of modern technology, Lowe’s photographs have been
restored. Those photographs, many never before published, are now united
with Lowe’s recollections in The Kennedy Years: A Memoir.
Lowe’s words and pictures remind us of how Kennedy became our first
modern president in the sense of being the first to take full advantage
of the technologies of the day to project
a particular image to the public, both for personal political gain and
to inspire the nation. We’ll never be able to bring Kennedy himself back
to life, but Lowe’s images and recollections raise the Kennedy myth
from the dead and allow us to recover the best and the brightest of that
moment. Please come over to Picture This at Big Think to read more of "How We Almost Lost JFK Twice."
Thursday, November 14, 2013
“I could erase an entire life,” thinks a pensive Adolf Hitler as he stares into his mirror in one of the many striking images from the
career of artist Raymond Pettibon.
In our time, when words mean little and images deceive, Pettibon
creates art that rewrites the meaning of words and images erased by
modern society by uniting them in fascinating ways that all share a
common, simmering anger. How words and pictures have been rent asunder,
and how art can undo that divorce, is the subject of a major monograph on the artist titled Raymond Pettibon.
A child of the late ‘60s, Pettibon found his groove in the late ‘70s
and early ‘80s, but his art and his message feel just as relevant and
important today. Please come over to Picture This at Big Think to read more of "How Raymond Pettibon Puts Words, Pictures, and Anger Back Together."
Tuesday, November 12, 2013
Movie ratings in the United States today boil down to a few simple elements—sex bombs, f-bombs, and real (fake) bombs. Too much sex or nudity, too much profanity, or too much violence will win your film an R or maybe even an NC-17 rating, which can, depending on the filmmaker’s target audience, spell either doom or big box office. But are these criteria for categorizing films too narrow? Do they give us all we need to know before watching? The movie ratings people in Sweden have added another element—sexism. Not sex, sexism—the use of usually derogatory gender stereotypes. Employing the infamous “Bechdel test,” the Swedish film industry hopes to address what they see as a pervasive problem in movies. But can such a system work for American films and, more importantly, American audiences? Should films be rated for sexism? Please come over to Picture This at Big Think to read more of "Should Films Be Rated for Sexism?"
Friday, November 8, 2013
November 8, 2013, 9:18 AM
November 5, 2013, 9:10 PM
November 2, 2013, 7:21 AM