Wednesday, April 30, 2014
It all started with a video on YouTube. Sometime in 2011, artist Cory Arcangel watched a
video of Andy Warhol painting a digital portrait of singer Debbie Harry in 1985 on a Commodore Amiga 1000 as part of a promotional event for the computer’s
release. What happened to that image and the others Warhol made on that
computer nearly 30 years ago?, Arcangel wondered. When Arcangel
traveled to Pittsburgh later that year for his upcoming exhibition at the Carnegie Museum of Art, he stopped off at the nearby Andy Warhol Museum
and asked that very question of the curators. That YouTube video and
Arcangel’s curiosity set off a chain of events that led to the recovery
of those long-forgotten images from the depths of the digital archives
and the tomb of obsolete technology. Compared to what artists such as
Arcangel and others can do with modern computer technology today,
Warhol’s images (such as his self-portrait, shown above) seem like
quaint cave drawings. But there’s still something to be learned from
looking at the first foray into a new medium for an already established
artist such as Andy Warhol, who may now be seen perhaps as a digital art
pioneer. Please come over to Picture This at Big Think to read more of "Andy Warhol, Digital Art Pioneer?"
Why are today’s paparazzi so terrible? The combative relationship between photojournalists and their celebrity subjects seems to have become an all-out war as photographers look to capture content not already provided by the stars themselves via social media. That forbidden photographic fruit takes the
of either unguarded moments (the infamous “nip slips” and “upskirts”)
or flagrant violations of privacy (helicopters over weddings, etc.),
both of which lead to that quintessential paparazzi moment—the punch in
the face. The Years of La Dolce Vita: The Birth of Celebrity Culture, which runs at the Estorick Collection of Modern Italian Art
in London, UK, from April 30, 2014 through June 29, 2014, returns to
the Italian roots of today’s paparazzi and raises the question of
whether today’s photomedia can ever recover the grace and sweetness of
those early days, the days of “La Dolce Vita.” Please come over to Picture This at Big Think to read more of "Can Today's Paparazzi Ever Recover 'La Dolce Vita'?"
Tuesday, April 22, 2014
April 23, 2014, marks the 450th birthday of William Shakespeare, one of the greatest writers of all time and an inescapable influence not just on literature, but also on every
form of culture since the 19th century. Although the canon of plays was more or less established with the publication of The First Folio in 1623, Shakespeare had to wait for larger acclaim until the Romantic era of the 1800s, when critics such as Samuel Taylor Coleridge and August Wilhelm Schlegel first spread the Gospel of Will which would soon blossom into full bardolatry.
In many ways, the Romantic era never ended and we are the “last”
Romantics, full of ideas of individuality, imagination, and even love
that would be totally foreign to the classical world. Even those who
accept that the Romantic era’s over see it as a Post-Romantic era, a
time defined by what it can no longer be. This Romantic or
Post-Romantic world gave birth to Modern art. So, by an almost Biblical
series of begats, you can say that the birth of Shakespeare is the
birth of Modern art, the birth of how we see the world within and the
world without today. Please come over to Picture This at Big Think to read more of "Why the Birth of Shakespeare Is the Birth of Modern Art."
Thursday, April 17, 2014
The two “go to” occupations for conveying the idea of genius are usually “rocket scientist” and “brain surgeon.” Only the best minds pursue the mysteries of the outer space beyond our atmosphere or the inner space between our ears. We all have brains, but getting our brains to understand themselves seems something reserved only for the eggiest of eggheads. Two neuroscientists, Drs. Hana Roš and Matteo Farinella, have teamed up to create the educational and entertaining graphic novel Neurocomic. By turning neurons into trees, the depths of memory into caves, and the mind’s self-deceptiveness into a haunted castle, Roš and Farinella take you on a visual and verbal rollercoaster ride into your own
in hopes of bringing the non-brain surgeons of the world closer to
cutting through all the scientific jargon and considering the big
questions of brain versus mind, how we remember, and how we become who
we are. A mind trip in every sense of the word, Neurocomic gets into your head to get you into your own head. Please come over to Picture This at Big Think to read more of "How Neurocomic Gets Into Your Head."
Tuesday, April 15, 2014
On October 17th, 2005, comedian Stephen Colbert introduced the persona “Stephen Colbert” on the first episode of The Colbert Report by also introducing to the world the concept of “Truthiness.” That bit (the full video’s here) not only resulted in “truthiness” becoming Merriam-Webster’s 2006 Word of the Year, but also introduced the “truthiness” of performance art to a mainstream American audience. What began as a broad caricature of a Bill O’Reilly-esque conservative TV pundit evolved over 9 years into a multidimensional character with elements of the real wit, charm, warmth, and unyielding mental sharpness of the real man. With news that Colbert will be leaving The Colbert Report at the end of 2014 to replace David Letterman as the host of the Late Show on CBS in 2015 comes great sadness on seeing “Stephen Colbert” the character come to an end, but we’ll still have the rest of the year to celebrate, appreciate, and understand what Stephen Colbert the performance artist truly accomplished. Please come over to Picture This at Big Think to read more of "Stephen Colbert and the End of 'Stephen Colbert.'"
Thursday, April 10, 2014
“You criticize them too much. If this was 1957 they would have killed you already,” Chinese artist Ai Weiwei’s worried mother tells him in a new documentary titled Ai Weiwei: The Fake Case, which documents the Chinese government’s fabricated charges of tax evasion against the Beijing Fake Cultural Development Ltd, a
not in his but in his wife’s name, although the charges are leveled
against Ai. “It’s a fake case,” Ai explains. “It’s a fake case about a
Fake Company. But the Fake Company is a real company and the fake case
is a real case, but it’s fake, it’s fabricated.” In this up-is-down
world, Danish filmmaker Andreas Johnsen captures the very real day-to-day dangers the artist and those close
to him face from a Chinese government that fears Ai’s online influence
with a young generation of plugged-in Chinese capable of considering
widespread cultural change. More than any documentary on Ai Weiwei so
far, Ai Weiwei: The Fake Case depicts accurately what it is to
be an artist struggling bravely against political oppression and the
personal cost of that fight. Please come over to Picture This at Big Think to read more of "Documenting China’s Fake Case Against Ai Weiwei."
Tuesday, April 8, 2014
When former President George W. Bush’s self-portraits in the shower and tub slipped into public sight a year ago, the general critical approaches either commented on the amateur quality of the work, on the obvious symbolism of cleansing (if you were a critic and thought he had something to cleanse himself of), or on both. Bush allegedly took up painting less than a year before the revelations, making him the most viewed
art rookie of modern times. Now, in a new exhibition at the George Bush Presidential Library and Museum titled The Art of Leadership: A President’s Personal Diplomacy, Bush puts his artwork out there for comment on his own terms. The art’s still amateurish, but the content—portraits of “41”
and “43,” as the Bushes refer to themselves, as well as other world
leaders—cries out for commentary beyond the brushwork. Why “W.” paints
remains a bit of a mystery that he hasn’t fully cleared up. But why we
look says as much about his legacy as it does about our continuing
struggle to come to grips with it. Please come over to Picture This at Big Think to read more of "Why Does George W. Bush Paint (and Why Do We Look)?"
Thursday, April 3, 2014
Chicago native Judy Cohen Gerowitz became Judy Chicago in 1970 for many reasons. One was to throw off her father’s and husband’s names and the male dominance behind that practice. Another, as shown in the now famous Jerry McMillan photo announcing her breakout exhibition at California State University, Fullerton, was to prove her willingness to fight for her rights, as shown by her donning boxing gloves, entering a ring, and staring down the camera with a pugilist’s “eye of the tiger.” Nearly half a century later, Judy Chicago’s still fighting in the public arena for hers and every woman’s rights to equality both of artistic expression and full expression of their humanity. Set to celebrate her 75th birthday this July, Judy Chicago (shown above) finds herself the subject of numerous retrospective shows. But never one to rest on her laurels, Chicago also comes out swinging with not one but two books that not only look back at her achievements as an artist and educator, but also point forward to how the feminist fight rages on and what winning the next rounds and, ultimately, the battle for equality will involve. Please come over to Picture This at Big Think to read more of "Why Judy Chicago Still Fights for Feminist Art at 75."
Tuesday, April 1, 2014
If the eyes are the windows of the soul, can the windows of an artist’s studio—the vistas they viewed daily for inspiration—offer a glimpse into their soul? In anticipation of the upcoming exhibition Andrew Wyeth: Looking Out, Looking In, set to open at the National Gallery of Art in Washington, DC, on May 4th, the NGA and the Brandywine Conservancy and Museum of Art teamed up to give the press a crash course on the deceptively realist and deceptively difficult artist Andrew Wyeth. The NGA show hopes to open a new window on the appreciation of Wyeth by focusing on the theme of windows in his work, which they believe will breathe fresh air into studies of an artist whose decades-long reclusiveness before his death in 2009 seems to have shuttered public affection and understanding of the man, his art, and the landscape that shaped both. The specific case of Andy and the Brandywine region outside his window raises a more general question, however, of whether we can understand an artist better not just by looking at their art, but also by seeing what they saw—looking out their window to look into and through their imagination. Please come over to Picture This at Big Think to read more of "Is an Artist’s Studio a Window into Their Soul?"