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Saturday, 26 February 2011
Damaged Goods: The 10 Best Abused Artworks Ever
Art is both a precious commodity and a significant cultural symbol of our time. The museums and art centers that display the works are public domains, in which anything is likely to happen. Throw a bunch of publicity loving crackpots, wannabe performance artists, youthful vandals, social protesters, and accident-prone eccentrics into the mix and you enter the damage zone, where art gets hurt — or at the very least, publicly humiliated.
After recently reading about a portrait of Mao Zedong getting shot because its hallucinating owner thought it was the actual Chinese despot in his house, we decided to investigate other tales of artful accidents involving works by celebrated artists — ranging from Monet and Picasso to Warhol and Serrano — and bullet holes, crowbars, felt-tip pens, and flying elbows and fists. Click through below to discover our gallery of damaged goods.
Two bullet holes in Andy Warhol’s 1972 screenprint of Mao didn’t deter a collector from buying it for $302,500 — 10 times the high presale estimate of $30,000 — at Christie’s in New York last month. The reason the piece was coveted has to do with the shooter as much as it has to do with the artist and subject matter. During a wild night in the 1970s, Dennis Hopper got spooked by the picture and shot it twice. Warhol loved the results and annotated the holes with circles and the words “warning shot” and “bullet hole,” which made the work an unplanned collaboration.
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After recently reading about a portrait of Mao Zedong getting shot because its hallucinating owner thought it was the actual Chinese despot in his house, we decided to investigate other tales of artful accidents involving works by celebrated artists — ranging from Monet and Picasso to Warhol and Serrano — and bullet holes, crowbars, felt-tip pens, and flying elbows and fists. Click through below to discover our gallery of damaged goods.
Two bullet holes in Andy Warhol’s 1972 screenprint of Mao didn’t deter a collector from buying it for $302,500 — 10 times the high presale estimate of $30,000 — at Christie’s in New York last month. The reason the piece was coveted has to do with the shooter as much as it has to do with the artist and subject matter. During a wild night in the 1970s, Dennis Hopper got spooked by the picture and shot it twice. Warhol loved the results and annotated the holes with circles and the words “warning shot” and “bullet hole,” which made the work an unplanned collaboration.
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Unreal cities: Sohei Nishino's magical photographic maps of London, Tokyo and utopia
"The photographer is an armed version of the solitary walker," wrote Susan Sontag in On Photography, "reconnoitring, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes." Sontag's "voyeuristic strollers" included Atget, Brassai and WeeGee, all of whom were "not attracted to the city's official realities but to its dark seamy corners, its neglected populations". She could also have mentioned Bill Brandt, an often-solitary wanderer on the night-time streets of wartime London, or Cartier-Bresson, forever in search of the decisive moment, as well as all manner of street photographers, from the frantically obsessive Gary Winogrand to the gently observant Helen Levitt.
Interestingly, Sontag also saw the photographer as a kind of flaneur. "Adept at the joys of watching," she wrote, "connoisseur or empathy, the flaneur finds the world 'picturesque'". The term "flaneur", which originally meant "stroller", "saunterer" and, interestingly, "loafer", was appropriated by the poet Charles Baudelaire, to describe "a person who walks the street in order to experience it". That is certainly what street photographers do, though one wonders if the act of taking a photograph, as well as the photographer's need to be constantly on the look-out for a subject, might come between the walking and the experiencing; might, in fact, run contrary to the meandering spirit of flaneurism (flaneurie?).
One also wonders what Sontag, or indeed Baudelaire, would have made of Sohei Nishino, a young Japanese photographer whose work goes on show for the first time in Britain at the Michael Hoppen gallery next week. Like Winogrand, Nishino is an obsessive, one who relentlessly pounds the streets with a camera. Yet unlike Winogrand, and every other photographer mentioned above, Nishino does not go in search of the city's dark seamy corners or neglected populations. What he does is photograph the city in detail, and then construct a composite map from the thousands of detailed images he has amassed on his wanderings. Thus far, he has recreated 10 cities, including Tokyo, Paris, Istanbul and New York. The end results, which he calls "diorama maps", are both breathtaking in their ambition and disorienting in their oddness.
Diorama Map Night (2009-10) ... Nishino's cities are 'familiar yet oddly disjointed'. Photograph: Sohei Nishino/Michael Hoppen Contemporary/Emon Photo Gallery
Last year, Nishino spent a month walking the streets of London – which, come to think of it, does not seem that long a time for the task in hand. He took over 10,000 photographs, which, on his return to Tokyo, he edited down to 4,000. Then the real work began. Having hand-printed the photographs in his own darkroom, Nishino then set about cutting them up and piecing them together – slowly and meticulously – into a giant composite photographic map of the city of London. It measures 7.5ft x 4ft, and will be shown at Michael Hoppen alongside his other diorama maps.
In the meticulous assembling of these photomaps, Nishino creates epic artworks that, despite depicting many familiar icons of modernity and post-modernity – the Empire State building, the Gherkin, the Pompidou Centre – look oddly old-fashioned. He creates what look like medieval or renaissance maps of modern cities. In them, everything is familiar yet oddly disjointed, nothing seems quite in scale and, here and there, whole areas are missing or seem crushed or out-of-proportion. Some of his photographs are taken from above, some from far below. Buildings loom and tilt, as does the terrain, and sometimes a segment of put-together sky appears.
For Nishino, it would seem, the process is the thing. He has paid homage to the great 18th-century Japanese cartographer, Ino Tadataka, who spent 17 years surveying and mapping the coastline of Japan. (The mammoth project was completed by his surveying team after his death.) But Nishino's obsessive cartography is of a different order: fantastical rather than scientific; imaginative rather than literal. "His images are true to form in a sense, and yet incorrect", notes Seiji Komatsu, director of the Emon Photography gallery in Tokyo. "In other words, he is trying to depict an image that comes from within the memory."
Nishino's imaginative journey has taken a different turn of late. His recent I-Land project, in which the map is even bigger and in colour, depicts an imaginary Japanese city that echoes Thomas More's Utopia, while simultaneously looking like a future-world from a sci-fi film. Here, old and new photographs are used to create a timeless cityscape that is unreal but oddly familiar. Again, the process has been painstaking and obsessive and the end result, like all Nishino's work, seems to fly in the face of Photoshop and digital manipulation. He is a creator of virtual worlds all the same, but what is important here is not just the end result, but the labour and dedication that underpins it.
"This work required a great deal of my passion and energy and entailed a great deal of financial, physical, and spiritual hardship." Nishino has said of the diorama map series. "After completing it I realised that it grew out of my experiences during a Shikoku 88-temple pilgrimage that I went on alone as my high school graduation trip. The pilgrimage for me meant simply walking the route – I had no particular underlying motivation or goal for doing it. I think the spiritual core of my work came from this experience, and I continuously take pictures to emphasise the spirit of going ever forward."
Nishono is a flaneur, then, but one whose motivation is not just to experience the city he walks though, but to memorise, remap and re-imagine it. His composite photographic map of London portrays a city both real and unreal, recognisable but alien. A city you can get lost in all over again.
Sean O'Hagen @'The Guardian'
Last year, Nishino spent a month walking the streets of London – which, come to think of it, does not seem that long a time for the task in hand. He took over 10,000 photographs, which, on his return to Tokyo, he edited down to 4,000. Then the real work began. Having hand-printed the photographs in his own darkroom, Nishino then set about cutting them up and piecing them together – slowly and meticulously – into a giant composite photographic map of the city of London. It measures 7.5ft x 4ft, and will be shown at Michael Hoppen alongside his other diorama maps.
In the meticulous assembling of these photomaps, Nishino creates epic artworks that, despite depicting many familiar icons of modernity and post-modernity – the Empire State building, the Gherkin, the Pompidou Centre – look oddly old-fashioned. He creates what look like medieval or renaissance maps of modern cities. In them, everything is familiar yet oddly disjointed, nothing seems quite in scale and, here and there, whole areas are missing or seem crushed or out-of-proportion. Some of his photographs are taken from above, some from far below. Buildings loom and tilt, as does the terrain, and sometimes a segment of put-together sky appears.
For Nishino, it would seem, the process is the thing. He has paid homage to the great 18th-century Japanese cartographer, Ino Tadataka, who spent 17 years surveying and mapping the coastline of Japan. (The mammoth project was completed by his surveying team after his death.) But Nishino's obsessive cartography is of a different order: fantastical rather than scientific; imaginative rather than literal. "His images are true to form in a sense, and yet incorrect", notes Seiji Komatsu, director of the Emon Photography gallery in Tokyo. "In other words, he is trying to depict an image that comes from within the memory."
Nishino's imaginative journey has taken a different turn of late. His recent I-Land project, in which the map is even bigger and in colour, depicts an imaginary Japanese city that echoes Thomas More's Utopia, while simultaneously looking like a future-world from a sci-fi film. Here, old and new photographs are used to create a timeless cityscape that is unreal but oddly familiar. Again, the process has been painstaking and obsessive and the end result, like all Nishino's work, seems to fly in the face of Photoshop and digital manipulation. He is a creator of virtual worlds all the same, but what is important here is not just the end result, but the labour and dedication that underpins it.
"This work required a great deal of my passion and energy and entailed a great deal of financial, physical, and spiritual hardship." Nishino has said of the diorama map series. "After completing it I realised that it grew out of my experiences during a Shikoku 88-temple pilgrimage that I went on alone as my high school graduation trip. The pilgrimage for me meant simply walking the route – I had no particular underlying motivation or goal for doing it. I think the spiritual core of my work came from this experience, and I continuously take pictures to emphasise the spirit of going ever forward."
Nishono is a flaneur, then, but one whose motivation is not just to experience the city he walks though, but to memorise, remap and re-imagine it. His composite photographic map of London portrays a city both real and unreal, recognisable but alien. A city you can get lost in all over again.
Sean O'Hagen @'The Guardian'
Legislators Are Going to Unbelievable Lengths to Gouge Clean Water Laws and Cozy Up to Big Coal
Big Coal's backlash over the EPA crackdown on future mountaintop removal operations went from denial and anger to the outright absurd last week, as state legislatures conjured their own versions of a sagebrush rebellion and the new Republican-controlled U.S. House of Representatives passed a sheath of regulatory gutting amendments to its budget bill.
On the heels of its Tea Party-backed coal rallies last fall, the dirty coal lobby couldn't have paid for a better show. As millions of pounds of ammonium nitrate fuel oil explosives continued to detonate daily in their ailing districts and affected residents held dramatic sit-ins to raise awareness of the growing health crisis in the central Appalachian coalfields, Big Coal-bankrolled sycophants fell over themselves from Virginia to Kentucky to West Virginia, and in the halls of Congress, to see who could introduce the most ridiculous and dangerous bills to shield the coal industry.
Their breathless message: "The EPA don't understand mining," as Kentucky’s House Natural Resources and Environment Chairman Jim Gooch, D-Providence, declared to his colleagues.
That misunderstanding dates back to last spring's breakthrough announcement by the EPA, following up a memorandum of understanding between the numerous federal agencies, including the Office of Surface Mining Reclamation Enforcement, on finally issuing guidance rules and cracking down on the irreversible and pervasive destruction of mountaintop removal mining operations to waterways. Based on government studies that conclusively demonstrate that "burial of headwater streams by valley fills causes permanent loss of ecosystems," the EPA issued new conductivity levels "to protect 95% of aquatic life and fresh water streams in central Appalachia" and effectively bring an end to the process of valley fills (and the dumping of toxic coal mining waste into the valleys and waterways).
After an eight-year hiatus of enforcement under the George W. Bush administration, in which an estimated 1,000-2,000 miles of the headwater streams were jammed and sullied by toxic coal waste(my emphasis), along with the destruction of hundreds of mountains and tens of thousands of hardwood forests and the depopulation of historic Appalachia communities, the EPA's return to its true role as enforcer of the Clean Water Act made it a convenient target for Big Coal outrage...
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dangerroom Danger Room
In the middle of a recession, Pentagon gives a $35B deal to US firm. Only in Washington would this be called a "surprise".
Outlawing 'Legal Highs': Can Emergency Bans Hinder Drug Development?
Many of the drugs marketed as bath salts and available under brand names like Cloud Nine, Ivory Wave and Blue Silk contain stimulants such as mephedrone and MDPV (methylenedioxypyrovalerone); neither is approved for medical use in the U.S. These chemicals have not been scientifically tested in humans, but users report effects similar to cocaine and methamphetamine. Media accounts have linked the drugs to serious, even possibly fatal, side effects.
(In case you're wondering, no, Calgon and Origins Soothing Sea Salts cannot "take you away" to get you high: legitimate bath salts sold in the soap aisle do not contain psychoactive substances. The "bath salts" with amphetamine-like qualities are sold in head shops and other places that sell drug paraphernalia and are labeled in ways that imply their true purpose.)
So far, the Drug Enforcement Administration (DEA) has not banned these substances, but if their popularity continues to increase, they are unlikely to stay legal for long. It's not even certain that any "legal high" is actually entirely legal — a 1986 law bars the use or sale of analogues of prohibited drugs for human consumption, but it's unclear whether it can be enforced against these substances and under what circumstances...
Friday, 25 February 2011
Dirk57 Dirk Hanson
RT @neurobonkers: Fun fact: UN rates three largest global industries to be oil, arms and illegal drugs, respectively http://is.gd/K5LHEj
In The Realm of the Hackers
Via
In 1989, two Melbourne teenage hackers known as Electron and Phoenix stole a restricted computer security list and used it to break into some of the world's most classified and supposedly secure computer systems. So fast and widespread was the attack, no-one could work out how it had happened - until one of the hackers called The New York Times to brag. Ten years after their arrest, this dramatised documentary uncovers not only how they did it but why. It takes us headlong into the clandestine, risky but intoxicating world of the computer underground.
Summary:
http://www.filmaust.com.au/programs/d...
Breaking into The Realm:
http://www.theage.com.au/articles/200...
Zardoz 'Security Digest':
http://securitydigest.org/zardoz/
Peter Biskind: The Rude Warrior
Until five years ago, Mel Gibson was one of the best-loved and best-paid talents in Hollywood, not to mention one of the town’s few real family men. How to explain the foulmouthed, violent bigotry that has since burst into public view, making him an industry pariah, even as his 26-year marriage imploded? With the help of Gibson’s friends—and his movies—Peter Biskind delves into the roots of a star’s divided life.@'Vanity Fair'
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