Anti-Communist Propaganda Cold War

I just came from sculpture class, the current project for which involves taking apart a found object and reassembling it. I chose a sweater. I'm unraveling a sweater. By hand. Thread by thread. It's probably the most insane thing I've chosen to do with my time, and I'm pretty sure it's ruining my eyesight, but it's also fascinating to spend hours making my way through all of the minute details of an ordinary object that was probably woven by a machine in mere minutes. So anyway, I've built a couple of armatures out of wire in the interest of wrapping the unraveled thread (the reassembly portion of the assignment) once I've done the slow work of taking it apart. My professor characterized what I'm doing as "making 3D paintings," which makes me really happy. Still no images of new stuff to post yet--I should be building at least one 5'x8' stretcher this weekend, as well as finishing my wood relief painting and some more paper cutout pieces, so it shouldn't be too long. But in the meantime, let's take a break from the overwhelming sea of captivating paintings on The List and look at some sculptural work, shall we? Hans Arp: A lot of the shapes in this work actually remind me of Matisse's later abstract drawings. Arp did paintings too, but I've been looking a lot at his reliefs. Richard Tuttle: Hans Richter: Kurt Schwitters:Schwitters' work is pretty dominated by collage, but this piece, Merzbau, is one of the coolest things I've ever read about. He essentially turned his living space into a collage. He just accumulated stuff and formed it into an aesthetic space, and lived inside his art. Yeah. Constantin Brancusi: For me, no discussion of sculpture is complete until I've brought up Bird In Space. It's just so exquisitely simple! There's a gorgeous room at the PMA (Philadelphia Museum of Art) filled with Brancusi sculptures and Mondrian paintings. It'll change your life. I guess that's all for today. I could mention Giacometti or Rodin, but my love of them is not really directly related to anything I'm doing right now, so I'll resist.

Olle Baertling (1911-1981) Rimi Silkscreen of 1964 after a painting of 1961 From the moment Kazimir Malevich, just before the Russian Revolution, revolutionised art itself with his painting Black Square, the story of art has been bound up with the search for ways in which to communicate human emotions, ideas, and beliefs, in terms of pure line, geometry, and colour planes. Malevich’s new abstract art was called by him Suprematism, though it is more usually known to us by a name Malevich himself introduced as a term of abuse, Constructivism. It is concerned with “The world as non-objectivity”, as the title of Malevich’s treatise of 1926 put it. Victor Vasarely OB Silkscreen of 1964 after a painting of 1956 Abstract art so quickly swallowed up critical attention that whole areas of figurative art still remain unexplored. Women artists, for instance, barely had time to get accepted before it was unacceptable for them to explore pictorially the female domestic world. Even an artist as devoted to the everyday beauties of the home as Winifred Nicholson found herself painting constructivist abstracts in the 1930s, under the influence of her friend Piet Mondrian and the artists of the group Abstraction-Création. Hans Arp (1886-1966) Placé selon les lois de hazard Silkscreen of 1964 after a painting (or collage?) of 1951 I’ve been tipped into thinking about the geometry of feeling by a new acquisition, the catalogue to an important group exhibition at the Galerie Denise René, Paris, in 1964. The title of both catalogue and exhibition is Hard-edge. Richard Paul Lohse (1902-1988) Farbenenergien in vier richtungen Silkscreen of 1964 after a painting of 1950 As Josef Albers writes in his written contribution: Hard-edge so far a suspected noun of fashionable art terminology but changing fast to an adjective of decidedness and thus on the way to signal something more. Josef Albers (1888-1976) Homage to the square Silkscreen of 1964 after a painting of 1963 The exhibition gathered work by nine artists: Albers, Hans (Jean) Arp, Olle Baertling, Auguste Herbin, Alexander Liberman, Richard Paul Lohse, Richard Mortensen, Sophie Taeuber-Arp, and Victor Vasarely. Richard Mortensen (1910-1933) Tavignano Silkscreen of 1964 after a painting of 1964 The catalogue contains statements by each of them (apart from Sophie Tauber-Arp, who died in 1943, who is given a heartfelt memorial by her widower, Hans). Hans Arp dates Sophie’s first pure abstract works to 1915 and 1916, subtly arguing for her as co-creator with Malevich and Kandinsky of the non-objective world. “Already in 1916 Sophie Taeuber was dividing the surface of her watercolours in squares and rectangles which she juxtaposed horizontally and vertically.” Sophie Taeuber-Arp (1889-1943) Intervalles Silkscreen (by Hans Arp?) of 1964 after a painting of 1934 The catalogue also contains nine silkscreen prints (or serigraphs), one by each artist. The one by Taeuber-Arp is after a work from 1934; it was presumably supervised, or executed, by Hans Arp, though no details are given for this or the other works. Looking at the sheer visual richness of these nine silkscreens got me thinking about the way that abstract art managed both to insist that everything that was happening on the picture plane only existed in two dimensions, and simultaneously that the picture plane was a window into a previously unrealised dimension (what Malevich himself called "the fourth dimension"). As Lawrence Alloway writes in his brief introduction to the cataloque, in hard-edge painting, “What you see is precisely what there is. Yet what you see is usually optically ambiguous. Positive and negative forms interact as shapes in hard-edge, united in a single plane.” Auguste Herbin (1882-1960) Nue Silkscreen of 1964 after a painting of 1960 I love this kind of work. Mondrian, Albers, Ellsworth Kelly, and Sean Scully are among my favourite artists. But I haven’t gone out of my way to collect abstract prints, and within my abstract holdings there are more exuberantly expressionist works by artists such as Walasse Ting or Sam Francis than there are severely geometric ones. Yet the provocative simplicities of the hard-edge silkscreens remind me how potent such work can be. As Alexander Liberman writes in the catalogue, “In order for sensation to act upon us with the greatest intensity we have to cleanse our minds of the accumulated deposits of art memories. A painting should by its apparent simplicity act with such immediacy that the innermost centers of the mind can be reached without hesitation and time for reference to our memory or doubt centers.” Alexander Liberman (1912-1999) Socrate Silkscreen of 1964 after a painting of 1962 Much of my other work in this vein comes from a single source, the book Témoignages pour l’art abstrait (Testimonies for Abstract Art), published in 1952 in an edition of 1500 copies. In this, major artists of the day put forward their theories of abstraction, and each contributed an original pochoir plate, the pochoir colours being stencilled by Renson. Among the artists were Arp, Herbin, Mortensen, and Vasarely, overlapping with Hard-edge, but also Bloc, Dewasne, Deyrolles, Dias, Domela, Pillet, Reth, and many others. A few related images from this work follow, without any attempt at description. André Bloc (1896-1966) Témoignage III Pochoir, 1952 Jean Dewasne (1921-1999) Témoignage VIII Pochoir, 1952 Cícero Dias (1908-2003) Témoignage X Pochoir, 1952 Auguste Herbin Témoignage XXX Pochoir, 1952 Auguste Herbin Non (Témoignage XV) Pochoir, 1952 Albert Magnelli (1888-1971) Témoignage I Pochoir, 1952 Edgard Pillet (1912-1996) Témoignage XXIII Pochoir, 1952 Alfred Reth (1884-1966) Témoignage XXVI Pochoir, 1952 Victor Vasarely Témoignage XXVIII Pochoir, 1952

Full Name: Norma Jeane Mortenson Nickname: The Blonde Bombshell, MM Height: 5' 5½" (1.66 m) Date of Birth: 1 June 1926, Los Angeles, California, USA Date of Death: 5 August 1962, Los Angeles, California, USA Marilyn Monroe is one of the most celebrated and enduring icons of all time. A LITTLE BIOGRAPHY: Marilyn grew up not knowing for sure who her father really was. Her mother, Gladys, had entered into several relationships, further confusing her daughter as to who it was who fathered her.Afterward, Gladys gave Norma Jeane (Marilyn) the name of Baker, a boyfriend she had before Mortenson. Gladys suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jeane spent time in foster homes. When she was nine, she was placed in an orphanage where she was to stay for the next two years. Upon being released from the orphanage, she went to yet another foster home. In 1942, at the age of 16, Norma Jeane married 21-year-old aircraft plant worker James Dougherty. The marriage only lasted four years, and they divorced in 1946. By this time Marilyn began to model swimsuits and bleached her hair blonde. Various shots made their way into the public eye, where some were eventually seen by RKO Pictures head Howard Hughes. An agent suggested that 20th Century-Fox would be the better choice for her, since it was a much bigger and more prestigious studio. She was signed to a contract. Marilyn made only 30 films in her lifetime, but her legendary status and mysticism will remain with film history forever. Married Arthur Miller twice. Her classic shape, according to her dressmaker, is actually measured at 37-23-36. Sometime after her split with Arthur Miller, Marilyn began dating Frank Sinatra Sinatra gave Marilyn a small white poodle to replace the dog she lost in the divorce with Miller. Marilyn, who always had a spirited sense of humor, called the dog "Maf," which was short for Mafia. Marilyn Monroe and John Kennedy were engaged in a love affair. She tried 9 different shades of blonde hair color before settling on platinum blonde. Her personal library contained over 400 books on topics ranging from art to history, psychology, philosophy, literature, religion, poetry, and gardening. There are over 600 books written about her. Her first modeling job paid only five dollars. Often carried around the book, "The Biography of Abraham Lincoln." Champagne was her drink of choice and Dom Perignon was her personal favorite. Became pregnant twice (in July 1957 and November 1958) during her marriage to Arthur Miller; on both occasions she suffered miscarriages. She was dropped from the unfinished Something's Got to Give (1962) due to chronic lateness and drug dependency. Four months later she was found dead in her Brentwood home of a drug overdose, adjudged "probable suicide". MARILYN QUOTES “A wise girl kisses but doesn’t love, listens but doesn’t believe, and leaves before she is left.” “All a girl really wants is for one guy to prove to her that they are not all the same.” “I’m pretty, but I’m not beautiful. I sin, but I’m not the devil. I’m good, but I’m not an Angel.” “Imperfection is beauty, madness is genius, and its better to be absolutely ridiculous than absolutely boring.” ''Dogs never bite me. Just humans.'' ''I knew I belonged to the public and to the world, not because I was talented or even beautiful, but because I never had belonged to anything or anyone else.'' MARILYN'S MEMORABLE ROLES Niagara (1953): As two couples are visiting Niagara Falls, tensions between one wife and her husband reach the level of murder. “Sure. I’m meeting somebody, just anybody handy, as long as he’s a man! How ‘bout the ticket seller himself? I could grab him on the way out, or one of the kids with the phonograph. Anybody suits me. Take your pick.” Gentlemen Prefer Blondes (1953): Two singers, best friends Lorelei Lee and Dorothy Shaw travel to Paris pursued by a private detective hired by Lorelei's fiancé's disapproving father to keep an eye on her, a rich, enamoured old man and many other doting admirers. “Diamonds are a girl’s best friend.” How to Marry a Millionaire (1953): Three women set out to find eligible millionaires to marry, but find true love in the process. “Gentleman callers have got to wear a necktie. I don’t want to be snobbish about it but if we begin with characters like that we might just as well throw in the towel right now.” “You know what they say about women who wear glasses…” The Seven Year Itch (1955): When his family goes away for the summer, a so far faithful husband is tempted by a beautiful neighbor (Marilyn Monroe). The Girl: Let me just go put something on. I’ll go into the kitchen and get dressed. Richard Sherman: The kitchen? The Girl: Yes, when it’s hot like this - you know what I do? I keep my undies in the icebox. Bus Stop (1956): A naive but stubborn cowboy falls in love with a saloon singer and tries to take her away against her will to get married and live on his ranch in Montana. Let's Make Love (1960): When billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue, he passes himself off as an actor playing him in order to get closer to the beautiful star of the show, Amanda Dell. MORE MARILYN... "...She gave more to the still camera than any actress...any woman...I've ever photographed, infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it."....Richard Avedon GET THE LOOK: MARILYN MONROE STYLE Marilyn Monroe was the movie star of her generation. There is no female movie queen who has commanded as much fascination, admiration and emulation as Marilyn. Many women dream of looking like Marilyn. Here is how you can dress like Marilyn Monroe for everyday wear. It can be subtle, but you will capture the spirit and fashion that was so much a part of Marilyn's allure. Go with dresses: Monroe often wore dresses and anyone who knows the famous seen of her white dress blowing up knows why. While there are some shots of her in pants and even jeans, for the most part she was a dress girl. When you choose your dresses go with the style of dress that is more form fitting on the top and flows out at the bottom. High heels: Monroe had great legs and used a very high heel to accentuate this fact. Accessories: Monroe was a simple girl here. She usually wore a simple string of pearls, some chandelier earrings and nothing else. Make sure that your earrings sport diamonds as Monroe’s always did and never forget what she said, ‘Diamonds are a girl’s best friend.’ Hair and make-up:Cut your hair shoulder length and bleach it blonde. Give it some added style and flare by giving it loose or tight curls. Wearing your hair this way will give you that ‘blonde bombshell look.’ Wear plenty of make-up but always try to achieve a look of not having too much on with the exception of your lips. Get Back To Basics: She stuck with simplicity and beauty. Keep in mind that a truly glamorous woman needs no flashy overstatements when planning her wardrobe. Wear Pastel Colors: Marilyn knew what to wear to make herself appear in the best light. It's an important part of style. Try on as many outfits in as many colors as possible until you know which ones make you look the prettiest. Sources: Imdb, wardrobeadvice.com, google, ehow.com, pollyvore

Spring is heating up, and Fool’s Paradise is turning up the dial with the addition of Italian production duo, The Deepshakerz, and Turntables Night Fever to its label roster. Their latest offering…

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