The Amazing Egg Dance: Peasants to Politics.

Contrast between Carnival and Fasting (ca. 1550–99), artist unknown — Source.

Contrast between Carnival and Fasting (ca. 1550–99), artist unknown — Source. Click for full size.

Whoever the artist of the above piece was, I’d say they had been most impressed with Hieronymus Bosch. The Egg Dance, from village revelry to romance to politics. This is a wonderful piece of history, which demonstrates several cultural shifts throughout the centuries.

The egg dance was a traditional Easter game involving the laying down of eggs on the ground and dancing among them whilst trying to break as few as possible. Another variation (depicted in many of the images featured here) involved tipping an egg from a bowl, and then trying to flip the bowl over on top of it, all with only using one’s feet and staying within a chalk circle drawn on the ground. Although, as shown in many of its depictions in art, the pastime is associated with peasant villages of the 16th and 17th century, one of the earliest references to egg-dancing relates to the marriage of Margaret of Austria and Philibert of Savoy on Easter Monday in 1498.

[…]

This blindfolded version of the egg dance features in Goethe’s novel Wilhelm Meister’s Apprenticeship (1795). … According to some scholars Goethe’s mention gave birth to the phrase “einen wahren Eiertanz aufführen” (to perform a true egg dance) which refers to moving carefully in a difficult situation. This particularly association of the egg dance with navigating danger was expressed time and time again in political cartoons of the 19th-century: various political figures, from Bismarck to Disraeli, precariously trying to make there way about a floor strewn with potential upsets.

Democracy’s Disastrous Egg-dance, (1884), Joseph Keppler. A woman labeled “Democracy” wearing a blindfold labeled “Stupidity” is pushed by Samuel J. Randall toward a chair labeled “Presidenti[al] Chair”, with several eggs in the way on the ground, they are labeled “Honest Naval Appropriation, Civil Service Reform, Honest River – Harbor Appropriation, Economy, Anti-Silver Coinage, National Banking System, Tariff Reform, [and] Prompt Legislation”, two of the eggs are broken; among a group of men laughing, in the background on the right, are John Logan, John Sherman, and William D. Kelley. — Source.

Democracy’s Disastrous Egg-dance, (1884), Joseph Keppler. A woman labeled “Democracy” wearing a blindfold labeled “Stupidity” is pushed by Samuel J. Randall toward a chair labeled “Presidenti[al] Chair”, with several eggs in the way on the ground, they are labeled “Honest Naval Appropriation, Civil Service Reform, Honest River – Harbor Appropriation, Economy, Anti-Silver Coinage, National Banking System, Tariff Reform, [and] Prompt Legislation”, two of the eggs are broken; among a group of men laughing, in the background on the right, are John Logan, John Sherman, and William D. Kelley. — Source.

The Journalistic Egg Dance (ca. 1840), Andreas Geiger. A caricature of press censorship before the 1848 revolution in Austria. During the Restoration after the defeat of Napoleon in 1815, the European powers, led by Austrian Chancellor Clemens von Metternich (1773-1859), restricted the freedom of speech and expression to contain any kind of critical, nationalist or anti-authoritarian movement — Source.

The Journalistic Egg Dance (ca. 1840), Andreas Geiger. A caricature of press censorship before the 1848 revolution in Austria. During the Restoration after the defeat of Napoleon in 1815, the European powers, led by Austrian Chancellor Clemens von Metternich (1773-1859), restricted the freedom of speech and expression to contain any kind of critical, nationalist or anti-authoritarian movement — Source.

You read and see much more at The Public Domain Review.

The Last Fiction.

This looks to be fascinating, and it’s a great way to learn too. The Last Fiction is a feature-length animation based on a Persian legend told in the Shahnameh of Ferdowsi. I will be looking for it, and looking forward to seeing it. The best bit might be that it’s out of an Iranian studio, so it will not end up being a stupid, offensive, Disnified version. If you could use a bit more information: Shahnameh (The Book of Kings), and Abu ʾl-Qasim Ferdowsi Tusi.

The Last Fiction.

Inside Cancerland: Distortion Series.

The Neulasta not only gifted me with a fucktonne of pain, it caused a full body shake. Shaking hands aren’t exactly conducive to drawing or painting, so I put the stuff I had been working on away, and started the distortion series, because it’s easier to cover up all the mistakes and slips. So, Inside Cancerland: Distortion Series 1, Infusion Invasion. 16″ x 20″, Watercolour and marker on Bristol. Click for full size.

© C. Ford, all rights reserved.

The Drolatic Dreams of Pantagruel (1565).

The Drolatic Dreams of Pantagruel is an accompanying work of François Rabelais’ The Life of Gargantua and of Pantagruel. The woodcuts are wonderfully creepy, and well worth a look even though they were most certainly not done by Rabelais.

The Public Domain has an article up about this work, and there’s an excellent post about it at Poemas del río Wang. Or, you can head right to the original images at Gallica.

Trump Behind Bars.

Installation view of Indecline’s “The People’s Prison” (2018) at the Trump International Hotel & Tower (all photos by Jason Goodrich for Indecline and used with permission, unless indicated otherwise).

Installation view of Indecline’s “The People’s Prison” (2018) at the Trump International Hotel & Tower (all photos by Jason Goodrich for Indecline and used with permission, unless indicated otherwise).

Robert Mueller may not have succeeded in bringing Donald Trump to justice yet, but for a fleeting few hours Friday night, the shadowy art collective Indecline did what millions of people in the US and beyond have dreamed of doing since November 2016: they put Trump behind bars.

It may not have been the actual maximum security prison of our collective dreams, but Indecline — most recently known for surreptitiously staging a graveyard at Trump’s Bedminister Golf Course, hanging a troupe of “Ku Klux Klowns,” and previously for planting naked Trump statues in multiple cities during the 2016 election — managed to stage a prison cell installation, dubbed “The People’s Prison,” in a suite on the third floor of the Trump International Hotel & Tower next to Columbus Circle. The work was installed in less than 24 hours, entirely undercover, and without the knowledge of hotel employees, who unwittingly helped carry all of the props and equipment to the room.

Installation view of Indecline’s “The People’s Prison” (2018) at the Trump International Hotel & Tower.

Installation view of Indecline’s “The People’s Prison” (2018) at the Trump International Hotel & Tower.

Surrounding the one-man prison cell were portraits rendered on American flags, burned and tattered at the edges, each illuminated with its own individual lamp. Indecline worked with 12 artists — including Molly Crabapple, Ann Lewis, LMNOPI, and the Panic Collective — to create the portraits of 12 artists and activists from across history, including Muhammad Ali, Leonard Peltier, Angela Davis, Hunter S. Thompson, Howard Zinn, Noam Chomsky, and even more contemporary figures like Erica Garner and Edward Snowden. Interviews with each of the portrait subjects played for the duration of the show over a background soundtrack of strangely relaxing ambient music.

All of the figures in the portraits, an Indecline spokesman told Hyperallergic, are “activists and fighters that we look up to. Activists that made a difference and made a good point. He has to sit here with the people who actually made a difference.” The spokesman continued: “Everyone on these walls fought to make this flag stand for something greater than it does currently under the Trump administration … they’re the ones who should be regarded as historical figures.”

You can read and see much more at Hyperallergic!

Anatomy Atlas Part 2 – Lower Limb Skeleton

Colloquial Czech does not distinguish between a foot and a leg. The word “noha” normally refers to the whole limb from the hips down. Medical terminology differs from this and the word “noha” means only the foot, and “dolní končetina” is used for the whole limb. Professor Kos has hammered this point home throughout multiple lectures and we were suspecting that if someone were to use the term “noha” in its colloquial sense during an exam, it would be an insta-fail.

Lower Limb Skeleton

©Charly, all rights reserved. Click for full size.

Legs and feet are our means of movement, so they are very important. It is therefore important to look after them. Which, regarding the bones, means adequate exercise and not more than the body can handle.

What ordinary people do not usually know is that bones are not fixed structures. They are consumed from within and regrown throughout our lives. That way they can heal, but also change shape. That way they can also get injured in a rather peculiar fashion.

One of the stories Professor Kos was telling was a story of “march fractures”. Fresh army recruits, especially those from cities who were not accustomed to walking a lot, were often complaining about pains in their legs and feet bones after long marches. Initially they were deemed as pretenders becaue the x-rays looked normal, but some of them broke their legs when forced to go on. Then someone took a magnifying glass to an x-ray of the alleged pretenders legs and feet and noticed microscopic fractures developing before a clearly visible fracture occurred.

These are so-called fatigue fractures and they happen when a bone is deprived of nutrients. The bone continues to be consumed at a normal rate, but it does not manage to regrow back fast enough. Over time these tiny deficits accumulate and the bone starts to hurt and can even break.

A colleague of mine has developed just that in her foot during nordic walking strolls that were just a bit too much, too sudden and too long for her. It took a few weeks to develop and over a year to heal, with a surgery and a very long rehab being necessary.

Too much exercise is just as bad as none.

Finding The Perfect, Paint Worthy Egg.

Sandro Botticelli, “The Birth of Venus,” tempera on canvas (c. 1486, via Wikimedia).

Sandro Botticelli, “The Birth of Venus,” tempera on canvas (c. 1486, via Wikimedia).

Egg tempera! A time honoured technique. Many artists have at least played with egg tempera, even if they later chose a more modern and convenient medium. Karen Chernick at Hyperallergic has an article on how to source the very best egg you can for making your paints.

…But there’s also a centuries-old artistic tradition of painting using the eggs themselves. Egg tempera was a ubiquitous technique during the early Italian Renaissance, when it was considered the standard for portable easel paintings. Botticelli, Raphael, and Andrew Wyeth all painted with tempera. Today, the quick-drying medium, which employs a 50/50 blend of egg yolk and color pigment, is mostly in use by a brave few contemporary practitioners (who must not mind the smell of aging eggs in the studio).

These seasoned artists know what to look for in the perfect paint-worthy egg. Some of them, such as Mary Frances Dondelinger, have been known to use hundreds of eggs a month. Others are regulars at particular farmers’ markets, or swear by a specific brand of store-bought eggs. Just in case you’re not able to raise your own hen (which most agree is the very best option), here’s your guide to sourcing the ideal egg, according to six contemporary egg tempera painters.

The full story is at Hyperallergic.

Easter gingerbreads

We do not celebrate any religious holiday, but they are a good excuse for my mom to go on a gingerbread-baking spree. They are beautiful and delicious, and each year she comes up with new designs and styles. I do not know how she does it.

Gingerbreads

©Charly, all rights reserved. Click for full size.

Gingerbread

©Charly, all rights reserved. Click for full size.

Gingerbread

©Charly, all rights reserved. Click for full size.

Cy Twombly: Extravagant Synesthesia.

Cy Twombly, “Untitled (Gaeta)” (1989), acrylic and tempera on paper mounted on wooden panel, 80 × 58 5/8 inches, Private Collection, © Cy Twombly Foundation. Courtesy Gagosian.

Cy Twombly, “Untitled (Gaeta)” (1989), acrylic and tempera on paper mounted on wooden panel, 80 × 58 5/8 inches, Private Collection, © Cy Twombly Foundation. Courtesy Gagosian.

In her essay, “Cy was here: Cy’s up” (ArtForum, September 1994), Rosalind Krauss made this observation about Cy Twombly:

Twombly “misreads” Pollock’s mark as graffiti, as violent, as a type of antiform. And this misreading becomes the basis of all of Twombly’s work. Thus he cannot write “Virgil” on a painting and mean it straight. “Virgil” is there as something a bored or exasperated school-child would carve into a desktop, a form of sniggering, a type of retaliation against the teacher’s drone.

This reading of Twombly fits in with the commonplace critical narrative that the past is dead, and that it is only good for appropriation and ironic commentary but not much else. Krauss’s condescension towards Twombly is evident in her use of the descriptors, “bored or exasperated schoolchild.” In her neat hierarchical construction — a negative way of thinking that is recurrent in criticism and politics — Jackson Pollock resides at the top of the food chain while Twombly sits, at best, somewhere in the middle.

Krauss is not alone in her need to construct hierarchies. There are still lots of critics, curators, and artists content to ally themselves with established viewpoints as well as assert for the umpteenth time that painting and drawing are things that have been used up, that they are old threadbare coats that should been thrown out long ago. This is capitalist aesthetics in a nutshell — everything is disposable.

Cy Twombly: In Beauty It is Finished: Drawings 1951-2008 continues at Gagosian Gallery (522 West 21st Street, Chelsea, Manhattan) through April 25.

John Yau has an excellent look at Cy Twombly and his work, well worth reading.