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Robert Rauschenberg

Robert Rauschenberg
Robert Rauschenberg (October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his "Combines" of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance.[1][2] He was awarded the National Medal of Arts in 1993.[3] He became the recipient of the Leonardo da Vinci World Award of Arts in 1995 in recognition of his more than 40 years of fruitful artmaking.[4] Rauschenberg lived and worked in New York City as well as on Captiva Island, Florida until his death from heart failure on May 12, 2008.[5] Life and career[edit] Rauschenberg was born as Milton Ernest Rauschenberg in Port Arthur, Texas, the son of Dora Carolina (née Matson) and Ernest R. Canyon (1959) Death[edit] Combines[edit]

“On Robert Rauschenberg, Artist, and His Work” (1961) | A YEAR FROM MONDAY To Whom It May Concern: The white paintings came first; my silent piece came later. To Whom No Subject No image No taste No object No beauty No message No talent No technique (no why) No idea No intention No art No feeling No black No white (no and) Hallelujah! Today’s I-Ching reading could not have been more apt. Here are some of the dualisms mentioned in the book: Ch’ien K’un Spirit Nature Heaven Earth Time Space Male-paternal Female-maternal I mention this because I believe there is a correlate between these ideas and those of the Neo-Avant-Garde aesthetic, but because it has a lot of “spiritual” connotations it is generally relegated to footnotes in most academic discussions. This is everywhere in Cage’s writings, and it is an idea that is both beautifully acute and frustratingly obtuse to any thinker who has battled through logic all their lives. There are a few general tropes worth noting in Cage’s commentary on Rauschenberg. The goat. Does his head have a bed in it? I know he put the paint on the tires.

The True Story Behind 'Madonnina' - January 2000 Issue of St. Anthony Messenger Magazine Online This well-known artwork has been widely reproduced on Christmas cards, holy cards and other objects. The original was painted by Roberto Ferruzzi, who was a familiar sight in Italy during the final years of the Victorian era. Although Ferruzzi called the painting “Madonnina,” it is better known today as “Madonna of the Streets.” The location of Ferruzzi’s original painting is unknown. Tragic Childhood Angelina and Antonio Bovo left Italy and settled in Oakland, California, in 1906. His bereft widow, unskilled in English, struggled to provide for her large family. When Mary Bovo was in the fifth grade at a Catholic orphanage, her teacher was Sister Angela. Years later, Mary Bovo entered the Order of Saint Joseph of Carondelet, a venerable French community founded in 1650. Family Secret Revealed Throughout her life, Sister Angela Marie was haunted by questions about her family. With the encouragement of the Sisters of Saint Joseph of Carondelet, Sister Angela Marie went to Italy in 1984.

Madonnina (painting) The Madonna of the Streets by Roberto Ferruzzi The Madonnina, commonly known as the Madonna of the Streets, was a painting created by Roberto Ferruzzi (1854-1934) that won the second Venice Biennale in 1897. The models for this painting were Angelina[1] Cian[2] (age 11) and her younger brother.[3] [4] Although not originally painted as a religious picture, this painting became popularized as an image of the Virgin Mary holding her infant son, and has become the most renowned of Ferruzzi's works. The original painting made its first appearance at an art exhibition in Venice in 1897.[5] John George Alexander Leishman, steel millionaire and diplomat, who died in 1924 in France,[6] bought the painting but not the reproduction rights; he is the last known owner. It is possible that the image entered a private art collection in Pennsylvania the 1950s,[7] but the current location of the original is unknown. The following are several notable uses of the image: Madonna della Strada Madonnina Painting

Alberte Pagán » PETER KUBELKA interviewed An Architecture of Emotion Peter Kubelka interviewed by Alberte Pagán [published 8-01-2013] [an excerpt of the interview was published in Spanish in Caimán Cuadernos de Cine in July/August 2012] With a film work not exceeding one hour in length (if we do not take Monument Film into account), the Austrian Peter Kubelka (1934) is one of the most prominent experimental filmmakers in the Western World. After sharing a couple of days with Kubelka, great connoiseur of Galizan cuisine and culture, and watching his films during the (S8) 3ª Mostra de Cinema Periférico (Corunha, Galiza), I interviewed Kubelka on the 4th June 2012 at the CGAI (Centro Galego de Artes da Imaxe). Filmography of Peter Kubelka Mosaik im Vertrauen (1955, 16’, 35mm, b&w and colour, sound)Adebar (1957, 69’’, 35mm, b&w, sound)Schwechater (1958, 1’, 35mm, colour, sound)Arnulf Rainer (1960, 6’24’’, 35mm, b&w, sound)Unsere Afrikareise (1966, 12’30’’, 35mm, colour, sound)Pause! On the contrary, I was not happy with films. In 1954.

Limitless (2011) Black Star From Wikipedia, the free encyclopedia Black star may refer to: In astronomy[edit] In astrology[edit] Saturn, referred to as "Black Star" in ancient Judaeic beliefs In entertainment[edit] In music[edit] In military[edit] Other[edit] See also[edit]

They Live They Live is a 1988 American satirical science fiction horror film written and directed by John Carpenter. The film stars Roddy Piper, Keith David, and Meg Foster. It follows an unnamed drifter (referred to as "John Nada" in the film's credits) who discovers the ruling class are in fact aliens concealing their appearance and manipulating people to spend money, breed, and accept the status quo with subliminal messages in mass media. They Live is based on the 1963 short story, "Eight O'Clock in the Morning" by Ray Nelson. At release it was number one in the box office, but sales soon suffered, though the film was nominated for two Saturn Awards. They Live has since become a cult film. Plot[edit] Drifter "John Nada" (Roddy Piper) finds construction work in Los Angeles and befriends fellow construction worker Frank Armitage (Keith David), who leads him to a local shantytown soup kitchen. At the meeting, Nada and Frank are given special contact lenses to replace their sunglasses. Cast[edit]

The Legend of William Tell The Legend of William Tell is a 16-part[1] television fantasy/drama series produced in 1998[1] by Cloud 9 Productions in New Zealand. The basic premise of the series — a crossbow-wielding rebel defies a corrupt governor — and the name of the title character were adopted from the traditional story, but the series was set in a fantasy world and featured supernatural themes. Described by executive producer Raymond Thompson as "Star Wars on the planet Earth", this is a fantasy saga of bravery, magic, myth and romance. William Tell is the youthful leader of a band of young, ‘brat pack' outlaws, forever hunted by the forces of darkness, led by Xax and Kreel, who have usurped power in their homeland. The series of self-contained stories follows Will's quest to restore young Princess Vara to her rightful place on the royal throne and defeat Xax and Kreel's forces — and by doing so, bring back peace and order to the Kingdom of Kale. Cast[edit] Episodes[edit] Season 1 (1998–1999)[edit]

An Artist Considers Levels in Matter — Art by Myrrh Fig. 6. Reductionism ad Absurdum, scratchboard, 8 x 10-in, 1983 However, the notion that "events are nothing until they are observed" struck me as being similar to reductionist statements I had heard all my life. I laughed. Just as one might think about the expanding universe backward to arrive at the Big Bang, so I ran my strange loop structure in reverse with respect to this observation to see what would result. This loop assigns an order to several assumptions that have been fruitful for scientific inquiry. The reductionist assertions fit together in my loop as follows: Man is nothing but an animal; an animal is nothing but matter; matter is nothing but atoms; atoms are nothing but particles; particles are nothing but events. Conjecture is based on the hierarchy of the structure of matter. Perhaps logical structures that are similar to each other exist at all levels. Most unexpected was stumbling upon the strange loop. References and Notes 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

Werner Herzog Hypnotizes Chickens ‘Birdman’ Ending Explained - Page 3 Birdman Ending Explained: What Really Matters Iñárritu has been reluctant to share his interpretation of the ending and, instead, has actually championed open-ended debate over Birdman‘s finale. Speaking to the Tampa Bay Times, the director made it clear: there is not one correct way to interpret the ending: “At the ending of the film, (it) can be interpreted as many ways as there are seats in the theater.” For that reason, any of the theories presented above could be true (as well as others that have not been mentioned). Just like Inception or Life of Pi (read our ending explanations for Inception and Life of Pi), the takeaway isn’t a matter of what happens – it’s a matter of what it all means. To that end, the story in Birdman successfully parallels the story that served as Riggan’s inspiration: “What We Talk About When We Talk About Love” (which you can read: HERE). Riggan: Listen to me. “There’d been this thing out on the Interstate. SEE ALSO: Birdman Review Have your own theory?

Rise of the Google ghosts: Artist pastes eerie life-size images of pedestrians captured on Street View in exactly the same location in the real world By Kieran Corcoran Published: 00:13 GMT, 18 September 2013 | Updated: 06:55 GMT, 18 September 2013 The artist who brings Google Street View to life by fixing life-size photos of pedestrians caught by Google cameras to the side of buildings has given a glimpse into the way he works. Paolo Cirio made headlines last year with his project, called Street Ghosts, which involves transferring the blurry images of pedestrians seen on the internet giant's mapping service to the real world. The Italian artist, who has taken his work to New York, London and Berlin, let a photographer accompany him as he fixed the images to the streets of Brooklyn, New York, at night. In action: Paolo Cirio has been pictured bringing his 'street ghosts' to life. Part of the landscape: Once affixed, the 'ghosts' become a normal part of the city landscape, such as this hooded figure pictured in New York's Bedford Avenue Quick and easy: He then uses wallpaper paste to fix the figure to the wall Viola! Rock star?

Colonial Pagans and Sleepy Hollow Part II Welcome to the second installment in my examination of Tim Burton's 1999 opus Sleepy Hollow. Sleepy Hollow was of course an adaptation of Washington Irving's legendary short story The Legend of Sleepy Hollow, which first introduced the American public to figure that would eventually become a pop culture staple: the Headless Horseman. As was briefly addressed in the first installment of this series, the Headless Horseman is in fact a very old figure with origins in ancient European mythology and fairy tales. Also noted in that installment were several compelling archetypes (including the Triple Goddess, the Wandering Prince and the Evil Stepmother) that appear in the film as well as an underlining spiritual dilemma Burton's Ichabod Crane (Johnny Depp), a character deeply scarred by both fundamentalist Christianity and modern rationalism, finds himself confronted with. With that out of the way I shall begin to examine the film's plot line. (The Book of Thoth, Aleister Crowley, pgs. 54-55)

Mathew Brady Mathew B. Brady (May 18, 1822 – January 15, 1896) was one of the first American photographers, best known for his scenes of the Civil War. He studied under inventor Samuel F. B. Morse, who pioneered the daguerreotype technique in America. Brady opened his own studio in New York in 1844, and photographed Andrew Jackson and John Quincy Adams, among other celebrities. After the war, these pictures went out of fashion, and the government did not purchase the master-copies, as he had anticipated. Early years[edit] In 1856 Brady placed an ad in the New York Herald paper offering to produce "photographs, ambrotypes and daguerreotypes Civil War documentation[edit] At first, the effect of the Civil War on Brady's business was a brisk increase in sales of cartes de visite to transient soldiers. In October 1862 Brady opened an exhibition of photographs from the Battle of Antietam in his New York gallery titled "The Dead of Antietam." Later years and death[edit] Legacy and people photographed[edit]

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