Thursday, February 23, 2017

Similar but Different

Mail bag used in Houdini's escape act.
Picasso's portrait of Dora Maar

Monday, February 13, 2017

1898 Souvener Feather


“Movement is most of what a bird is. When they're dead, they're only feathers and air.”

A Visual History of Society’s Monsters

Animation of the digital wall entry for ‘What Makes a Monster?’ by Kurosh ValaNejad
Anti-US “Liberators” poster from occupied Holland (1944)
From medical deformities to military enemies, the impulse to turn the unknown and threatening into mythical monsters has endured for centuries. What Makes a Monster? is an exhibition threading through five libraries on the two campuses of the University of Southern California in Los Angeles, examining through art, literature, and other cultural objects who or what has been labeled a beast.
Full article here.

Sunday, February 12, 2017

Saturday, February 11, 2017

The Monster Club


The Czech surrealist (on the right, with her friend the poet and artist Jindrich Styrsky) was born 21 September 1902 in Prague. From an early age she had adopted her ungendered surname and rejected conventional attitudes to sexuality. After training at UMPRUM (the Academy of Art), she worked closely with Styrsky until his death in 1942. They exhibited and travelled together: in Paris the two of them founded an alternative to surrealism they called 'artificialism'. Toyen's work was often erotic in content; she contributed to Styrsky's journal Erotika Revue (only 150 copies were printed). They eventually founded the Czech Surrealist Group. During World War II they were forced underground; Styrsky died of a heart condition. Toyen and second artistic partner Jindrich Heisler fled to Paris. Toyen survived the war and remained in Paris, where she died in 1980.

Friday, February 10, 2017

“Hiding the Tears in My Eyes – BOYS DON’T CRY – A Legacy”

- by Jack Halberstam

"...How might we respond to these objections then in ways that do not completely dismiss the feelings of the students but that ask for different relations to protest, to the reading of complex texts and to the directing of anger about transphobic and homophobic texts onto queer cultural producers?
Here are a few thoughts:
1. We need to situate this film properly within the history of the representation of transgender characters. At the time that Peirce made this film, most films featured transgender people only as monsters, killers, sociopaths or isolated misfits." Full Article here.

Thursday, February 9, 2017

Wednesday, February 8, 2017

Monday, February 6, 2017