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Thinking that they already did.  R Train.

Thinking that they already did.  R Train.

"The secret is a glass of wine every night," said the fly.

"The secret is a glass of wine every night," said the fly.

Down by Wall Street even the shoe companies hedge their bets.

Down by Wall Street even the shoe companies hedge their bets.

Emotional Anatomy found at the Brooklyn Acupuncture Project.

Our Gentleman of Brooklyn makes an appearance via sticker glue.  Do you see him? Click to pay devotion.


The catcher hits for .318 and catches every day
The pitcher puts religion first and rests on holidays
He goes into cathedrals and lies prostrate on the floor
He knows the drink affects his speed, he’s praying for a doorway
Back into the life he wants and the confession of the bench
Life outside the diamond is a wrench

-Belle & Sebastian

They’re always there high in the skies…

Nagasaki nightmare, Nagasaki nightmare

Pretty as a picture in the generals’ eyes

Nagasaki nightmare, Nagasaki nightmare

They’ve done it once, they’ll do it again

They’ll shower us all in their deadly rain

Nagasaki nightmare, Nagasaki nightmare

-Crass

————————-

Above, some representations I’ve seen in the last couple years of the worst thing humans have ever invented. Clockwise from top left:

Robert Longo “Untitled (Hercules)” at the Smithsonian American Art Museum in Washington D.C.

Detail of James Rosenquist’s “F-111” at the Museum of Modern Art in NYC

Detail of Rita Ponce de Leon’s “Acepto que nada es mio (I accept that nothing is mine)” at the New Museum in NYC. The source image is of the explosion over Nagasaki, August 9th, 1945

Sherin Guirguis “Mashrabeya” at Vox Populi in Philadelphia

Pile the bodies high at Austerlitz and Waterloo.  Shovel them under and let me work—                      I am the grass; I cover all. 
And pile them high at Gettysburg  And pile them high at Ypres and Verdun.  Shovel them under and let me work.  Two years, ten years, and passengers ask the conductor:                      What place is this?                      Where are we now? 
                    I am the grass.                      Let me work.
-Carl Sandburg
—————-
Bodies on artificial turf at 55 Water Street.

Pile the bodies high at Austerlitz and Waterloo.
Shovel them under and let me work—
                    I am the grass; I cover all.

And pile them high at Gettysburg
And pile them high at Ypres and Verdun.
Shovel them under and let me work.
Two years, ten years, and passengers ask the conductor:
                    What place is this?
                    Where are we now?

                    I am the grass.
                    Let me work.

-Carl Sandburg

—————-

Bodies on artificial turf at 55 Water Street.

"The cube was supposed to house the “Soviet of the People’s Commissars” (Sovnarkom) and turn at the rate of one revolution a year; the pyramid, intended for the executive and administrative committees of the Third International, would rotate once a month; and the cylinder, a center for information and propaganda, would complete one revolution daily.”
I thought the idea was for the state to wither away? Almost a century’s worth of failed revolutions later, so much of the international Left still thinks ‘politics [and art?] is in command.’  On this, an excellent interview with Andrew Kliman in New Left Project (UK):
"Given these facts, why does the narrative of a neoliberal boom persist, even in the face of a protracted slump? I suspect that what’s at work is a confusion between politics and ideology on the one hand, and economic reality on the other, rooted in the belief that politics and ideology drive economic realities…"  http://bit.ly/RxGfgG
————————
VLADIMIR TATLIN : Monument to the Third International May 6 - July 29, 2011 Originally conceived 1915-1920  Current model 1967  Enamel on wood, metal & plexiglass with electric motor  Height: 16 feet 5 inches / 500 cm  Base: 9 feet 10 inches / 300 cm (diameter) Tony Shafrazi Gallery is delighted to present the definitive paradigm of Constructivism, Vladimir Tatlin’s Monument for the Third International. This important and historic model is exhibited here for the first time in the United States.

"The cube was supposed to house the “Soviet of the People’s Commissars” (Sovnarkom) and turn at the rate of one revolution a year; the pyramid, intended for the executive and administrative committees of the Third International, would rotate once a month; and the cylinder, a center for information and propaganda, would complete one revolution daily.”

I thought the idea was for the state to wither away? Almost a century’s worth of failed revolutions later, so much of the international Left still thinks ‘politics [and art?] is in command.’  On this, an excellent interview with Andrew Kliman in New Left Project (UK):

"Given these facts, why does the narrative of a neoliberal boom persist, even in the face of a protracted slump? I suspect that what’s at work is a confusion between politics and ideology on the one hand, and economic reality on the other, rooted in the belief that politics and ideology drive economic realities…"  http://bit.ly/RxGfgG

————————

VLADIMIR TATLIN : Monument to the Third International
May 6 - July 29, 2011

Originally conceived 1915-1920 
Current model 1967 
Enamel on wood, metal & plexiglass with electric motor
Height: 16 feet 5 inches / 500 cm
Base: 9 feet 10 inches / 300 cm (diameter)

Tony Shafrazi Gallery is delighted to present the definitive paradigm of Constructivism, Vladimir Tatlin’s Monument for the Third International. This important and historic model is exhibited here for the first time in the United States.

Much to “note” here, indeed.  Exhibition at the Internatonal Center of Photography in NYC last year of previously classified photographs taken by U.S. survey team in the wake of atomic bombing of Hiroshima.
http://www.icp.org/museum/exhibitions/hiroshima-ground-zero-1945

Much to “note” here, indeed.  Exhibition at the Internatonal Center of Photography in NYC last year of previously classified photographs taken by U.S. survey team in the wake of atomic bombing of Hiroshima.

http://www.icp.org/museum/exhibitions/hiroshima-ground-zero-1945

Thinking that they already did.  R Train.

Thinking that they already did.  R Train.

"The secret is a glass of wine every night," said the fly.

"The secret is a glass of wine every night," said the fly.

Down by Wall Street even the shoe companies hedge their bets.

Down by Wall Street even the shoe companies hedge their bets.

Emotional Anatomy found at the Brooklyn Acupuncture Project.

Our Gentleman of Brooklyn makes an appearance via sticker glue.  Do you see him? Click to pay devotion.


The catcher hits for .318 and catches every day
The pitcher puts religion first and rests on holidays
He goes into cathedrals and lies prostrate on the floor
He knows the drink affects his speed, he’s praying for a doorway
Back into the life he wants and the confession of the bench
Life outside the diamond is a wrench

-Belle & Sebastian

They’re always there high in the skies…

Nagasaki nightmare, Nagasaki nightmare

Pretty as a picture in the generals’ eyes

Nagasaki nightmare, Nagasaki nightmare

They’ve done it once, they’ll do it again

They’ll shower us all in their deadly rain

Nagasaki nightmare, Nagasaki nightmare

-Crass

————————-

Above, some representations I’ve seen in the last couple years of the worst thing humans have ever invented. Clockwise from top left:

Robert Longo “Untitled (Hercules)” at the Smithsonian American Art Museum in Washington D.C.

Detail of James Rosenquist’s “F-111” at the Museum of Modern Art in NYC

Detail of Rita Ponce de Leon’s “Acepto que nada es mio (I accept that nothing is mine)” at the New Museum in NYC. The source image is of the explosion over Nagasaki, August 9th, 1945

Sherin Guirguis “Mashrabeya” at Vox Populi in Philadelphia

Pile the bodies high at Austerlitz and Waterloo.  Shovel them under and let me work—                      I am the grass; I cover all. 
And pile them high at Gettysburg  And pile them high at Ypres and Verdun.  Shovel them under and let me work.  Two years, ten years, and passengers ask the conductor:                      What place is this?                      Where are we now? 
                    I am the grass.                      Let me work.
-Carl Sandburg
—————-
Bodies on artificial turf at 55 Water Street.

Pile the bodies high at Austerlitz and Waterloo.
Shovel them under and let me work—
                    I am the grass; I cover all.

And pile them high at Gettysburg
And pile them high at Ypres and Verdun.
Shovel them under and let me work.
Two years, ten years, and passengers ask the conductor:
                    What place is this?
                    Where are we now?

                    I am the grass.
                    Let me work.

-Carl Sandburg

—————-

Bodies on artificial turf at 55 Water Street.

"The cube was supposed to house the “Soviet of the People’s Commissars” (Sovnarkom) and turn at the rate of one revolution a year; the pyramid, intended for the executive and administrative committees of the Third International, would rotate once a month; and the cylinder, a center for information and propaganda, would complete one revolution daily.”
I thought the idea was for the state to wither away? Almost a century’s worth of failed revolutions later, so much of the international Left still thinks ‘politics [and art?] is in command.’  On this, an excellent interview with Andrew Kliman in New Left Project (UK):
"Given these facts, why does the narrative of a neoliberal boom persist, even in the face of a protracted slump? I suspect that what’s at work is a confusion between politics and ideology on the one hand, and economic reality on the other, rooted in the belief that politics and ideology drive economic realities…"  http://bit.ly/RxGfgG
————————
VLADIMIR TATLIN : Monument to the Third International May 6 - July 29, 2011 Originally conceived 1915-1920  Current model 1967  Enamel on wood, metal & plexiglass with electric motor  Height: 16 feet 5 inches / 500 cm  Base: 9 feet 10 inches / 300 cm (diameter) Tony Shafrazi Gallery is delighted to present the definitive paradigm of Constructivism, Vladimir Tatlin’s Monument for the Third International. This important and historic model is exhibited here for the first time in the United States.

"The cube was supposed to house the “Soviet of the People’s Commissars” (Sovnarkom) and turn at the rate of one revolution a year; the pyramid, intended for the executive and administrative committees of the Third International, would rotate once a month; and the cylinder, a center for information and propaganda, would complete one revolution daily.”

I thought the idea was for the state to wither away? Almost a century’s worth of failed revolutions later, so much of the international Left still thinks ‘politics [and art?] is in command.’  On this, an excellent interview with Andrew Kliman in New Left Project (UK):

"Given these facts, why does the narrative of a neoliberal boom persist, even in the face of a protracted slump? I suspect that what’s at work is a confusion between politics and ideology on the one hand, and economic reality on the other, rooted in the belief that politics and ideology drive economic realities…"  http://bit.ly/RxGfgG

————————

VLADIMIR TATLIN : Monument to the Third International
May 6 - July 29, 2011

Originally conceived 1915-1920 
Current model 1967 
Enamel on wood, metal & plexiglass with electric motor
Height: 16 feet 5 inches / 500 cm
Base: 9 feet 10 inches / 300 cm (diameter)

Tony Shafrazi Gallery is delighted to present the definitive paradigm of Constructivism, Vladimir Tatlin’s Monument for the Third International. This important and historic model is exhibited here for the first time in the United States.

Much to “note” here, indeed.  Exhibition at the Internatonal Center of Photography in NYC last year of previously classified photographs taken by U.S. survey team in the wake of atomic bombing of Hiroshima.
http://www.icp.org/museum/exhibitions/hiroshima-ground-zero-1945

Much to “note” here, indeed.  Exhibition at the Internatonal Center of Photography in NYC last year of previously classified photographs taken by U.S. survey team in the wake of atomic bombing of Hiroshima.

http://www.icp.org/museum/exhibitions/hiroshima-ground-zero-1945

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