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Arthur Morgan again, preparing for a respectful conversation.
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Its that time again 
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same tbh
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I don’t think there is Halloween art for spike so I guess I’ll use spiny
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Last year for Halloween season, I went as Heisenberg from Resident Evil: Village. This year, going as his mutated form.
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classic horseless headless penguinmann for october
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Study After Velazquez’s Portrait of Pope Innocent X
Why Yes This Does Look Like A Disco Elysium Character - Francis Bacon, A Study
Based entirely off reproductions of a painting of Pope Innocent X by Spanish master and court painter Diego Velazquez, Bacon made it a point to never see the original when making this artistic study of the painting in Bacon’s own tormented and demented style around the time of his first “Head” series. This study is a part of a series revolving around various haunting paintings of popes.
Its horrible tortured face taken after the stair scene from Battleship Potemkin, its dark and foreboding colours (note the use of purples is heavy here, the colour often linked to royalty) and its allusions to the Pope as being nothing more that a captive in a gilded cage wrapped in a glassy curtain starkly reverse engineer the original intended use of its source painting, to the increase in prestige of Pope Innocent X.
Now it can get hard to really prescribe exactly what this painting signifies to Bacon. You think it would be easy being a portrait of a pope by an alcoholic, homosexual Irish Catholic who had a very broad social circle and was trapped in a very self-destructive relationship. But Bacon was, at times, very guarded about his paintings though it doesn’t really stop art theorists does it? A lot of people will usually be able to pick up allusions to being trapped (such as the literal gilded cage frame seen here), to being kept guarded (the vertical strokes almost give off a fabric quality) and to being put on display.
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Looks like how Stephen King described that one character in The Tommyknockers who was put through some “half-assed disintegration process” and then swept off into a pocket dimension.
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More Solid Bearmon, this time during the Zanzibar Land Disturbance. Play Metal Gear 2: Solid Snake!!!
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Awesome game, those damn Seegson Working Joes scare me more than the xenomorph 
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What kind of dark magic did you pull to manifest this, ZG?
What are you??
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Pretty! 
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The Workers - Florence Kawa
Art For The Many - The Legacy of the Federal Art Project
In the mid Thirties the American economy had entered a period distress that was so great and Depressive they gave it the very clever nickname “The Great Depression”. One of the consequences of said poor economy was a staggering high unemployment rate spawned by business and industry closures as company after company went virtually insolvent overnight.
So naturally this needed to be fixed enter the Works Progress Administration, one of the many, many government agencies formed under the FDR government as a part of its New Deal strategy to bolster the American economy. The WPA mostly concerned itself with building public works which is things like roads, schools, post officers, stations and, sadly, some of the interment camps used during the detaining of Asian-Americans over the course of WWII
Leaving that aside I want to talk about a special branch of a different WPA initiative known as Federal Project Number One which was basically a form of government assistance given out to people involved in the industries of culture.
There was the Federal Writers Project which sought to keep writers in long term employment mostly by means of employing them in schools to teach people to write, giving them a stipend so long as they could show they were writing, authoring textbooks and travel guides and it even went around collating stories from freed slaves about their time as slaves.
There was the Federal Music Project which mostly either taught music to kids and unemployed people or put of extremely cheap or even free government subsidised musical performances for people.
The Federal Theater Project which staged a variety of performances from “Living Newspapers” which helped Americans understand issues of the day, workshops in performance for unemployed Americans including African-Americans (though the usual discriminatory practices related to segregation still forced them into their own programs separate from White Americans though performers from white and Black programs collaborated together) and general productions that were cheap to most people.
So you have a division of a government program that was comfortable enough to criticise the government, treated people more equal than the actual representative government they worked under and performed virtually for free. Sounds good right? Jokes on you idiot, anti-Communist hysterics killed the FTP before any of the other projects under FP#1
But I am here to (finally) talk about the Federal Art Project, which was created to make sure that painters, sculptors and artists in other forms of material expression could live and work as they shose.
While this was the third attempt the Treasury Department made to support artists with two others dying off and the Section of Painting and Sculpture which was in charge of negotiating artists commissions for the creation of art in public spaces to the point where America wound up having its own muralist tradition overnight basically. A lot of those murals were greatly informed by Mexican Social Realist mural styles, one day I will talk about them as well.
The FedArtPro however mostly existed to pay people a stipend for consistent artistic output priced at 24 bucks (roughly 567 USD today, in AUD that is a hundred dollars more than my government assistance), producing posters for all those other branches of the government I mentioned earlier and other fun ones like the Tennessee Valley Authority, the Civilian Conservation Corps and other fun things the US government could do if they could but don’t.
A lot of artists were able to make a living, the appointment of a very forward thinking curator in the form of Holger Cahill, a man with a history in curating modern art collections like the MoMA in New Yrok, meant that even artists working in the very novel forms of abstract art could survive to paint another day. It gave the FedArtPro a lack of bias in style and genre that it would have had if someone from the government was in charge and even then the FedArtPro constantly had to justify its choices especially for murals and displays of “non-objective” styles.
Many artists like De Kooning, Pollock and Rothko got their start here and for many of them the works they produced alongside some 10,000 other artists (at its highest membership count) are the very few representational pieces by them before their full dedication to abstract art.
Pieces like this work however were the result of the broad range of arts programs they offered unemployed people, this piece was sewn by a woman for such a program in Milwaukee perhaps one of the most successful of these courses alongside the programs set up for African-Americans some of whom attribute these programs to helping save not only their careers but their lives.
Mercifully the FAP (the only time I am calling it that) didn’t get murdered in a fervid haze of anri-communist hysteria, it was sunset by the treasury. Dropped in the night amid a return to a sustainable employment rate and the onset of US involvement of in WWII necessitating cuts to a lot of New Deal programs. A lot the workers and project departments would be folded into the war effort as camouflage painters, designing propaganda posters and producing art courses for military posts.
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