Christmas time
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He’s making a list, checking it twice, his fee don’t give a fuck if you’re naughty or nice, 47’s gonna give you a round.
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The Krampus suit might be my new favourite holiday themed suit
also my auto correct really hates the name Krampus
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Since the Krampus Helper outfit 47 got, I remembered a sticker of my Bearmon with reindeer antlers I got as gift at a party. He isn’t amused with those antlers.
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A seal… of approval?
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Homage to the Square: Soft Spoken - Josef Albers (1969)
Colour Theories/Colour Realities: The Homage To The Square Series
Perhaps one of the longest and most comprehensive investigation in to colour theory taken by an artist in the 20th century and perhaps the biggest one since Goethe’s own work into colour relations in the 19th century. Albers started Homage to the Square in 1946 and continued it all the way through his time at Yale (as chairman of its design department) until his death in the Seventies. This piece is a later piece as you can probably tell by the attributed date.
The entirety of the series is this, a series of squares usually in different colours of various shades and hue. Originally works in this series had only two squares matched to each other but Albers continuously added squares as he sought more and more to explore the upper limits of colour as well as prespective, space and shape. You can see through its Post-Constructivist cred, minimalist principles and simplicity that Albers was a member of Bauhaus indeed he taught there before the Nazis shuttered it and he fled for America under the protection of modernist architect Phillip Johnson.
His later works especially produce these sorts of fake three dimensional effects as Albers’ works with colour merged with his theory of “defamiliarisation”, a form of pedagogy he used with his students at Black Mountain College (which I will talk about one of these days I swear.) that sought to alter students’ perception of art by employing tactics like reducing painting to its base essentials (as seen here), painting with the non-dominant hand, investigating optical illusions (like this here, I swear I will also be talking about OpArt soon™) and utilisation of negative space.
This piece was donated to The Met after their retrospective on this and Variant/Abode series (an earlier series with the same principle but on a larger scale). Albers was the first living artist to receive this honour and the piece is still in its collection today.
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SpongeBob’s pornography.
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Absolutely stunning insights there, Heis.
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Yeah. I don’t know why I do that.
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They made some damn fine games back in the day.
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Yes, I heard they also published a few bangers as well. Not that we would know anything about that now…
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And the artist’s name is… Got a name or something? 
(Nah, I get it. Finding sources on the internet especially with reposted pictures can be tough)
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It is actually super easy.
This was by MakritskyDesign and I have a feeling it might be AI generated if the rest of his work is an indication.
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Carousel State - Sam Gilliam (1968)
Free Form: Sam Gilliam and Drape Art
So moving on from Invasion Day and carrying onto Black History Month with another piece by a lesser known African-American artist, Sam Gilliam. So you can look at this piece and you can probably tell what makes this member of the Washington Colour School so popular.
This is a piece from what is referred to as one of his “drape art” pieces since for a significant period of his work in DC he rarely ever framed his work instead folding them over, draping them or scrunching them up. Gilliam admits he mostly did this to make his work stand out which you can’t fault him for since this distinctive anti-framing means you won’t forget his work.
Gilliam’s scrunching of the canvases also occurs during the actual process of painting which helps give the fields of colour a distinctive flowing appearance that you don’t find in more typical examples of the Washington Colour School who favoured “hard-edge” styled fields. Either way Carousel State with its circus styled colouration and hanging harkens back to the old school American funfair.
Draping the paintings also gives the paintings a sense of endless free-flowing energy that plays well with the idea of these being rolling fields of colour while also making the very canvas itself a part of the work itself and the very work itself become a part of the environment which also foreshadows the installation art movement of the late 70s and earned him commissions from galleries and a spot in the governments “Art in Embassies” program back when America still cared about soft power.
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