Maybe become a restaurant.
You already know what I’m talking about, but in case you don’t:
It’s a nice one, don’t you think?
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@The_Elite_Institute what have you done…?
Jokes aside, I never thought you would open hand of your profile picture that made it to the game. The FCs batches were my first contact with the HMF.
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That profile image actually happened because of the FCs! @v1deost knocked it up for my batch, and then I put it as my avatar image. This is the one I had since I joined:
This new one is only going to be temporary since I think the Agent 47 mash-up fit better on the HMF. However, I’m happy with a new piece of artwork that @v1deost did for me that I had to show it off
Here’s the full image:
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Didn’t know @v1deost did arts for other people too! I might request some myself…
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She did my current and last avatars for HMF. I’m really happy with them, and would happily recommend her as well.
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I did! I’m very excited now
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I want to commission her again, too. She did a great job with my bear boi a couple of years ago.
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Blue Poles (Number 11,1952) - Jackson Pollock
Blue Poles Beyond The Black Stump - The Politically Charged History of the Blue Poles
No country has a greater need than Australia, remote as we are from the great galleries of the world, to acquire works of art from other nations and civilisations … Overseas galleries have always recognised that the function of any gallery other than the most provincial is to offer a comprehensive view of world culture. - Gough Whitlam, Former Prime Minister
Right I am going to be honest with you, a lot of things have gotten in the way of me writing my customary write up so I am just going to spare you the florid words and be brief.
Whitlam was and will forever be Australia’s most progressive and forward thinking prime minister and in a collaboration with the National Gallery embarked on what you can call a spending spree buying up pieces of art and acquiring more vernacular pieces of art from Indigenous tribes in order to foster a world class art institute in the hopes that we could put ourselves on the cutting edge of culture and reverse our image of a parochial nation isolated on a watery nowhere.
The sort of keystone, flagship artpiece of this scheme to foster some taste in this nation was the 1.3 million dollar acquisition of this work by Pollock from a collector of his work in New York using money that came directly from the Prime Minister’s authorisation since the Gallery couldn’t sign off on it. The cost was prohibitive at the time, we are talking about a piece of work that had to be moved by popping out the penthouse windows of the owners apartment.
It was incredibly divisive, on the one hand you had people who understood the assignment and the need there was for world class galleries in the nation and then you had a contingent of people who thought spending what is now 11 million AUD for a painting was wasteful and a sign of the Whitlam administration’s chronic monetary issues (even though it was the fucking Seventies and every nation was doing it tough.) and others simply didn’t like the painting not helped by the fact that the Liberal leader at the time was a member of a classicist and figurative painting appreciation society.
Anyway Whitlam might have been removed from power thanks to the backstabbing Liberals but this painting still remains in the NGA for all to see having appreciated in value to the point that the painting is now worth in excess of 300 million AUD and surviving everything from attempts to sell it for farmer relief funds (a National Party idea, AKA a bad one) to a complete restoration during the COVID years.
If you want a more substantitive history on this piece including interpretations of the piece, a breakdown of Pollock’s process in the making of the work and various further materials on the reactions to the work and its now storied acquisitions history here is the NGA’s site for the work.
You may need to click on the page to dismiss the land acknowledgement that pops up. And here is the NMA (National Museum of Australia) that serves as a good primer for the contemporary reactions to the painting.
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June is still going to be de Lempicka as the combined Pride and Art Deco centennial celebration, Canada won that poll so thanks for engaging. It will probably be something from the Group of Seven, a nice treatise on modern art and the development of national pride in Canada.
The only thing they celebrate in August that is remotely interesting is the Feast of the Transfiguration but there is no art of that event in the modern day that interests me. August is most likely going to be a free space unless somebody has a recommendation they would like to make.
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Not even close resemblance. After 45 days I decided to put a grim reaper because I have this thing with Grim Reapers.
It’s different enough but still i have to say: Not to be confused with @Grim47
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David Hockney - A Bigger Spalsh (1967)
An Apology
Right so I am sorry to pull the rug out from under you and change the artist I had intend to select but as I was going through Lempika’s catalogue and I found her work doesn’t quite have the same hold on me as it did when I was younger. Don’t worry August is still a free space and I intend to fill it with a lady painter, July is still going to be a Canadian as well.
Lucky for us Hockney was a very open homosexual so I can still use this picture for June, it still gets to be a painting from a genre I like, he was British so I am not doing another American (even if he did live in America after leaving the UK due to their anti-LGBT+ laws) and his paintings have a SoCal summer vibe and there is a lot of water like an Adelaide winter.
Summer, Swimming Pools and Southern California- David Hockney’s America
Right so this is a very typical example of Hockney’s work especially after he moved to California. You can see how much Hockney has been able to root this very basic painting of a pool splash to Southern California simply because of how he has depicted the modernist architecture and landscape design of the area and time as well as the perfect almost artificial blue summer sky. It makes the painting timeless by virtue of it being frozen in this instance.
This isn’t so much a painting as more it is a painted photograph. We aren’t seeing a rendition of a pool but rather we get a painted photo of a splash. Which makes sense since this is based on a photograph Hockney had seen in a coffee table book.
You can notice that there is no human figure here either, what you have is a portrait of a moment, the same sort of centralisation of detail is at play here. Motion is only conveyed in the large splash. The sort of bright and pastel hues and flat lighting give a sort of artificiality to the picture that also draws you to the genuine real thing in the painting. A bigger splash isn’t so much a painting as it is a photograph, a portrait of a single instance that can’t be recaptured but is also complete artifice.
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It’s a pretty blue. Made me think of Haven for a moment.
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I made a school project on this painting.
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After a short-lived one, here’s my monthly official. That’s my way now, one picture per month, à la @Accidental_Kills98
The Koroka. Here’s his description:
Koroka were once old stone lanterns, and are considered a type of “tsukumogami” (an item that has acquired a spirit.) When a stone lantern that has long remained in disuse is suddenly found lit of its own accord, this is said to be to work of Koroka, or possibly a sign that a Koroka is nearby. A Koroka’s flame strikes fear into the hearts of all who see it, for it is believed that these unlucky few will die within days.
While a Koroka has no face, a soft flame flickers where its head would be. However, witnesses have seen Koroka lift the pipe they wield to their flame the way a man might smoke his tobacco. One theory is that a Koroka’s pipe is somehow connected to the Yokai Realm, and they smoke it to inhale otherworldly fumes that fuel an incoming deadly attack.
Medium-difficulty enemies, but nice lore and appearance.
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Time for a change. Went with this one I found that was supposedly made for a T-shirt. Credit to the artist, whoever they may be.
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I had no idea it was fucking July already. The painting might change between now and the weekend by the way, I wanted to throw something up here until I have more time to do a proper write-up on an artist.
Emily Carr - Blunden Harbour
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Looks like someone’s having a hard rock concert on Easter Island.
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Monsieur Le Chiffre
Damn, do I look fancy in this profile picture! My name and the title Regular look waaay better now.
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Elizabeth Catlett - Sharecropper
Information about the work and artist.
https://www.moma.org/collection/works/88189
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