Exhibit A
Exhibit B
Dude!
There's like a storm in my cup of water.
I didn't free the slaves to hear
"An abortion can cost a ballin' nigga up to 50gs maybe a 100. Gold diggin' bitches be getting pregnant on purpose. #STRAPUP my niggas!"
- Kanye West via Twitter
about your bullshit.
Via: Hollywood Reporter
And the sign said everybody welcome, come in, kneel down and pray. But when they passed around the plate at the end of it all, I didn't have a penny to pay. So I got me a pen and a paper and I made up my own little sign. I said thank you Lord for thinking about me, I'm alive and doing fine.
Damn Signs
Calligraphic composition in the form of a lion - Ahmed Hilmi - Ink and watercolour on paper - Ottoman Turkey 1913
Tradtional Hand
Style!
Camp Hood,
— Encouragement of not spreading information.
*
Texas (1943)
Shinichi Maruyama was born in 1968 in Nagano. Japan. He studied at Chiba University and worked as member of Hakuhodo Photo Creative as well as a freelance photographer from 1992-98. While in Japan the artist traveled frequently to Tibet to complete two photography books about the Spiti Valley region, The Spiti Valley, and Spiti.
In 2003 he moved to New York City and began work on what would become his Kusho series (translated as "writing in the sky"). Completed in 2006, the series is comprised of graphic, abstract images of sumi calligraphy ink and water captured as the liquids collide and combine in mid-air. Influenced by the artist’s lifelong interest in calligraphy, this series has received critical attention worldwide and resulted in a solo exhibition held at the Bruce Silverstein Gallery in 2009. In 2010, the artist completed his second series, Water Sculptures, featuring images of water forms caught in mid air, with their accompanying shadows and reflections upon the ground. Shinichi Maruyama is represented exclusively by Bruce Silverstein Gallery, New York. The Peabody Essex Museum will display the artist's work in May 2011.
SHINICHI
MARUYAMA
In 2010, the artist completed his second series, Water Sculptures, featuring images of water forms caught in mid air, with their accompanying shadows and reflections upon the ground.
Soviet Space Shuttle
The Russian Shuttle Buran ("Snowstorm" in Russian) was authorized in 1976 in response to the United States Space Shuttle program.
Logo concept I originally started for the Get Out There initiatve for the Queensland Government in Australia. Revisited 6 months later for fun and this is the result. The client ended up not going ahead with the branding side of the website as they felt it was “too out there” and we had to use government styling across the entire thing. - D.S.
DAVID SACKVILLE
Via: David Sackville
Being an actor is the loneliest thing in the world. You are all alone with your concentration and imagination, and that's all you have.
Pretty
much
Nick Lepard
"The way in which we change"- oil on canvas
2008 - 71 x 64"
"Understand Still" - oil and acrylic on canvas
2008 - 66 x 54"
Today, modernity requires that each of us navigate a blizzard of information. How this maelstrom of data is interpreted and synthesized constructs an individual’s paradigm. However, the qualities of the data are subject to a Catch-22: while the data works to describe an individual’s paradigm, an individual’s paradigm likewise works to describe the data.
With so much accessible information, yet so little certainty, are our interpretations of the world more complex or confused, more varied or more refined? Is the course of progress more accessible, or more elusive?
- Nick Lepard 2008
Via: Nick Lepard
Warhol Interviews
Hitchcock
This conversation that appeared in Interview Magazine in September 1974 doesn’t offer any great insights into filmmaking, but for what it lacks in informativeness it makes up for in novelty.
The meeting of these two icons of the 20th century is particularly significant, as each bridged high art and popular culture in unique intriguing ways. While on the surface it may seem like a odd pairing, they both share many things in common. Warhol and Hitchcock both started out as illustrators. Warhol had started his career working as a commercial illustrator, Hitchcock had started out creating illustrations for title cards in silent movies. Of course Andy and Alfred were also both film directors.
Andy Warhol: Since you know all these cases, did you ever figure out why people really murder? It’s always bothered me. Why.
Alfred Hitchcock: Well I’ll tell you. Years ago, it was economic, really. Especially in England. First of all, divorce was very hard to get, and it cost a lot of money.
Andy Warhol: But what kind of person really murders? I mean, why.
Alfred Hitchcock: In desperation. They do it in desperation.
Andy Warhol: Really?….
Alfred Hitchcock: Absolute desperation. They have nowhere to go, there were no motels in those days, and they’d have to go behind the bushes in the park. And in desperation they would murder.
Andy Warhol: What about a mass murderer.
Alfred Hitchcock: Well, they are psychotics, you see. They’re absolutely psychotic. They’re very often impotent. As I showed in “Frenzy.” The man was completely impotent until he murdered and that’s how he got his kicks. But today of course, with the Age of the Revolver, as one might call it, I think there is more use of guns in the home than there is in the streets. You know? And men lose their heads?
Andy Warhol: Well I was shot by a gun, and it just seems like a movie. I can’t see it as being anything real. The whole thing is still like a movie to me. It happened to me, but it’s like watching TV. If you’re watching TV, it’s the same thing as having it done to yourself.
Alfred Hitchcock: Yes. Yes.
Via: filmmakeriq.com
Warhol’s portrait of Alfred Hitchcock represents an incisive homage to the artist’s favorite director.
