Jackie Gleason was an American comedian that was extremely famous during the 1950’s and 1960’s. One of Gleason’s most famous projects was the sitcom The Honeymooners, which debuted in 1955. Although it became extremely famous, it suffered initially and was canceled after only 39 episodes.
What does this have to do with The Flintstones? In 1960, the animated sitcom The Flintstones debuted. While extremely successful, many people recognized that the two shows were extremely similar, with almost identical characters and premise.
There was longstanding controversy over the matter, but an official statement was never given until 1993 when the co-creator of The Flintstones admitted that it was based on The Honeymooners. Before the admission, Jackie Gleason contemplated suing but decided against it saying he didn’t want to be remembered as “the guy who yanked Fred Flintstone off the air.”
Tomasz
Kobialka
No Parking, Oil paint, dry pastel and spray on linen, 120 x 70cm - 2011
Tomasz is a Polish born Australian painter, presently living and working in Berlin. “Freedom is a destructive concept that involves the absolute elimination of all limits.”
Julius Hofmann doesn’t illustrate invented stories. He portrays what is inside him: doubt and fear, possible danger and threats, and he plays with temptations, metamorphoses and masquerades. His stories come into being during painting, and are made with brushes and paint, and also with saws, cutters, cardboard, glue or on the computer. Their meaning changes, is expanded or deleted, often faster than they came into being. Julius Hofmann is a filmmaker. He’s a filmmaker, but above all he’s an actor, a make-up artist, a set designer, a cameraman, a editor, a sound engineer and director, all in one. His films, though few, are nevertheless of high quality, and compact in an oppressive way, just like his paintings, which look like condensed films. It is implied that things have happened and that afterwards anything is possible. A road to a dark forest, water that is devoured by the night, a shadow kingdom behind a wall. The young artist appears to have left behind trails, tempting us to look at something.
Hofmann feels connected to the romantic artists, who always left something open, something to guess at. Like them, he doesn’t feel comfortable with the classical harmony of ‘noble simplicity and silent greatness’. He’s closer to symbolism, just as Francis Bacon, who suppressed his doubts and loneliness with the images he made. But examples aren’t the starting point of the word of forms and motifs of Julius Hofmann. His starting point is the tension between the flood of media images that surrounds him, which he dissects with his keen glance, and the world of silence that he soaks up for his wealth of images and souls during his long cycle rides. In the beginning there is only chaos. Within that he starts weaving his threads and from that he constructs his paintings. Some have enticing, friendly colours, others are brightly coloured. There aren’t many figures, but they are full of symbolism. The most prominent character in the paintings and films is a man with a dog mask. The mask makes him both invisible and acts as a protective helmet, to combat villains and to suffer together with prisoners. Murderers appear too, but they already show the face of death. Femininity looks like cast porcelain and mobile technology is indispensable for the image world of the painter and sculptor. Here, he is a man of his time. But he is also someone who tests the designer’s harmonies and looks for the boundaries of destruction.
Julius Hofmann makes a breach in the wallpaper of our daily image mania and gives us a view of his world. Better yet: He tempts us to discover a counter-world that looks fierce in order to protect something fragile. (Bernd Sikora)
KRELwear was recognized as a GenArt "Fresh Faces of Fashion" Among its list of thrilled garment owners are: Alanis Morrisset, Christina Ricci, Carmen Electra, Pink, Cameron Diaz, and Natasha Lyonne. The line is available in boutiques around the U.S. and Japan.
David Gonzalez recently unearthed a copy of Superman #4 from the spring of 1940, ComicConnect.com COO Vincent Zurzolo told The Huffington Post on Friday. The comic could be worth between $500 and $5,000, Zurzolo estimates.
"It's amazing to me that he's still finding stuff," said Zurzolo, who has been in touch with Gonzalez since ComicConnect hosted the bidding for the first find.
Gonzalez previously told ABC News that he had come upon another antique issuethat featured Superman fighting dinosaurs, but he had yet to identify it. Zurzolo explained there was a delay because Gonzalez took some time to locate the cover.
The front of Superman #4 shows Superman holding up collapsing columns with Lex Luthor in the foreground. In the story, Superman battles a pterodactyl reproduced in Luthor's lab, according to Comic Book Religion.
Herbert: Music and color can be a direct line to one’s feelings and thoughts. I attempt to visualize sounds with the energy I feel from music.”
Fredric Koeppel of the Memphis Commercial Appeal expounds on the maturation of Herbert’s long career in the following statement: “Herbert, long a creative presence and an influential teacher in Memphis, has defined his commitment to abstraction in several decades’ worth of paintings and drawings that teem with energy so compelling that the whirling, tornado-like vortexes that comprise his central motif seem to suck viewers into their maelstroms – or blow them out of the gallery…. Now (in the drawings) there’s a quality that could almost be called contemplative.”
