jimpers crimpers
@jimprov.sendusyourmoney.com
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Chimpanzee dealer He/him | R0BERTC0P || av by @carl.bsky.social turn off my reposts, they are your enemy shop.sendusyourmoney.com
Chimpanzee dealer He/him | R0BERTC0P || av by @carl.bsky.social turn off my reposts, they are your enemy shop.sendusyourmoney.com
![[Two yellow fish are speaking to each other near the surface of the water.]
"Bro I told you, it's him."
- "I don't know. . ."
[second panel, a large fish at the sea floor attempting to lure them by presenting a FREE! Photo with Kevin Hart prop-up banner, desk and what appears to be Kevin Hart]
"Something seems off. . ."](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreibdtawz7fyai55r4q4rfx25z4jzdggrpwrq2pztrdj6724bp2ncmy)
![[Achewood] Philippe losing his absolute shit at the "Mickey Mouse pancakes" prepared by Téodor](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreidp744oaw2gcnxl4mmoftpxz7ciyxzgddxu3hi7sdstg7ejmvdbpy)
!["Saul and the Witch of Endor" oil on canvas
----- [from the Smithsonian American Art Museum] -----
William Sidney Mount created only a few paintings based on historical and literary scenes.
This piece illustrates a passage from the Old Testament, in which Saul sought help from an oracle before going to war with the Philistines. The witch summoned the spirit of the prophet Samuel so that Saul could ask him for advice. In this painting, Saul and his men cower in horror as the ghost comes forward to speak to them (1 Samuel 28).
This episode was familiar to nineteenth-century audiences who had been raised on scripture.
-- [artist biography] --
William Sidney Mount apprenticed to his older brother as a sign painter in New York. He spent all of his free time sketching in the National Academy of Design and in 1829 established a studio in the city.
Mount spent most of his life on Long Island, however, painting portraits of local people and scenes of country life. In 1860 he built a studio in a horse-drawn wagon so that he could travel among the farms undisturbed, painting images of people going about their day-to-day activities. When asked to give a brief history of his life, Mount replied:
“Why it would take me three months to shell it all out---to clean the cob all off, and who would feed me with pudding and milk all that while?”](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreifzklj4zjofimntabodkkoe33ayuexga6yqc5v6atjgfylgmvduxm)
!["Good farming land, Garrett County, Maryland. 1935. Theodor Jung" (from the portfolio Twenty-two Holes) inkjet print
----- [from the Smithsonian American Art Museum] -----
In the 1930s, the federal government established agencies like the Farm Security Administration (FSA) to combat the devastation of the Great Depression. Photographers working for the FSA documented farmers' struggles and the agency's relief efforts.
If a photograph did not meet the agency's needs, staff voided the negative with a hole punch-producing what became known as "killed negatives."
Bill McDowell encountered these archival materials at the Library of Congress and altered them to create distinct artworks. The title Ground carries a double meaning. It refers to the farmland in the original negatives and to the visual shift created by the punched hole. In each enlarged print, the black void becomes the subject while the scene itself slips into the background.
McDowell uses this reversal and his sequencing of the images to claim these once-discarded negatives as his own.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreidgh64q6hsavdozawxarzptxapb5etbf2g2uiafr5pnd5zosj57oe)
!["Wounded Buffalo, Strewing His Blood over the Prairies" oil on canvas
----- [from the Smithsonian American Art Museum] -----
“I found that my shot had entered him a little too far forward, breaking one of his shoulders, and lodging in his breast, and from his very great weight it was impossible for him to make much advance upon me.
As I rode up within a few paces of him, he would bristle up with fury enough in his looks alone, almost to annihilate me; and making one lunge at me, would fall upon his neck and nose, so that I found the sagacity of my horse alone enough to keep me out of reach of danger: and I drew from my pocket my sketch-book, laid my gun across my lap, and commenced taking his likeness. He stood stiffened up, and swelling with awful vengeance, which was sublime for a picture, but which he could not vent upon me. I rode around him and sketched him in numerous attitudes, sometimes he would lie down, and I would then sketch him; then throw my cap at him, and rousing him on his legs, rally a new expression, and sketch him again . . . No man on earth can imagine what is the look and expression of such a subject before him as this was.
I defy the world to produce another animal than can look so frightful as a huge buffalo bull, when wounded as he was, turned around for battle, and swelling with rage;---his eyes bloodshot, and his long shaggy mane hanging to the ground,---his mouth open, and his horrid rage hissing in streams of smoke and blood from his mouth and through his nostrils, as he is bending forward to spring upon his assailant.”
George Catlin made this sketch on the Upper Missouri in 1832.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreifruwzxo5mofefzmfg2haeqgs5jv7fk45odhyseglrdrzbdscpiai)
!["Archer Daniels Midland Elevator" oil on canvas
----- [from the Smithsonian American Art Museum] -----
Cars and trains, industry and agriculture, trees and smokestacks meet in this busy image of Minneapolis, Minnesota.
Local painter Arnold Klagstad gently guided the viewer's eye into the painting along a curving stretch of road with a car and two pedestrians to lead the way past a brick house, trees, and green lawns. Two white railroad crossing signs signal an abrupt transition to the confusing complex of commercial structures crowded along the railroad tracks.
Among the many buildings is the Harris Machinery Company at the far right, announced by a bold black and white sign, while a towering Archer Daniels Midland grain elevator dominates the view. The density of businesses may suggest a thriving economy, but in fact drought and low farm prices made for hard times in 1930s Minnesota.
The juxtapositions of greenery with steel, and agricultural structures with manufacturing signal the tensions among farmers, business owners, and unions that led to violent confrontations in the streets of Minneapolis in 1934.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreifn5rphxlxlv73sg7sl6yhed5kuundbu4sf247klmzs2dxuvqtobq)
![[Achewood] Philippe losing his absolute shit at the "Mickey Mouse pancakes" prepared by Téodor](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreiessk7yi3wdefm7je2gvuckvbjjfloqlmoxeob5khqnncdw6buju4)
!["Ghost Plate with Mickey Mouse Ears" glazed earthenware
----- [from the Smithsonian American Art Museum] -----
Ghost Plate with Mickey Mouse Ears is Jim Melchert’s favorite piece from a series of works created in 1964.
He was inspired by a line from Ingmar Bergman’s film The Silence that reads, “One must tread carefully among the ghosts in your past.” Melchert decorated the plates and jars of this series with masks and used them to work through issues from his past.
The ghost in this piece wears a Mickey Mouse hat.
This is a playful image, but is also meant to evoke the humiliation of a child wearing a dunce cap.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreigabedwxmszkhv5t3w44abvwtbvyadxu4lb546pd7kisobxeolnma)
!["Hawk Head Guys" painted wood
----- [from the Smithsonian American Art Museum] -----
Sulton Rogers carved figures during night shifts as a machinery supervisor at Allied Chemical in Syracuse, New York. He carved the characters that populated his imagination, ghostly figures he called “haints,” a term for spooks and spirits used in the American South. Human bodies with the heads of animals was a common feature and a satirical element in much of Rogers’s work, his way of suggesting animal traits in human nature.
-- [artist biography] --
(born Oxford, MS 1922-died Oxford, MI 2003)
Mississippi folk artist Sulton Rogers learned carpentry skills from his father at a young age, using his pocket knife to carve animal figures. As an adult, he traveled around a lot before settling in Syracuse, New York, where he worked at a chemical plant; Rogers took up carving again to help him stay awake during night shifts. After his retirement in 1984, he moved back to Mississippi, where he lived and carved for the remainder of his life. Rogers's wood carvings of snakes, vampires, grotesque human figures, and coffins were inspired by his dreams, which he called "futures."](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreihar7hobkgqgpyhjxydwb242bo3fhssefm4v4kb676phfi5v6yj6a)
![[Joe Biden wearing the Peacemaker outfit and helmet]
I will aid in every Palestinian man, woman and child dying if it means Israel can be my friend.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreiai2o2oc7u7bgvooai23one54c3a7ds2zzlp3lhqzhozrun43bvqq)
![[one minute later]
You've been successfully opted out and won't receive any more texts from us.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreielrco3qlgoevadpnzlfajv6orrvpd4unfhfcn2e4nbtgjpvco3ne)
!["Molasses Swamp II" oil on linen
----- [from the Smithsonian American Art Museum] -----
Molasses Swamp II is an imagined landscape of enticing confections. Caramel "cottontails" protrude from a bubbling swamp, while Oreos, Mallomars, and peanut butter cups form a rocky perimeter.
Will Cotton's candy-themed paintings, which were initially inspired by the board game Candy Land, originate as elaborate tabletop models that he constructs out of familiar brands of candy and his own homemade pastries.
His fanciful worlds conjure childhood fantasies, but they are as much about adult desire, indulgence, and excess as they are innocent pleasure.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreihuug6rjgmbimih4cg43l5xxuz3nvqjuf5okt2kuercu4hscqht2u)
![[YouTube video]
Man Locks Himself in Hot Car To Prove That Babies And Dogs Are Cowards](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreiazkmdag2hd7esskyk6h3nqgib7rd5x67bjxp4eizf4ttmoy25dmu)
!["Random Elements" wood/cut, assembled and glued on integral base
----- [from the Smithsonian American Art Museum] -----
Random Elements is one of the final pieces in Harold Tovish's Transformations series. Tovish started with a carefully modeled self-portrait, Unit of Measure, which he then used to create fourteen variations. Although each piece looks very different from the original, Tovish maintains the same measure of volume.
Random Elements, a construction of stacked wooden blocks, appears almost abstract, making it difficult for us to recognize it as the artist's self-portrait.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreibmjj5cfalivl5llyzbr6zihkwgqqdqhxlykgrx3znpx7ghry4w5q)
!["Random Elements" wood/cut, assembled and glued on integral base
----- [from the Smithsonian American Art Museum] -----
Random Elements is one of the final pieces in Harold Tovish's Transformations series. Tovish started with a carefully modeled self-portrait, Unit of Measure, which he then used to create fourteen variations. Although each piece looks very different from the original, Tovish maintains the same measure of volume.
Random Elements, a construction of stacked wooden blocks, appears almost abstract, making it difficult for us to recognize it as the artist's self-portrait.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreicymqpxjjkl6v73d2wweyl4fexpmomrro6v6ljnpczryrw5eknjge)
![Chicken Bake [Sage]
Hotdog & Soda [Paladin]
Pizza [Black Mage]
Twisted Churros [Dancer]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreigzad4dowdyr5jytdzsmhgfhfgiwnjy5623durhvgfjz6v4slnrwa)
!["Smoke" mixed media on canvas
-----[chronology from Paullamantia.com] -----
1938
Born January 20 in Chicago, Illinois
1957-1959
Student, American Academy of Arts, Chicago, Illinois
1958-1960
Advertising Designer, R.H. Donnelley Publishing Co., Chicago, Illinois
1961-1966
Enlisted in the United States Army Reserves
Painted 16 murals for the United States Army at Fort Leonard Wood, Missouri and Fort Riley, Kansas
1961-1964
Advertising Designer, Continental Casualty Co., Chicago, Illinois
1966
B.F.A. School of the Art Institute of Chicago
1968
M.F.A. School of the Art Institute of Chicago
1967-1993
Art Teacher. Specialized in the instruction of basic and advanced courses in painting, drawing, and design at the secondary level of education. Chicago Board of Education, Chicago, Illinois
1994
Fantasy drawing and painting workshop and lecture. Columbia College, Chicago, Illinois
1996
Creative thinking lecture. International Academy, Chicago, Illinois
1998
Re-inventing the Figurative Masterpiece (drawing and painting workshop). Columbia College, Chicago, Illinois
1999
Slide lecture presentation of recent paintings and drawings of Paul Lamantia (Graduate level class). The School of the Art Institute of Chicago.
2000
Experimental Figurative Drawing Workshop. Art Academy of Cincinnati, Cincinnati, Ohio
Public Lecture on the works of Paul Lamantia. Cincinnati Art Museum, Cincinnati, Ohio
2002
Re-Inventing the Figurative Masterpiece (drawing and painting workshop). Loyola University Chicago, Chicago, Illinois
2003
A Combined Beginning and Advanced Figure Drawing Class. Harry S. Truman College, Chicago, Illinois
2013
Public Museum Lecture on the works of Paul Lamantia, Ukrainian Institute of Modern Art, Chicago
2014
Public Lecture on the Paul Lamantia painting in the Roger Brown Study Collection, Chicago, Illinois
--[interview]--
https://www.youtube.com/watch?v=_cSTfg2Y6KY](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreieobt537lxwnbu3oyidccwbo6kocibpi6vudwoenxznz5ggulfbfu)
![Rocko Screens
[Ed Bighead holding a tomato directly afore his bum hole, imitating goatse]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreiddjaznvwhigj7hzfvcmucbd7f65e3oxfoazvqudmnvkxsijmrveu)
!["Crossing the Atlantic (Return Home)" watercolor and pencil on paper mounted on paperboard
----- [artist bio] -----
Working in France after 1891, Henry Ossawa Tanner achieved an international reputation largely through his religious paintings. Their deep spirituality reflects Tanner's upbringing as a minister's son and the influence of his visits to the Holy Land after 1897.
Head bent, gaze intent, hands clasped, The Savior is absorbed in contemplation or prayer. The circumstances of the solitary vigil are ambiguous. Has Tanner chosen a particular moment on the mountain, in the Garden of Gethsemane, or just before the Crucifixion? Or has he treated instead the very act of prayer as a means to salvation? Whatever the context, Tanner presents Christ as a man of humble origin rather than as a transcendent, godlike figure. His carefully delineated features and bowed posture create the psychological penetration of a portrait.
Based on one of his sketches of Near Eastern men, Tanner's study conveys Christ's timeless humanity, while its sensitivity and strong modeling reveal the artist's admiration for the portraits of his teacher, Thomas Eakins.
An expressive realism characterizes The Savior, reflecting Tanner's mounting interest in the work of French Symbolist painters at the turn of the century. The painting's mottled browns and beiges derive from his training in the French academic tradition; influenced by the Impressionists' light and color, he later abandoned his subdued palette.
Although Tanner remained active until 1936, he avoided avant-garde developments after 1900. Nor did he align his expressive style with the efforts of African-American artists during the Harlem Renaissance; believing that he could not fulfill his artistic potential while fighting discrimination in America, he moved to Paris in 1891. Nonetheless, Tanner's universal subject matter and the international dimensions of his career provided inspiration for future African-American artists.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreiamhpf7zepoalalg5mhkfllvetzwru4qewedul2bho2ge64t4revm)
![strip club advertising: DAVID DUCHOVNY YOURE[sic] STILL BARRED](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreiea3ghxglu2w6qe3ekwkm6k6a3jb7tvttq3zh2wyrpynqqm2gyck4)
![Pitfall (Atari 2600) [start of it all]
Megaman 2 (NES) [close contender, SMB3]
Command & Conquer (PC) [best to ever do it. RIP Westwood]
Mutant League Football (Sega Genesis) [close contender, Dune II]
Super Mario World (SNES) [not much to compete with for me here]
WWF No Mercy (N64) [close contender, Mario64]
Eternal Darkness: Sanity's Requiem (Gamecube) [CLOSE contender, Mario Sunshine. man, what good water]
NFL 2k (Gamecube) [close contender, Power Stone]
Quake III Arena (PC) [close contender, Helldivers 2 (PS5)]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreicplegwmpp2gfytt6sefkckt47onn7ysoycjv3smvxwdlkypvxfi4)
!["Bats (no. 128)" color lithograph
----- [artist biography] -----
"What is the mystery underlying the Architecture of our Universe? What are the laws which create the pattern of the frost which forms on our windows? What causes the stars to stay in their orbit? What is it which creates joy and sorrow within us?. . . All these are problems belonging to the world we live in and which should concern the artist, as well as those problems of sunlight or the growth of a tree. But art is also a world with its own laws, whether they underlie a painting of realistic or abstract forms. …"
"To create new universes within these laws and to fill them with the experiences of our life is our task. … When they convincingly reflect the wisdom or struggle of the soul, a work of art is born."
These words, written in 1936, provide a framework for understanding Drewes' work throughout his life.
Following military service in World War I, Drewes studied architecture and design in Berlin and Stuttgart. But he was soon attracted to the experimental freedom and the notion of the unity of the arts associated with the Bauhaus curriculum. In 1921, he enrolled in classes with Johannes Itten, Paul Klee, and Oskar Schlemmer. Unsettled yet as an artist, in 1923 Drewes began several years of world travel
[...]
In 1927, Drewes returned to the Bauhaus, which had moved from Weimar to Dessau. But he found that its emphasis, as well as its location, had changed. The rather loose, experimental phase of the school's early years had yielded to a firmer commitment to design, to the potential for uniting art and technology, and to the artist's "new" social role in molding society.
[...]
A founding member of the American Abstract Artists, Drewes exhibited more frequently in commercial galleries and museum exhibitions than did many of his friends within the group.
He remained actively involved during the organization's early days and provided support and encouragement to his fellow abstract artists.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreif7o2xz5iqv5vywg4gsxjp574uumclftmvtulrqnkdxtte2ltd7ni)
!["A Little Torcher" cut, enameled, sandblasted, leaded, and copper-foiled flat glass
-----[ from judithschaechter.com] -----
Stained glass reached its peak in the 12th Century and it’s been downhill since then. Perhaps stained glass is an odd medium to choose if one wishes to participate in the world of contemporary fine art — and indeed, it is! Yet, I found it altogether irresistible.
Although I went to art school to study painting, I knew almost instantly when I tried stained glass that it was what I wanted to pursue for the rest of my life. Why? Unlike most raw materials, glass is extremely attractive before the artist ever touches it. I found I like to really manipulate it, stretch it, and transform and distort it in unnatural ways. I like to see what possibilities lie in mating difficult emotional ideas with sensuous but cruel materials. I like a lot of resistance. I like cold, hard, sharp, vicious stuff to fight with — I dislike compliance! Perhaps I want to punish it for being so pretty when I sometimes feel so ugly.
[...] When I was a painter, I painted fast and furiously and ultimately threw everything out. This didn’t happen with glass because it was so labor intensive. The tedium factor and the variety of processes allowed me to focus and concentrate. By the time I managed to do something to the glass, I had developed feelings of attachment and was hardly going to throw it away.
Without launching into the full technical explanation, I would describe my process as deriving almost entirely from traditional techniques used for centuries. The imagery is predominantly engraved into layers of glass; only the black and yellow are painted and fired on in a kiln. The pieces are soldered together in a copper foil and lead matrix.
Much of my work is improvised and made without prior plans or sketches. I do a lot of doodling in front of the TV or at meetings, and this distraction frees me to mess up.
All my best work seems to result from accidents and mistakes.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreihcsywcidh6iuqfbt5nxvlvw5vaxgkybyzlrgxmnl5jp3n2akmw2a)
!["Potsdam Meeting" oil on paperboard
----- [from the Smithsonian American Art Museum] -----
Johnson presented the image of three world leaders--U.S. President Harry Truman (center), Soviet Premier Joseph Stalin (right), and British Prime Minister Clement Attlee (left) --joining hands in victory and standing on a Nazi flag. The three met in Potsdam, Germany, in July and early August 1945 to discuss the terms of the peace after Germany's surrender on May 8.
When leaders of the three countries had met in Yalta the previous February, they began laying out terms of a postwar peace. But the cast of characters at Potsdam was new. Truman replaced Franklin Roosevelt, who had died in April, and Attlee replaced Churchill midway through the meeting when the results of his recent landslide victory were announced.
But much was still at stake. Although Germany had surrendered, the conflict in Asia continued.
Just days after the Potsdam meeting, the United States dropped an atomic bomb on the city of Hiroshima. After a second bomb decimated Nagasaki, the war in the Pacific ended.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreiaybxbmcm5vvtvaqqvsikr52aosikxjnhvzvhrb42y36ujgbl5tdy)