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mediadiscord · 1 year

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The Last of Us – Season 1 Episode 7 – Recap and Review

Hey everyone welcome back to my recap and review of another episode of The Last of Us. The show which I'm liking, based on a video game I've never played on a system that that I didn't continue playing after the second generation. As per usual this review will not feature any Easter eggs, because frankly I wouldn't know what one would be if I came across one. This episode really hit me in a nostalgic spot and not just because of where most of the episode takes place. This actually has some amazing music that tells the story that hasn’t been told yet. I might actually get this out on a Sunday night so let’s quit the crap, throw on The Cure and get to the recap and my review/thoughts. Ok, full transparency, I’m currently listening to The Cure’s Staring at the Sea: The Singles 1975 – 1985. The episode picks up right where the last one left off give or take probably an hour or two. Ellie has taken Joel and their horse to someone’s house where the horse is just hanging out while Ellie is tending to Joel who is bleeding out. Joel tells Ellie to go North back to his brother and he’ll take care of her to which Ellie says no. Eventually Ellie gets up and walks towards the door and is about to leave and then has a flashback. Before I get to the flashback, let’s play memory and think back to when Ellie told Joel that everyone she was close to in her life has either left or died. Ok, let that sit in your head as we go through this episode. Ellie is in what looks to be a gymnasium with other people dressed in sweatpants and sweatshirts with trainee on the back. You learn that this is the ROTC for FEDRA and they are training future soldiers. Ellie is listening to what I think is Pearl Jam in a Walkman and a girl knocks it off and tells her to hurry up. Ellie steps up and the girl, who is named Bethany, reminds her that she doesn’t fight but her friend does and she’s not there anymore. Well, if you were looking for a button to push that was the mother of all buttons. We cut to Ellie sitting in an office waiting for what seems to be the principal or guidance counselor of where she is. There’s a brief chat that pretty much paints out Ellie to be really smart but also too smart for her own good. She is promised this life of an officer in her future where she will live it up and not have to do any grunt work. Ellie believes what she’s been told and when it comes down to the what pathway she wants to choose for how her life turns out, she chooses the life of an officer. We then cut to Ellie’s room where we get some throwbacks to past episodes. She is reading the comic she had mentioned to Sam that was she was a collector of. We also see a Mortal Kombat 2 poster on the wall and this harkens back to when Joel and Ellie went to get Joels stash at the market and she gets excited to see a Mortal Kombat 2 arcade cabinet. Ellie looks over at an empty bed in her room and gets frustrated and goes to sleep. A little after 1:00 AM Ellie window opens and a mysterious figure comes in and we soon find out it’s Riley. Riley is her roommate, and she has been gone for 3 weeks, but it’s because she joined the fireflies. This doesn’t sit well with Ellie as her being an office will make Riley her enemy. We learn later that FEDRA recruits are taught to hunt the fireflies. Riley promises that she wants to give Ellie an amazing night and Ellie reluctantly agrees. There is some small backstory about Riley being recruited by the fireflies for her stealth skills and they soon end up at the location where Riley has an amazing night in store for Ellie. Apparently the The Mall was closed down due to infected, but it’s open and when FEDRA rerouted the power they turned on all the power to The Mall. The two make their way in and Riley activated the lights so Ellie can experience The Mall. This is the first big part of nostalgia for me as The Mall was a place that I would frequent all the time when I was younger and for mostly all the same reasons that Riley wanted to have Ellie experience. Riley tells Ellie that she has four wonders of The Mall that she would like to have her enjoy. There’s an extra one added as Ellie is mesmerized by the escalator. The first is an indoor carousel that breaks down during their ride, because those always break down. The second is a fully working arcade with a Mortal Kombat 2 arcade cabinet. Riley has already taken the pleasure of opening the quarter machine and so they spend some time playing. While Riley and Ellie are having fun in what they think is an abandoned mall, an infected hears them and begins to wake up. The third thing she wanted to show Ellie was where she was living/stationed by the fireflies and also gives Ellie a book. It’s the pun books that she has tormented Joel with during their journey. Ellie explores where Riley has been living and find pipe bombs that she has made. Riley explains that they are going to be used on areas where there are no civilians and she would never let anything happen to Ellie. Ellie questions why Riley really brought her there and it comes out that Riley is being transferred to a different quarantine zone in another state and this was her last night. She tells Ellie she wanted to see her and say good-bye, so Ellie tells her she told her and she leaves. As Elie is almost out she has a change of heart and then hears a scream and runs back to where she thinks Riley has been screaming. It turns out the fourth thing she wanted to show Ellie was a Halloween themed store. They hash things out and put on masks and dance on the counter. Ellie stops dancing and takes off her mask and tells Riley not to leave. Riley agrees and then Ellie kisses her. The feelings Ellie has been hiding, but the audience has noticed, finally come out and they are reciprocated. Riley seems to be onboard with this feeling and then an infected decides to join the fun. There’s a skirmish and Ellie kills it with her knife, but the mood goes from happy that they are alive to sad as they both realize they are bitten. At this point Ellie doesn’t know she can’t be infected, but we now see where she got that scar on her arm. Riley is bit on the hand and we know that she’ll be dead in a day or two so they contemplate what they’re going to do. They speak of suicide but Riley says she doesn’t like that and that they should just continue on until the end. Ellie agrees and then it cuts back to her in the house with Joel. Ellie runs to the bathroom and gets some material. She runs to Joel and starts to stitch him up and that’s where the episode ends. As I mentioned before this episode has a ton of nostalgia for me. The soundtrack was all 80’s, which we know in the series is a queue for a bad situation. The song that means most and that’s hidden in a midi format is The Cure’s Friday I’m in Love. This plays, I think, while they are on the carousel. This is a direct reflection of Ellie and her feelings towards Riley. She doesn’t know how to express that she likes Riley as she doesn’t know if Riley feels the same way. Ellie does have second thoughts about what she is wearing when Riley mentions that she’s trying to imagine Ellie in a thong from Victoria’s Secret. The final thing that Ellie seems to take to heart, and the camera kept cutting to it, was when Riley held Ellie’s hand and walked her towards the arcade. Let’s go ahead and get nostalgic for a moment and remember when arcades were a thing. That scene when they were standing in front of that arcade brought back so many memories for me. Let’s also talk about Ellie’s thoughts on material items. When Riley is telling her about The Mall and how people looted it for things they needed, she made a remark about people needing shoes. To me this was her not knowing the need for fancy things, just look at the 80’s Walkman she was using to listen to her music. This evolves her character as she doesn’t know what fashion really is, she was raised in a time where people just wore whatever they could get their hands on. In the last episode we see that bartering isn’t for what looks good, but for what fits. This episode was really great, and I enjoyed it immensely. This probably has to be one of my favorite episodes so far in this series. Read the full article

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maurooochanthejellomjlimefan2022 · 2 years

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Vintage Merchandise Collectors commercial (2022 Edition) 8/18/22

Forgotten Charlie's Girlfriend After 60 Years, Starkist Debut In 1917, Aquired by the H.J. Heinz Company, listing product merchandise from the years:

1947 Tin Can Label Starkist Tuna Poster Vintage After 75 Years, 1959 Starkist Christmas Doll Poster, 1961 Starkist Tuna, 1970 Starkist Charlie The Tuna's Transistor Radio (Product) Poster, 1959 Starkist Fisher Man New Labels Colors, Charlie The Tuna's Clock and Watch (Both Products), Fastest Growing Major Brand Tuna in the USA Poster, Charlie The Tuna's Glass Cup, 1975 Charlie The Tuna's Lamp Poster (Product), 1960 Starkist Poster"You'll like Star-Kist Tuna Too", Starkist Tuna Egg Jamboree Poster (Product/6 New), Starkist Poster"Starkist is the Best Tuna", 1961 Ad Poster"The Great Meat from the Sea, 1950's Tonka Toys Starkist Tuna Truck, 1951 Poster Starkist Tuna Featuring Dan, Starkist Tuna Featuring Celebrities John Wayne, Sea and Garden Salad Dinner Poster, Hearty Fare Poster Featuring Chicken and Fish, 1973 Charlie's Product ???, Starkist Piggy Banks, 1961 Poster Starkist 1000 A Day Sweepstakes, Tyco Ho Starkist Toy, 1950 Starkist is the quality Tuna Poster, The Real meat from the sea Poster, Charlie the tuna's catchphrase Badge, Cufflinks Golden Charlie The Tuna, Charlie Tuna Shirt Vintage ????poster, Sand and water toys Charlie, 1975 Poster Bob's Favorite Tuna,

1974 Charlie the tuna's picture with fish, star and sorry charlie catchphrase, Natural Spring Water Poster, Charlie the tuna bathroom, O Starkist Tuna Poster, 1951 Starkist Tuna Poster 3 to 1 winners, The Tuna Charm Bracelet, 1961 Starkist Poster"Salad Bowl", Green Tuna Poster, 1960 Pelican With Chef Poster, Poster Guest Gene, Charlie Tuna's Beach Towel Poster, 1960 Sea Dogs Paper Poster, Starkist Tape (Product), Charlie The Tuna's Baseball, Starkist Poster Arthur CBS Network, The Charlie Tuna Camera Poster (Product), Poster Party, Starkist Picture With Coral And Star, Starkist Tuna Pillow, Starkist 3 Of 4 Poster, 1961 Starkist Poster Tuna and Salad, Pinwheel Pie Poster (2), Pantry Jubliee, Poster Guest Alan Ladd, Starkist Vintage Cup (70's), Sparkle Flavor Poster, Right from the Ocean Poster, Wacky Wobbler

How Many Commercials From years: 22? (60's, 70's and 80's), 13 Commercials Modern

Other Appearance: Master Card Commercial, Product People (Featuring Monster Cereals, Frute Brute, Trix, Rice Krispies, Heinz History Corner

Froot Loops Collector: Oots fray oops Lay poster, Don't be a Little Bird Poster Square, 1983 Musical Record, 1977 Hometown Hero, Oots fray oops lay Plate, Bath tub toy, Cereal cardboard, 1984 Froot Loops Doll, Toucan sam's cap 90's Hat, Toucan Sam's Puzzle, Toucan sam's plate and Tony the tiger's plate (Frosted Flakes, Rice krispies), Toucan sam's bowl, 1980 Toucan sam's cup school, Adida's toucan sam shirt, 1978 Toucan sam?, 1979 Toucan sam's Sliding Puzzle, Cool Socks, All star Kellogg's Picture 4 from the 80's, All Star kellogg's Comics Vintage, Toucan sam camera 2000's, Froot loops Cup, The Flavor of fruit, Compass, Toucan sam Animal Friends Coloring Book, Plastic Cup, Stickers, Toucan sam workout, Lunchbox, 1963 Poster coupon

I Do Not Own Nothing, All Content Belongs To Respective Owners, Credit To 1st Party & 3rd Party Companies, Credit To Everyone

#Vintage #maruchanthejellomjlimefan2022

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theultimatefan · 2 years

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Heritage Auctions Proudly Presents the Greatest Muhammad Ali Collection Ever to Step in the Ring

Troy Kinunen didn’t set out to assemble one of the world’s greatest Muhammad Ali collections; far from it. He was once solely a baseball fan, a former Little Leaguer who idolized Ruth, Mantle, Cobb, Gehrig. He coveted their keepsakes, their cards and signatures. But even decades ago, their treasures were out of reach, too expensive for a young man beginning his journey as a collector.

When Kinunen attended a New York sports memorabilia convention in 1988 and bought his first Ali piece – a poster from his Nov. 14, 1966, fight with Cleveland Williams at Houston’s Astrodome – he picked it up only because it was one of the few items he could afford. “It was colorful, it was cardboard, it was kind of small, and I thought I could display it,” says Kinunen, president and CEO of MEARS Authentications. “And a kind of light bulb went on at that very moment.”

He would spend the next three decades amassing more than 1,600 items tied to the legend of Cassius Clay and Muhammad Ali. Things Ali wore and signed during (and often after) his most memorable, immortal and infamous fights –robes, gloves, trunks, even mouthpieces (including the one from The Rumble in the Jungle!) over which he uttered those infinitely quoted taunts and jeers. Every single poster, save for one, displayed in the venues in which those 61 bouts took place. Every ticket and every pass to every bout. And every photo he could find, among them some of the earliest taken of the kid from Kentucky named Cassius.

Here, too, are the seemingly impossible to obtain keepsakes Ali accrued during his sojourn from Golden Gloves great to The Greatest, among them the elaborately embroidered prayer cap gifted to him before 1975’s Thrilla in Manila and the red robe worn before his first fight with Joe Frazier in 1971.

Kinunen’s entire Ali collection is now available to the public for the first time, as this historic assemblage serves as the centerpiece of Heritage Auctions’ July 21-23 Summer Sports Catalog Auction. “Quite simply, it is the most comprehensive Muhammad Ali collection ever to come to auction,” says Chris Ivy, Director of Sports Auctions at Heritage. “What Troy has done here is tell Ali’s life story with treasures that were present for every bout and every brag and every historic highlight in between. It’s one of the most extraordinary collections we have ever been honored to offer.”

Kinunen will be the first to admit: When he bought that first poster, he knew little about Ali outside of his appearance in ABC’s Wide World of Sports opening sequence and what he’d read in grade-school primers. But in time that flicker grew into an all-consuming flame, beginning with Kinunen’s run-ins with Ali at conventions, where he saw The Champ, slowed by age and Parkinson’s, still interact with fans just as he had decades earlier – posing for photos, sparring and shuffling with the wide-eyed and the awestruck, teasing and taunting everyone like they were Howard Cosell with a mic. “The lightning bolt hit me, and I was fully dedicated to collecting him,” Kinunen says. “I had never seen anything like that. It was so inspirational, so special, to witness it.”

Soon after Kinunen began taking out classified ads in Louisville, Ken., seeking keepsakes Ali might have given to hometown folks who knew the young Cassius Clay. The result was a goldmine of treasures offered by old friends and acquaintances to whom Ali had given the robe off his back or the gloves off his hands. Boxing Collectibles:Memorabilia, 1975 Muhammad Ali Worn Muslim Prayer Cap Presented before …“They all had a story,” Kinunen said, “They met him. They hung out with him. Sometimes they were boyhood friends. Or it was: ‘I went to the gym, and he gave me his gloves.’ Or, ‘I saw him this day, and he signed an autograph for me. Everybody I met – dozens of people, maybe a hundred people – they all had the exact same experience, so I was able to get all this great stuff direct from the source.”

Eventually, Kinunen was able to assemble an Ali collection that tells the boxer’s complete story, at least once he stepped foot into the circled square. Among the earliest keepsakes in his collection: a rare 1960 photo of Cassius Clay with Joe Martin, the Louisville police officer who pushed the young man into the ring in 1954 and later served as his boxing coach; a 1959 photo that’s likely his first newspaper portrait; and a 1960 Intercity Golden Gloves team-signed photograph that bears what’s likely Cassius Clay’s first autograph. As Kinunen began his ascent through the sports-collecting ranks, he was able to start buying things once out of his price range, among them keepsakes that had been in the collection of Ali’s longtime cornerman Drew “Bundini” Brown. After each fight, Brown took gloves, robes, trunks – whatever he could get his hands on – and kept them in a storage locker. Eventually, the contents of that locker sold at auction, and Kinunen snapped up whatever he could, including the red robe Ali wore entering his first fight with Joe Frazier on March 8, 1971, at Madison Square Garden.

Boxing Collectibles:Memorabilia, 1970's Muhammad Ali WBC Heavyweight Championship Belt Earned inVictory over George Foreman in the "Rumble in the Jungle."Frazier was declared the unanimous victor in that 15-round “Fight of the Century,” handing Ali his first professional loss – in front of Frank Sinatra, Burt Reynolds and a star-studded crowd, no less. The New York Times noted that Ali entered the ring sporting a “red and white king’s robe,” but he would say later that he believed his infidelity to his customary white-and-black garb had been part of his undoing. Forever after, The King of the World swore off wearing red. There is just this one robe, signed by the man who would never again put it on.

“It’s the crown jewel of the collection,” Kinunen says. “The red robe from the Frazier fight is iconic on many levels. It’s just very special. It catches your eye. It’s a little different than everything else. And it’s from a fight he lost. A lot of boxers, after they lose the first one, they quit or weren’t heard from again. But that motivated him more than anything to come back and become champion again. That robe is the story of the comeback. It’s a symbol of: Don’t quit, don’t give up, and overcome even the biggest adversity, such as losing to Joe Frazier at Madison Square Garden.”

From the Bundini collection, Kinunen was also able to acquire the WBC Heavyweight Championship Belt Ali reclaimed when he knocked out George Foreman in eight rounds during October 1974’s Rumble in the Jungle – the fight immortalized in Leon Gast’s Oscar-winning documentary When We Were Kings. Ali took back that which had been stripped from him seven years earlier, when he refused to be drafted into the Army to fight in Vietnam.

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justforbooks · 4 years

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The Italian publisher, editor and collector Franco Maria Ricci has died at the age of 82.

In sumptuously produced art books, and as editor of the bi-monthly art magazine FMR, Ricci published writing by Jorge Luis Borges, Italo Calvino, Umberto Eco, Roland Barthes and many others over the course of his long and distinguished career. In 2019, Susan Moore visited his estate at Fontanellato, near Parma, where in recent years Ricci had constructed the largest labyrinth in the world out of bamboo; they discussed Ricci’s notable collection of largely 18th- and 19th-century sculpture and paintings, as well as his library of books published by the great typographer Giambattista Bodoni, whose works Ricci had reprinted in his first foray into publishing. The interview is published in full below.

Collecting may be read as a form of autobiography written with works of art rather than words. In the case of Franco Maria Ricci, his is a life composed of both words and pictures. He has not only published the most lavishly produced art magazine – FMR – and art books in the world, but also spent the last 50 years amassing a peerless collection of volumes produced by the great Italian typographer, compositor and publisher Giambattista Bodoni (1740–1813) and a rich, eclectic collection of some 500 largely neoclassical and baroque paintings and sculptures. Both collections are at the heart of his most recent and extraordinary venture, the creation of the immense, star-shaped Labirinto della Masone, near Parma, the largest labyrinth in the world – and surely one of the few planted with bamboo.

There is something surreal, and slightly disturbing, about turning off the autostrada and suddenly encountering this majestic bamboo structure rising 10m or more above the plains of the Po valley. For all its elegant calligraphic stems and angular leaves, this is not the sparse specimen bamboo of Chinese ink-painting, but a forest. Here, more than 200,000 of these fast-growing bamboos arch upward in their quest for light. Once I turn into the drive of what was originally Ricci’s grandfather’s estate at Fontanellato, the brilliant azure June sky all but disappears. By the end of my two-day visit, it seems that the contrasts of light and dark are an apt metaphor for the book and art collections – and for the entire complex of maze, museum, archive and chapel, the latter built in the form of a pyramid. Ricci has always been part rationalist, part visionary.

Ricci’s story begins with the book. ‘I grew up surrounded by my father’s books. Reading Shakespeare, Homer, Joyce and Dante saved me from bad taste,’ he once said. ‘It made beauty simple, familiar and immediate in my eyes.’ It was a book, too, that transformed his life and launched a long and successful career: Bodoni’s Manuale tipografico, first published in 1818. Before his discovery of Bodoni’s works in the Biblioteca Palatina in Parma in the 1960s, a career in publishing seemed unlikely. The stylish Ricci, a racing driver and a dandy with dark cherubic curls, was best known for patterning the snow in the piazza around Parma Cathedral with the wheels of his E-type Jaguar. Even Bernardo Bertolucci remembered that car.

As a young man, Ricci had wanted to study archaeology, but an uncle in the oil world persuaded him to sign up for geology instead. After three months in Turkey spent looking for oil that was not there, he realised the oil business was not for him. Yet his education proved critical in unlikely ways. He spent weekends exploring the mysterious, labyrinthine underground tunnels and caves that are a feature of the Romagna region of Italy. He also designed posters for Parma University’s theatre festival that caught the attention of an American curator preparing a show of Italian design in New York. He became, inadvertently, a graphic artist, and went on to create striking graphics for everything from Poste Italiane to Alitalia.

Ricci has long insisted that ‘Bodoni was not only a typographer. He achieved modernity and elegance through graphic art. He was, like Canova, a champion of neoclassicism but in two dimensions. I immediately fell in love with the proportions, the concept of beauty.’ Bodoni’s genius was not simply the freshness, rigour and precision of the typefaces, with their dramatic contrasts between thick and thin line, but also his sense of how to lay out a page. Texts are set with extravagantly wide margins and with little or no decoration.

Ricci decided to reproduce the master’s Manuale tipografico, although everyone told him he was mad to do it. He bought two early offset typography machines which, he noted, were ‘as expensive as a Ferrari, which I wanted to buy but never did’, and had the highest-quality paper made exclusively for the project by Fabriano. It took a year to publish the three volumes in 900 numbered copies (1964–65). ‘So I became a publisher. It became a bestseller.’

Much to his mother’s horror, Ricci decided to continue to publish very expensive books – art books printed in Bodonian style – and later, literary editions, several series of which were edited by Jorge Luis Borges, whose presence looms large in library and labyrinth. At a time when Arte Povera dominated the Italian avant-garde, Ricci chose opulent black silk covers embossed with gold, and printed on costly pale blue Fabriano paper with handmade plates. He wanted his books to be rare – printing small editions – but also surprising. He gave Roland Barthes, Umberto Eco, Italo Calvino and Borges free rein to write accompanying texts.

His wife Laura Casalis remembers having been struck by the originality of Ricci’s 1970 book on the then little-appreciated Erté – text by Barthes – before she met the publisher himself in 1975, and soon found herself working on a book on red paper-cut portraits of Mao, accompanied by 39 of the Chairman’s own poems printed in Chinese characters. ‘Little by little I slipped into publishing with him – Franco was a workaholic and I realised that was the only way I would see him. Those Mao paper-cuts were typical of the practically unknown subjects that he would seek out all his life, and we sometimes show them between loan exhibitions in the museum. Franco has l’occhio lungo – he can see beauty in something which may take others a long time to recognise.’

It is in the library I find Ricci and, indeed, where he is to be found most mornings and afternoons. It is part of a cluster of picturesque 19th-century stone buildings surrounded by lush and increasingly exotic gardens. He had begun renovating the dilapidated stables behind his grandfather’s long-abandoned villa as a summerhouse and library in the 1970s, and its enormous hayloft still serves as an idyllic open-air dining room and entertaining space, even though the couple have now moved into the main house. Inside this romantic half-ruined folly, Ricci created the unexpected: two neoclassical library rooms lined with bookshelves and marble busts, their domed and coffered ceilings reminiscent of those in the Biblioteca Palatina.

As soon as we arrive in the inner sanctum, the Bodoni library with its more than 1,200 volumes – missing a tantalising three or four tomes but otherwise complete – Ricci is immediately up on his feet and pulling down and opening cherished volumes, eyes blazing. Despite the heat, he wears an elegant embroidered linen waistcoat but not its jacket, which hangs nearby, bearing the synthetic red flower that became in effect his iconographical device. (Tai Missoni gave him a cardigan as a present: Ricci declined the gift – he does not wear cardigans – but declared that he would always wear the red flower from its packaging thereafter, which he did. Once, when he had forgotten the flower, an officer at the Alitalia desk at Milan airport said: ‘I see you are travelling incognito today Mr Ricci.’)

Now Ricci deftly presents Bodoni’s Essai de caractères russes… of 1782, and his 1789 edition of Torquato Tasso’s pastoral play Aminta, exquisitely illuminated for the Prince of Essling. These are dear friends and the joy as he handles these pages is self-evident. This is the only significant part of the collection not to have been moved down to the museum and archive complex, a short bamboo-lined drive away. It is clear that he could never bear to live apart from these books.

The impetus to create the long-imagined labyrinth, and a museum and library to house his collections and publishing archive, was a diagnosis of Parkinson’s disease. The couple sold the publishing house in 1982, and their house in Milan, and moved to Fontanellato. There is a fierce pride in Laura Casalis’s voice as she explains: ‘Franco wanted to do it, he imagined it, and he found the right team of people to help him realise it.’ We are sitting over coffee in the Labirinto courtyard surveying the sharp-edged geometries of its rose-pink brick buildings, a place that already has the air of a lost ancient city discovered in a jungle. Laura describes the evolution of the museum collections within, and recalls the words of the late Italian publisher Valentino Bompiani, who described Ricci as a man of courage and fantasy.

‘Whenever he fell for some subject or artist, Franco would try to buy.’ Laura continues. ‘He was never concerned with what was or was not fashionable, and never bought to decorate a house. He collected pieces that he liked that were strange or unconventional.’ He began with Art Deco, first buying inexpensive little bronze and chryselephantine dancers by the likes of Demétre Chiparus (1886–1947), as well as Guiraud-Rivière’s dramatic figure of Isadora Duncan with two bears, which dominates the central space of the 20th-century gallery in the museum.

Here, too, are three paintings by the outsider artist Antonio Ligabue (1899–1965), a tormented soul who had led a tragic life, painting and wandering around the Po valley when he was not confined to a psychiatric hospital. Ricci published the first monograph on the artist in 1967, two years after his death, a work that helped catapult the artist from provincial to national and then international fame. Two years later, he bought two of the artist’s bold, visceral close-up heads of roaring tigers, painted in the 1950s, including the key work that had been selected for the book cover. A no less bright and richly impasted self-portrait in the guise of Vincent Van Gogh followed a year later.

Ricci also championed – and collected – the work of the third dominant presence in this space, Adolfo Wildt (1868–1931), often described as the last Symbolist but one whose reputation was, as Laura puts it, ‘tarnished by Fascist association’. Ricci published a monograph in 1988, the same year that he acquired the strange masterpiece that is Vir temporis acti of 1913, a virtuoso marble bust of a Greek or Roman soldier reimagined through the combined lenses of Michelangelo and the Secessionists. The expressive anguish of this head may be seen as a symbol of the nobility and redemption of sacrifice, but it is the refined and gleaming silken surface that led to Brancusi.

Ricci has a penchant not only for sculpture but also portraits, and portrait busts in particular. ‘I have hunted portraits all my life. I never get tired of looking at them,’ he confesses, ‘and in turn, I feel observed by them.’ In the 1990s, he began following the art market and collecting in earnest. Ricci had an office, bookshop and apartment in Paris and there and in Monaco he was to acquire many of his largely French 18th-century terracottas, some of the most compelling by less familiar names. A superb example is the bust of an intense, low-browed individual, signed by one A. Riffard and given the Revolutionary date of ‘9. Fructidor an 3e’, from 1794–95.

Another naturalistic tour de force is one of very few known terracottas by Francesco Orso, also known as François Orsy, a Piedmontese sculptor also active in Paris. Orso is responsible for the rarest sculptures here: the disconcerting life-size polychrome wax portrait busts of Vittorio Amadeo III of Savoy and his wife Maria Antonia Ferdinanda di Borbone, complete with painted papier-mâché clothes. The revolution destroyed the sculptor’s courtly patronage in Paris, and he diversified into the more overtly commercial world of the waxwork with a show featuring an effigy of the aristocratic revolutionary leader the Comte de Mirabeau and popular tableaux on themes such as Marat’s assassination by Charlotte Corday.

Unsurprisingly, given Ricci’s passion for Bodoni, the neoclassical looms large. At the centre of the Napoleonic gallery, lined with marble busts – Italian, English and Danish – is a model of Canova’s ideal head of Dante’s muse Beatrice, first conceived as an idealised portrait of Mme Récamier. The display offers a witty face-off between Wellington and Napoleon on opposing pedestals, but the emperor prevails with a sequence of classicising family portraits. Above hangs the second version of Francesco Hayez’s The Penitent Magdalene (1825). Here the Romantic artist has transposed the chilly perfection of Canova’s marble surfaces into pigment.

An unusual and endearing mid 18th-century Italian group portrait presents the family of Antonio Ghidini, a cloth merchant to the Bourbon court in Parma, painted by his friend, the court artist Pietro Melchiorre Ferrari (1734/5–87). In this Zoffany-style conversation piece there is no doubting Ghidini’s business, as he points to documents mentioning his association with his trading partners in Manchester and his wife sits stiffly under her salmon-pink stomacher in sprigged and striped silk finery.

Yet it would be misleading to suggest that Ricci’s ever-curious eye never ranged beyond the 18th and 19th centuries. He owns a number of 17th-century marbles, including that of the all-powerful prelate Cardinal Paluzzo Paluzzi Altieri degli Albertoni, who effectively ran the papacy under Clement X – irresistible in profile. In the 2000s Ricci also added, for example, Ludovico Carracci’s handsome three-quarter length Portrait of Lucrezia Bentivoglio Leoni (1589), executed two years before the sitter’s death. Flanking the same door is Philippe de Champaigne’s Portrait of the Duchesse d’Aiguillon (c. 1650), and viewed beyond is an unusual sensual and erotically charged work by Luca Cambiaso (1527–85), Venus Blindfolding Cupid.

Yet Ricci has also always been attracted to what he describes as the art of visionary madness, by the surreal, and by what is prosaic and popular. The museum’s cabinet of curiosities includes a narwhal horn, once thought to have belonged to the unicorn. Its walls are lined with particularly gruesome vanitas paintings and sculptures. Centre stage among the skulls is a decomposing head by Jacopo Ligozzi (1547–1627), its flesh and rotten teeth seething with maggots and flies.

Only superficially more benign are the drawings of the Codex Seraphinianus, first published in two volumes in 1981 – Ricci’s most extraordinary publication. These meticulously detailed explications of the bizarre and the fantastical illustrate an encyclopaedia of an imaginary world conceived by the artist Luigi Serafini in the 1970s and written in a language still understood only by its creator. Certainly its pages are at home in the Labirinto della Masone complex – another visionary creation, in effect a Gesamtkunstwerk, an all-embracing art work expressing the life and taste of one man.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS #Franco Maria Ricci

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brokehorrorfan · 4 years

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Graveyard of Honor will be released on Blu-ray on September 8 via Arrow Video. The two-disc set features both the original 1975 Japanese yakuza film and the 2002 remake of the same name, both based on the Fujita Goro novel.

The 1975 movie is directed by Kinji Fukasaku (Battle Royale), written by Tatsuhiko Kamoi, Hirô Matsuda, and Fumio Kônami, and stars Tetsuya Watari. The 2002 version is directed by Takashi Miike (Audition, Ichi the Killer), written by Shigenori Takechi (Izo), and stars Goro Kishitani.

Both films feature new artwork by Ian MacEwan with their original poster on the reverse side. They're housed inside a slipcase with more MacEwan art. A collector's booklet featuring writing on both films by Jasper Sharp is included.

The 1975 is presented in high definition with the original lossless Japanese PCM 1.0 mono audio and English subtitles. The 2002 film is presented in high definition with the original lossless Japanese PCM 2.0 stereo audio and English subtitles.

Special features are listed below.

Disc 1: Graveyard of Honor (1975):

Audio commentary by film critic Mark Schilling (new)

Like a Balloon: The Life of a Yakuza - Visual essay by Projection Booth podcast’s Mike White (new)

A Portrait of Rage - An appreciation of Kinji Fukasaku’s films with interviews with filmmakers, scholars, and friends of the director

On-set iterview with assistant director Kenichi Oguri

Theatrical trailer

Imagery gallery

Set during the turbulent post-war years, Kinji Fukasaku’s original 1975 film charts the rise and fall of real-life gangster Rikio Ishikawa (Tetsuya Watari). Shot through with the same stark realism and quasi-documentarian approach as Fukasaku’s earlier Battles Without Honor and Humanity, Fukasaku nonetheless breaks new ground through his portrayal of a gangster utterly without honor or ethics, surviving by any means necessary in a world of brutal criminality.

Disc 2: Graveyard of Honor (2002):

Audio commentary by Takashi Miike biographer Tom Mes (new)

Visual essay by film critic Kat Ellinger (new)

Interview special with director Takashi Miike and actors Goro Kishitani and Narimi Arimori

Premiere special with director Takashi Miike and actors Goro Kishitani and Narimi Arimori

Making-of featurette

Making-of teaser

EPK interviews with director Takashi Miike and actors Goro Kishitani and Narimi Arimori

Theatrical trailer

Image gallery

Takashi Miike’s 2002 retelling transplants the story to Tokyo at the turn of the millennium. Less a direct remake of Fukasku’s film than a radical reimagining of the same overarching premise, Miike’s film captures both the hedonism and nihilism of the modern Japanese crime scene in deliriously stylish fashion, resulting in a fascinating companion piece to the original that nonetheless stands as its own entity.

#graveyard of honor #takashi miike #kinji fukasaku #japanese film #yakuza #arrow video #ian macewan #dvd #gift #tetsuya watari #goro kishitani #Rikio Ishikawa #yakuza movie #foreign film #japanese movie

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eildotcom · 4 years

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PINK FLOYD Wish You Were Here. Sealed September 1975 Japanese first press 5-track vinyl LP, housed in the iconic picture sleeve complete with lyric inner, fold-out 'History of Pink Floyd' insert, a 20" x 30" fold-out poster, glossy Hipgnosis designed postcard & the first issue blue shrink with both the round Wish You Were Here title sticker & rectangular Japanese price sticker attached. This incredible collector's copy remains factory SEALED from new in the origiginal dark blue shrink, apart from some light general wear to the shrink this example remains unopened & unplayed. The very best of the best! Available from https://eil.com/shop/moreinfo.asp?catalogid=688012 #eildotcom #eil #records #vinyl #rarerecords #rarelps #rock #pop #proy#cratedigging #vinyljunkie #vinylcollection #recordcollection #vinylporn #instavinyl #Japanese #PinkFloyd https://www.instagram.com/p/B5v-jIfB7Ws/?igshid=18hpmuo5mi92i

#eildotcom #eil #records #vinyl #rarerecords #rarelps #rock #pop #proy #cratedigging #vinyljunkie #vinylcollection #recordcollection #vinylporn #instavinyl #japanese #pinkfloyd

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milliondollarbaby87 · 5 years

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Prop Store – one of the world’s leading film and TV memorabilia companies has today announced it is to hold the UK’s largest annual live auction of film and TV memorabilia for the sixth consecutive year this September, with the items on offer expected to fetch in excess of £6 million ($7.5 million). The auction is to be held at London’s BFI IMAX proudly presented by ODEON, Europe’s largest cinema group.

900 rare and iconic lots will be sold during Prop Store’s unique Entertainment Memorabilia Live Auction over two days on Monday 30th September and Tuesday 1st October 2019 in Waterloo, London.

The auction will be live-streamed online for fans to track the bidding on auction days. A free preview exhibition will be open to the public in the run up to the auction, opening on Wednesday 18th September – Tuesday 1st October 2019 at the BFI IMAX and showcasing over 250 lots from the upcoming auction.

Top items to be sold at the Prop Store auction (with estimated sale prices) include:

Maximus’ Screen-Matched Roman General Armour (Russell Crowe) from GLADIATOR (2000) est: £30,000-50,000

Jack Torrance’s Hero Axe (Jack Nicholson) from THE SHINING (1980) est: £40,000-60,000

William Wallace’s Hero Claymore Sword (Mel Gibson) from BRAVEHEART (1995) est: £30,000-50,000

Mace Windu’s Lightsaber (Samuel L. Jackson) from STAR WARS: REVENGE OF THE SITH (2005) est: £50,000-100,000

Holy Hand Grenade of Antioch from MONTY PYTHON AND THE HOLY GRAIL (1975) est: £50,000-100,000

Screen-Matched Tantive IV Stormtrooper Helmet from STAR WARS: A NEW HOPE (1977) est: £120,000-180,000

Batman’s Complete Batsuit (Michael Keaton) from BATMAN (1989) est: £80,000-120,000

Radio-Controlled Hero Ghost Trap and Pedal from GHOSTBUSTERS (1984) est: £80,000-120,000

Light-Up Remote Control R2-BHD Droid from STAR WARS: ROGUE ONE: A STAR WARS STORY (2016) est: £60,000-80,000

Special Effects Facehugger from ALIEN (1979) est: £50,000-70,000

Spock’s Screen-Matched Science Officer Costume (Leonard Nimoy) from STAR TREK: THE ULTIMATE COMPUTER & THE OMEGA GLORY (TV series 1966-1969) est: £50,000-70,000

James Bond’s Hero Walther PPK Pistol with Silencer and Holster (Pierce Brosnan) from JAMES BOND: GOLDENEYE (1995) est: £40,000-60,000

Freddy Kruger’s Glove (Robert Englund) from FREDDY VS. JASON (2003) est: £20,000-30,000

Storm’s X-Suit (Halle Berry) from X-MEN (2000) est: £20,000-30,000

John Hammond’s Costume (Richard Attenborough) from JURASSIC PARK (1993) est: £15,000-25,000

Riddler’s Costume (Jim Carrey) from BATMAN FOREVER (1995) est: £10,000-15,000

Vito Corleone’s Screen-Matched Brown Pea Coat (Robert De Niro) from THE GODFATHER: PART II (1974) est: £10,000-15,000

Tony Stark’s Desert Costume Display (Robert Downey Jr.) from IRON MAN (2008) est: £10,000-15,000

Forrest Gump’s Screen-Matched Bus Stop Nikes and Socks (Tom Hanks) from FORREST GUMP (1994) est: £8,000-10,000

The Terminator’s Autographed Motorcycle Jacket (Arnold Schwarzenegger) from TERMINATOR 2: JUDGMENT DAY (1991) est: £8,000-10,000

From Julie Dawn Cole’s (Veruca Salt) personal collection: Scrumdidlyumptious Wrapper from WILLY WONKA AND THE CHOCOLATE FACTORY (1971) est: £6,000-8,000

The Prop Store auction is suitable for fans with a variety of budgets. Some of the least expensive lots in the auction include a Willy Wonka Golden Ticket Announcement Poster from Tim Burton’s CHARLIE AND THE CHOCOLATE FACTORY (2005) estimated at £300, and a Mr DNA Animation Cel Autographed By Steven Spielberg from JURASSIC PARK (1993) estimated to sell for £600.

Registration is now open at www.propstore.com/liveauction. Online proxy bids can be submitted from Monday 2nd September 2019.

Stephen Lane, Prop Store CEO commented on the upcoming auction: “After breaking more records with last year’s sale, Prop Store are thrilled to announce our sixth live auction in London and pleased to be partnering with ODEON again. This year sees us bring 900 lots to the auction, now held over two days, allowing us to present even more of these incredible artefacts to a global audience of film fans and collectors to London’s BFI IMAX, who can visit the free exhibition and place bids in our auction to secure original pieces of film and TV history.”

Chris Bates, Commercial Director at ODEON UK & Ireland said: “We are delighted to welcome back the iconic Prop Store exhibition to London’s BFI IMAX. ODEON is proud to present the UK’s largest annual live auction of film and TV memorabilia for the sixth year running. There is an incredible collection of items up for auction this year and we very much look forward to welcoming film fans through our doors to see some of the world’s most well-known props and cinema moments. ”

Auction items will be on display at a free exhibition open to the public at the BFI IMAX, Waterloo, London, England SE1 8XR from 10:00am to 9:30pm, 18th September – 1st October 2019. Prop Store’s Entertainment Memorabilia Live Auction, in partnership with the BFI IMAX proudly presented by ODEON, will take place at the BFI IMAX Waterloo (1 Charlie Chaplin Walk, London SE1 8XR) over two days on Monday 30th September and Tuesday 1st October 2019 from 1:00pm.

What would you most like to buy if money was no option?

RARE & ICONIC FILM & TV MEMORABILIA WORTH IN EXCESS OF £6 MILLION ($7.5 MILLION) TO BE AUCTIONED IN THE UK NEXT MONTH Prop Store – one of the world’s leading film and TV memorabilia companies has today announced it is to hold the UK’s largest annual live auction of film and TV memorabilia for the sixth consecutive year this September, with the items on offer expected to fetch in excess of…

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myvinylplaylist · 1 year

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Guns N’ Roses: Chinese Democracy Best Buy Promotional Posters (2008)

#my vinyl playlist #guns n’ roses #chinese democracy #axl rose #best buy exclusive #promotional posters #poster art #poster collector 1975 #hard rock #heavy metal #classic rock #album art #album cover

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postercollector1975 · 10 months

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Cradle 2 The Grave

Home Video Release Poster

2003 Warner Bros. Pictures

#poster collector 1975 #cradle 2 the grave #jet li #dmx #anthony anderson #kelly hu #tom arnold #mark dacascos #gabrielle union #movie poster #promotional posters #home video #warner bros. pictures

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scifigeneration · 5 years

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Protecting human heritage on the moon: Don't let 'one small step' become one giant mistake

by Michelle Hanlon

Neil Armstrong took this photograph of Buzz Aldrin during the Apollo 11 extravehicular activity on the moon. NASA

Why did the hominin cross the plain? We may never know. But anthropologists are pretty sure that a smattering of bare footprints preserved in volcanic ash in Laetoli, Tanzania bear witness to an evolutionary milestone. These small steps, taken roughly 3.5 million years ago, mark an early successful attempt by our common human ancestor to stand upright and stride on two feet, instead of four.

Nearly 50 years ago, Neil Armstrong also took a few small steps. On the moon. His bootprints, along with those of fellow astronaut Buzz Aldrin, are preserved in the lunar soil, called regolith, on what Aldrin described as the “magnificent desolation” of the moon’s surface. These prints, too, bear witness to an evolutionary milestone, as well as humankind’s greatest technological achievement. What’s more, they memorialize the work of the many individuals who worked to unlock the secrets of space and send humans there. And those small steps pay homage to the daring men and women who have dedicated – and those who lost – their lives to space exploration.

The evidence left by our bipedal ancestors are recognized by the international community and protected as human heritage. But the evidence of humanity’s first off-world exploits on the moon are not. These events, separated by 3.5 million years, demonstrate the same uniquely human desire to achieve, explore and triumph. They are a manifestation of our common human history. And they should be treated with equal respect and deference.

I’m a professor of aviation and space law and an associate director of the Air and Space Law Program at the University of Mississippi School of Law. My work focuses on the development of laws and guidelines that will assist and promote the successful and sustainable use of space and our transition into a multi-planet species. During the course of my research, I was shocked to discover that the bootprints left on the moon, and all they memorialize and represent, are not recognized as human heritage and may be accidentally or intentionally damaged or defaced without penalty.

One of Buzz Aldrin’s first bootprints from his Apollo 11 moonwalk on July 20, 1969. NASA

Heritage gets no respect

On Earth, we see evidence of this type of insensitivity all the time. The Islamic State has destroyed countless cultural artifacts, but it’s not just terrorists. People steal pieces of the Pyramids in Gaza and sell them to willing tourists. Tourists themselves see no harm in grabbing cobblestones that mark roads built by ancient Romans or snapping the thumbs off terra cotta warriors crafted centuries ago to honor a Chinese emperor.

And, just last year, Sotheby’s auctioned off a bag – the first bag that Neil Armstrong used to collect the first moon rocks and dust ever returned to Earth. The sale was entirely legal. This “first bag” ended up in the hands of a private individual after the U.S. government erroneously allowed it to be included in a public auction. Rather than return the bag to NASA, its new owner sold it to the highest bidder for US$1.8 million. That’s a hefty price tag and a terrible message. Imagine how much a private collector would pay for remnants of the first flag planted on the moon? Or even just some dust from Mare Tranquilitatis?

The fact is if people don’t think sites are important, there is no way to guarantee their safety – or the security of the artifacts they host. Had the first bag been recognized as an artifact, its trade would have been illegal.

The taller Buddha of Bamiyan before (left) and after (right) destruction. UNESCO/A Lezine, CC BY-SA

Introducing ‘For All Moonkind’

That’s why I co-founded the nonprofit For All Moonkind, the only organization in the world committed to making sure these sites are protected. Our mission is to ensure the Apollo 11 landing and similar sites in outer space are recognized for their outstanding value to humanity and protected, like those small steps in Laetoli, for posterity by the international community as part of our common human heritage.

Our group of nearly 100 volunteers – space lawyers, archaeologists, scientists, engineers, educators and communicators from five continents – is working together to build the framework that will assure a sustainable balance between protection and development in space.

Here on Earth, the international community identifies important sites by placing them on the World Heritage List, created by a convention signed by 193 nations. In this way, the international community has agreed to protect things like the cave paintings in Lascaux, France and Stonehenge, a ring of standing stones in Wiltshire, England.

There are no equivalent laws or internationally recognized regulations or even principles that protect the Apollo 11 landing site, known as Tranquility Base, or any other sites on the moon or in space. There is no law against running over the first bootprints imprinted on the moon. Or erasing them. Or carving them out of the moon’s regolith and selling them to the highest bidder.

Between 1957 and 1975, the international community did dedicate a tremendous amount of time and effort to negotiating a set of treaties and conventions that would, it was hoped, prevent the militarization of space and ensure freedom of access and exploration for all nations. At the time, cultural heritage in outer space did not exist and was not a concern. As such, it is not surprising that the Outer Space Treaty, which entered into force in 1967, doesn’t address the protection of human heritage. Today, this omission is perilous.

Because, sadly, humans are capable of reprehensible acts.

Back to the moon

Currently there are a comparative trickle of companies and nations with their sights on returning to the moon. China landed a rover on the far side in January. An Israeli company hopes to reach the moon in March. At least three more private companies have plans to send rovers in 2020. The U.S., Russia and China are all planning human missions to the moon. The European Space Agency has its sights on an entire Moon Village.

But as history shows, this trickle of explorers could soon become a rush. As we straddle the threshold of true space-faring capability, we have an extraordinary opportunity. We have time to protect our common heritage, humanity’s first steps, on the moon before it is vandalized or destroyed.

If our hominin ancestor had a name, it is lost to history. Conversely, English novelist J.G. Ballard suggested that Neil Armstrong may well be the only human being of our time remembered 50,000 years from now.

If we do this right, 3.5 million years from now, not only will his name be remembered, his bootprint will remain preserved and the story of how Tranquility Base became the cradle of our space-faring future will be remembered forever, along with the lessons of tumultuous history that got us to the moon. These lessons will help us come together as a human community and ultimately advance forward as a species.

To allow anything else to happen would be a giant mistake.

About The Author:

Michelle Hanlon is a Professor of Air and Space Law at the University of Mississippi.

This article is republished from our content partners at The Conversation under a Creative Commons license.

#space #science #moon landing #NASA #apollo mission

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viktorbezic · 5 years

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Constraints Journal: How Yayoi Kusama started her path to becoming an artist after writing to one of her heroes, Georgia O’Keefe.

Discipline: Painting, Sculpture, Performance Art

Yayoi Kusama was born to an affluent merchant family in Matsumoto, Nagano Prefecture, Japan in 1929. As a child, her mother was physically abusive and would also send her to spy on her father who would frequently have extramarital affairs. This would cause Yayoi mental anguish later in life. She embraced art and early age. All Kusama wanted to do was paint. However, her family’s plans were for her to marry, become a wife and the head of a household. As there was no future in painting for women at that time in Japan. She dreamed of leaving Japan. Not only because of her family troubles but also Japan's conservative culture. Kusama described Japan at the time as, "too small, too servile, too feudalistic, and too scornful of women” (1). Yayoi had her sights on becoming an artist in America.

In a second-hand bookshop in Matsumoto, Kusama found a book of paintings by the American artist, Georgia O’Keefe. O’Keefe was the only American artist Yayoi knew anything about. She also heard from a friend that O’Keefe was the most famous painter in the United States. Yayoi would ride the train from Matsumoto to Shinjuku in Tokyo to the American embassy to go through their copy of Who’s Who and was ecstatic when she actually found Georgia O’Keefe’s mailing address. Kusama wrote a letter to O’Keefe of her desires to be a professional painter in America and enclosed some of her recent watercolor paintings. To her surprise, O’Keefe wrote back. O’Keefe let the young Kusama know how difficult it was to be an artist, especially a female artist. O’Keefe promised she would do everything that she could to help Yayoi out, but she was old and had retreated from the city to the desert of New Mexico. This was the first of many encouraging letters Yayoi would receive from O’Keefe. (2)

O’Keefe’s response inspired Kusama to find a distant relative to sponsor her to get into the United States. Her official purpose on her immigration papers was to have a solo art exhibition in Seattle. In Japan, It was against the law to transfer any significant amounts of yen to dollars let alone leave the country with them. When Kusama was preparing to leave Japan, she sowed the dollar bills into her dress and stuffed the others into the toes of her shoes. Her ultimate goal was to make it to New York as she believed it to be one of the world's art epicenters. At the age of 27, she landed in Seattle. After a year in Seattle, she did just that and finally made it to New York City.

Yayoi described New York City as hell on Earth as she had tremendous difficulty there. She lived in abject poverty. Her studio windows were broken, and she used a discarded door she found out on the street as a bed and laid the only sheet she had on top of it. Dinner during this time would either be a handful of chestnuts from a friend or soup’s she would make with discarded fish heads along with the rotting outer leaves of lettuce the green grocer tossed out. Kusama said the only way she could tolerate the cold and hunger was to paint relentlessly as it was impossible to sleep (3). She suffered mental breakdowns and panic attacks. After being rushed to emergency on numerous occasions, the hospital strongly recommended that Yayoi go to a psychiatrist and potentially a mental institution.

To Yayoi’s surprise, Georgia O’Keefe would visit her in New York and determined to help her introduced Kusama to her own art dealer Edith Halpert. She kept painting her infinity net series. Which consisted of paintings of black dots enveloped by white nets. The paintings were large scale and repetitive. Out of the thousands of dots, Yayoi referenced that a single dot was herself. A single point in the universe. A single particle among billions. She carried one of her canvases of infinity net paintings 40 blocks for submission to be considered for the Whitney Annual. It didn’t resemble the Whitney of today as it was far more conservative back then. She was rejected and had to carry her canvas 40 blocks back to her studio. Through her introductions, she had her first solo show at the Brata Gallery and got some favorable reviews. Kusama made her first close friend in the art world, the conceptual artist and critic Donald Judd (4). Not only did he buy one of her pieces but wrote her a favorable review. This show would open opportunities for other group exhibitions and shows in New York, Boston, and DC.

Kusama would continue to receive favorable reviews for her work. However, artists who copied her work would get more credit for her creative breakthroughs than she would. Yayoi had an exhibition at the Green Gallery, where she created soft sculptures. The art consisted of objects that were covered in phallic soft sculptures. Claes Oldenburg was part of the same show and was working with stiff paper mache at the time. Sewing to create artwork wasn’t seen as masculine which is why Oldenburg stayed away from it initially. After Yayoi, went to see one of Oldenburg's new shows, he completely changed his approach and adopted soft-sculpture. Oldenburg’s wife and art assistant Pat, helped him sew his soft sculptures together. The influence was so blatant that Pat pulled Kusama aside and said, “Yayoi, Forgive us!” Oldenburg’s soft sculptures would gain critical acclaim and would launch his career as one of the first sculptor’s of the pop art movement (5).

Other artists, in addition to Oldenburg, found it irresistible to steal ideas from Kusama. This included Andy Warhol. But this isn’t as surprising as he built a career off of appropriation. At Yayoi's solo New York show at the Gertrude Stein Gallery in 1963, her work titled: “Aggregation One Thousand Boats Show,” she displayed a boat that was covered in her soft sculptures and on the ceilings, and walls were 999 black and white images of the sculpture covering the room. It was Kusama’s first foray into creating immersive environments. According to Kusama, Warhol came to her show and exclaimed, “Yayoi, what is this? It’s fantastic!” Warhol would later paper the walls and ceiling with silkscreened cow head posters at the Leo Castelli Gallery (6).

By creating environments, Kusama made another breakthrough. A pioneering move. Which was to create entire rooms that were works of art. In the Instagram age, this is commonplace now. Building environments people can take selfies in. One of the more well-known ones being 29Rooms created by the online publisher Refinery29. For Kusama portraits weren’t the objective. Immersion into the art was. She extended her theme of infinity nets on canvas into infinity rooms. With space exploration and the various scientific discoveries that were in the media, people collectively became more aware of infinity. In March of 1966, she would make the debut of her piece “Peep Show” at the Castellane Gallery in New York. It was a room with carefully placed mirrors with openings you could put your head in into and feel a sense of infinity through the mirrored reflections. The mirrors were arranged in an octagon shape with colored electric lights. The lights felt like stars in the illusory infinite space. In the same year a few months later in October of 1966, Lucas Samaras made a similar mirrored room at the far more established PACE Gallery despite ever having used mirrors before. It appeared to be a blatant ripoff of Kusama’s work (7).

Yayoi made critical, creative breakthroughs in her work that other artists had copied and made part of their own shows. They'd be taken up by the art establishment and collectors while Yayoi was ignored. In the latter part of the decade, Kusama staged “Happenings” that were performance art pieces that became popular during the beat and hippie movements which involved sexual acts and nudity. The happenings were used sometimes for collective creative expression and other times for political protest. By 1972 Kusama would be listed in the book American Who’s Who. The same book in which in which she found Georgia O’Keefe’s contact details that began their mutual correspondence.

In 1973 Kusama's health began to deteriorate. She was in Japan for a brief visit and checked herself into a hospital when she had an episode of anxiety and hallucinations. Her condition worsened, so she decided to stay in Japan. She checked herself back into the hospital in 1975 due to her flickering vision and hallucinations. By 1977 she would commit herself permanently to the hospital in Shinjuku. Right around the corner from her studio. She would leave the hospital only to work in her studio. Since her hospitalization, Kusama continued to produce art. According to Kusama, if it weren’t for art, she would have killed herself a long time ago (8).

In 1993 for the 45th Venice Biennale, she was officially invited to represent Japan. It was the first solo exhibition by a single artist at the Japanese Pavilion. Yayoi's previous appearance at the Biennale was in 1966, uninvited. She is now exhibited in galleries worldwide and has had significant retrospectives including one at the MOMA in New York. There are long lines and wait-lists to see her infinity mirrored rooms at many galleries including the Broad in Los Angeles. A large of a portion of her works now reside in her hometown in the Matsumoto City Museum of Art.

Reference

1. Frank, Priscilla (9 February 2017). "Japanese Artist Yayoi Kusama Is About To Make 2017 Infinitely Better". Huffington Post. Retrieved 11 March 2017.

2. Kusama, Yayoi. Infinity Net: The Autobiography of Yayoi Kusama. Tate Publishing, 2013. p.10.

3. Ibid. p. 15.

4. Ibid. p. 23.

5. Lenz, Heather, director. Kusama: Infinity. Magnolia Pictures, 2019.

6. Ibid.

7. Ibid.

8. Kusama, Yayoi. Infinity Net: The Autobiography of Yayoi Kusama. Tate Publishing, 2013. p.226.

#my writing #writing #long reads #constraints journal #writers on tumblr #yayoi kusama

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thehipsterzombiejointexperience · 5 years

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Per Skreeonk.com:

The cover is retro, funky, and certainly aimed at pulling in non-fanatics with a strong design. Upon further inspection, the rest of the set is, too, with new cover designs created by well-known artists for each film in the 1954-1975 era we all hold so dear. We’ll get to the art in a moment, however. First, let’s celebrate what Criterion managed to include for this release (in their own words):

EIGHT-BLU-RAY SPECIAL EDITION COLLECTOR’S SET FEATURES

High-definition digital transfers of all fifteen Godzilla films made between 1954 and 1975, released together for the first time, with uncompressed monaural soundtracks

High-definition digital transfer of Godzilla, King of the Monsters (1956), the U.S.-release version of Godzilla

Japanese-release version of King Kong vs. Godzilla from 1962

Audio commentaries from 2011 on Godzilla and Godzilla, King of the Monsters featuring film historian David Kalat

International English-language dub tracks for Invasion of Astro-Monster, Son of Godzilla, Destroy All Monsters, Godzilla vs. Megalon, Godzilla vs. Mechagodzilla, and Terror of Mechagodzilla

Directors Guild of Japan interview with director Ishiro Honda, conducted by director Yoshimitsu Banno in 1990

Programs detailing the creation of Godzilla’s special effects and unused effects sequences from Toho releases including Destroy All Monsters

New interview with filmmaker Alex Cox about his admiration for the Showa-era Godzilla films

New and archival interviews with cast and crew members, including actors Bin Furuya, Tsugutoshi Komada, Haruo Nakajima, and Akira Takarada; composer Akira Ifukube; and effects technicians Yoshio Irie and Eizo Kaimai

Interview with critic Tadao Sato from 2011

Illustrated audio essay from 2011 about the real-life tragedy that inspired Godzilla

New English subtitle translations

Trailers

PLUS: A lavishly illustrated deluxe hardcover book featuring an essay by cinema historian Steve Ryfle, notes on the films by cinema historian Ed Godziszewski, and new illustrations by Arthur Adams, Sophie Campbell, Becky Cloonan, Jorge Coelho, Geof Darrow, Simon Gane, Robert Goodin, Benjamin Marra, Monarobot, Takashi Okazaki, Angela Rizza, Yuko Shimizu, Bill Sienkiewicz, Katsuya Terada, Ronald Wimberly, and Chris Wisnia

In 1954, an enormous beast clawed its way out of the sea, destroying everything in its path—and changing movies forever. The arresting original Godzilla soon gave rise to an entire monster-movie genre (kaiju eiga), but the King of the Monsters continued to reign supreme: in fourteen fiercely entertaining sequels over the next two decades, Godzilla defended its throne against a host of other formidable creatures, transforming from a terrifying symbol of nuclear annihilation into a benevolent (if still belligerent) Earth protector. Collected here for the first time are all fifteen Godzilla films of Japan’s Showa era, in a landmark set showcasing the technical wizardry, fantastical storytelling, and indomitable international appeal that established the most iconic giant monster the cinema has ever seen.

Pretty fantastic, right? While it is a bit disappointing not to have both the Japanese original and U.S. releases accompanying one another (as we’ve become accustomed to), being treated to a release of each film in its intended form is certainly a best-case scenario in 2019. TOHO has grown increasingly – and justifiably – protective of these films, so seeing only a handful of dubs included should come as no surprise.

A wonderful amount of extras are headed our way, too, including limited commentaries, and – much more excitingly – interviews with legacy TOHO cast, crew, and creators.

Nothing, however, excites us as much as this – which guarantees that this set is going to deliver the best experience U.S. audiences have ever had with a home release of these classic films:

High-definition digital transfers of all fifteen Godzilla films made between 1954 and 1975, released together for the first time, with uncompressed monaural soundtracks

Yet all of this seems to be swallowed up whole by Criterion’s decision to treat this more as another one of their boxed sets, rather than a celebration of the Showa series itself. Whether TOHO was unwilling to license posters and art is unclear (and unlikely), but Criterion has absolutely put their focus on pulling a diverse group of artists in to flesh out their loud, exciting presentation. Even in their own breakdown of the set, they’ve chosen to list this grouping of artists last; putting a great amount of focus on this aspect of their release.

This amazing box set arrives October 29th– and if the set retails at it’s intended $180 it’s not only a great chance for fans to own the entire Showa series – but a fairly priced one, too.

We’ve included a full gallery of Criterion’s new covers below. GODZILLA: THE SHOWA-ERA COLLECTION is now available to order via their website – and will be hitting other major retailers, such as Amazon and Target, soon. Until then!

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Criterion Continues To Do The Lord’s Work With The Release Of The Complete Godzilla Showa Era Box Set! Per Skreeonk.com: The cover is retro, funky, and certainly aimed at pulling in non-fanatics with a strong design.

#box set #criterion #Godzilla #hipsterzombiejoint #japan #kaiju #king Ghidorah #king kong #mothra #rodan #showa era #skreeonk

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docrotten · 2 years

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A BOY AND HIS DOG (1975) – Episode 159 – Decades of Horror 1970s

Blood: “You know, Albert, sometimes you can be such a putz…” Vic: “A putz? What's a putz? It's somethin' bad, isn't it? You better take that back or I'm gonna kick your fuzzy butt!” Blood: “[sighs] Yep, definitely a putz.” Putz: a stupid, foolish, or ineffectual person; (US vulgar slang) penis (Merriam-Webster). Hmm. Yep, definitely a putz. Join your faithful Grue Crew - Doc Rotten, Chad Hunt, Bill Mulligan, and Jeff Mohr and Daphne Monary-Ernsdorff - as they relish A Boy and His Dog (1975), based on Harlan Ellison’s Nebula award-winning novella, written and directed by L.Q. Jones, starring Jason Robards and a young Don Johnson.

Decades of Horror 1970s Episode 159 – A Boy and His Dog (1975)

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A young man and his telepathic dog wander a post-apocalyptic wasteland.

IMDb

Director: L.Q. Jones

Writers: L.Q. Jones (screenplay); Harlan Ellison (novella)

Cinematography: John Arthur Morrill

Selected cast:

Don Johnson as Vic

Tim McIntire (voice) as Blood

Susanne Benton as Quilla June Holmes

Jason Robards as Lou Craddock

Alvy Moore as Doctor Moore

Helene Winston as Mez Smith

Charles McGraw as Preacher

Hal Baylor as Michael

Ron Feinberg as Fellini

Michael Rupert as Gery

Be forwarned. Bill and Jeff go all fanboy over Harlan Ellison during this episode. A Boy and His Dog is Bill’s pick and he already loved Ellison’s amazing writing by the time he saw this film. He was a little disappointed at first because of the low budget, but he has grown very fond of the film, liking it more each time he sees it. He also points out the direct line from A Boy and His Dog to George Miller’s “Mad Max” movies. The smiley-faced mushroom cloud on the poster put Chad off A Boy and His Dog for a long time, but he now sees it as a pretty cool apocalyptic story that gets a little weird at times. He loves the dog and the depiction of Man falling back to baser instincts. Chad first heard of Harlan Ellison in “The Brute that Shouted Love at the Heart of the Atom,” an incredible, classic storyline in The Incredible Hulk No. 140. The violence and the post-nuclear war setting disturbed Daphne the first time she saw A Boy and His Dog, wondering how people would be affected and how they would act in that situation. This time around, she really likes it and vows to read more Ellison. At first, Jeff had a little trouble reconciling the inherent differences between print and film media but has come to love A Boy and His Dog. He sees the creation of this movie, through the coming together of L.Q. Jones and Harlan Ellison, to be an amazing and serendipitous accomplishment.

When you rewatch A Boy and His Dog, and you know you will, it is readily available. At the time of this writing, the movie can be streamed from Kanopy, Tubi w/ads, and a variety of other subscription and VOD streaming services. A Boy And His Dog (Collector's Edition) [BluRay/DVD] is also available from Shout Factory and includes a fascinating and entertaining, 50-minute one-on-one between L.Q. Jones and Harlan Ellison.

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror two-week rotation with The Classic Era and the 1980s. In two weeks, Decades of Horror 1970s is trying something new while taking a relatively short break from producing new episodes. Instead, you, Grue-Believers, will be treated to some classic episodes of Monster Movie Podcast featuring Doc Rotten, The Black Saint, et al. Monster Movie Podcast is the original incarnation of what led to Decades of Horror podcasts.

We want to hear from you – the coolest, grooviest fans: leave us a message or leave a comment on the site or email the Decades of Horror 1970s podcast hosts at [email protected].

Check out this episode!

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