North Korean anti-american propaganda









via popgive.com






via calitreview.com







via mstrum.com/onmywaytokorea




Laurie Lipton @ Grand Gentral Art Center Museum

Laurie Lipton

WEAPONS OF MASS DELUSIONS


May 1 – June 13, 2010


Grand Central Art Center Museum Show



On




Time Travel



see more @ copronason.com




Grafica Liberty



Umberto Bottazzi, Emporium, copertina, 1899



Giovanni Maria Mataloni, Società Anonima per la Incandescenza a gas, 1895



Leopoldo Metlicovitz, Madame butterfly, 1904



Achille Beltrame, Loden Dal Brun, 1901



Marcello Dudovich, Cordial Campari




Adolfo Hohenstein, Chiozza e Turchi Fabbrica di Saponi, 1899



many more images @ arteliberty.it




Modernist posters


Franz Von Stuck, Internationale Hygiene Ausstellung Dresden, 1911



Josef Fenneker (attributed to), The dance of death, 1919



René Magritte, La marche des snobs, 1924



Designer unknown, Chinese propaganda, 1970s



Tadanori Yokoo, Haizuka, 1971



via catalogue.swanngalleries.com




Jean Jacques Lequeu


Le grand baailleur



Self-portrait



Il est libre


via community.livejournal.com





via longstreet.typepad.com




Mikhail O. Dlugach



via elite-view.com



Parizhski sapozhnik, 1928



Tsena zhizni (The Price of Life), 1940

via modernisminc.com



Togui Island, 1929

via earthstation1.com



Henry Darger @ American Folk Art Museum


The Private Collection of Henry Darger


April 6–September 19, 2010


American Folk Art Museum


folkartmuseum.org


more info: folkartmuseum.org/dargerprivatecollection



What Henry Darger displayed on the walls of his apartment in the Lincoln Park neighborhood of Chicago is on public view, for the first time, in the exhibition The Private Collection of Henry Darger, from April 6 through September 19, 2010. Brooke Davis Anderson, curator and director of The Contemporary Center and the Henry Darger Study Center, has selected nearly 40 cardboard collages from the more than 80 in Darger’s personal collection that are now part of the American Folk Art Museum’s holdings. These are the artworks that Darger lived with and saw every day.

Like many practicing artists, Darger surrounded himself with his own production. Modestly scaled, executed with simple supplies on readily available material, reclaimed and repurposed, the collages are framed in inventive ways. The images are also surprising. “They illustrate a previously unexplored aspect of Dargerís creative world,” notes Ms. Anderson. Rather than the familiar large-scale, scroll-like, brightly colored landscapes, battle scenes, and weather-related watercolors, these intimate works are primarily portraits: faces of girls and boys, men and women. The countless images of people were cut from newspapers, magazine illustrations, coloring book pages, and photographic enlargements.

Darger used cardboard and other found boards as his backing and layered the images densely in a collage technique. He often framed images with Christmas Seal stamps. Less frequently, he encased his composition in wax paper strengthened by medical tape, mirroring more conventional framing methods and materials. Because of the fragile nature of newsprint and paper and the deleterious effects of the coal-burning stove in his apartment, both inherent vices, the collages exude a patina of age and use (continue reading @ artdaily.org)



Untitled (Two Girls and a Dog Sitting in Garden), 1959



Untitled (Religious Collage with Madonna and child)





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