300 square feet


José Clemente Orozco (November 23, 1883 – September 7, 1949) was a Mexican painter, who specialized in political murals that established the Mexican Mural Renaissance together with murals by Diego Rivera, David Alfaro Siqueiros, and others. Orozco was the most complex of the Mexican muralists, fond of the theme of human suffering, but less realistic and more fascinated by machines than Rivera. Mostly influenced by Symbolism, he was also a genre painter and lithographer. Between 1922 and 1948, Orozco painted murals in Mexico City, Orizaba, Claremont, California, New York City, Hanover, New Hampshire, Guadalajara, Jalisco, and Jiquilpan, Michoacán. His drawings and paintings are exhibited by the Carrillo Gil Museum in Mexico City, and the Orozco Workshop-Museum in Guadalajara. Orozco was known for being a politically committed artist and promoted the political causes of peasants and workers.

José Clemente Orozco was born in 1883 in Zapotlán el Grande (now Ciudad Guzmán), Jalisco to Rosa de Flores Orozco. He married Margarita Valladares, and had three children. At the age of 21, Orozco lost his left hand while working with gunpowder to make fireworks.

The satirical illustrator José Guadalupe Posada, whose engravings about Mexican culture and politics challenged Mexicans to think differently about post-revolutionary Mexico, worked in full view of the public in shop windows located on the way Orozco went to school. In his autobiography, Orozco confesses, “I would stop [on my way to and from school] and spend a few enchanted minutes in watching [Posada]… This was the push that first set my imagination in motion and impelled me to cover paper with my earliest little figures; this was my awakening to the existence of the art of painting” (Orozco, 1962). He goes on to say that watching Posada’s engraving decorated gave him his introduction to the use of color. After attending school for Agriculture and Architecture, Orozco studied art at the Academy of San Carlos. He worked as an illustrator for Mexico City newspapers and directly as an illustrator for one of the Constitutionalist armies overseen by “First Chief” Venustiano Carranza. When the revolutionary factions split in 1914 after Victoriano Huerta was ousted, Orozco supported Carranza and General Álvaro Obregón against Pancho Villa and Emiliano Zapata.

With Diego Rivera, he was a leader of the artist movement known as Mexican Muralism. An important distinction he had from Rivera was his darker view of the Mexican Revolution. While Rivera was a bold, optimistic figure, touting the glory of the revolution, Orozco was less comfortable with the bloody toll the social movement was taking. Orozco is known as one of the “Big Three” muralists along with Diego Rivera and David Alfaro Siqueiros. All three artists, as well as the painter Rufino Tamayo, experimented with fresco on large walls, and elevated the art of the mural.

Between 1922–1924, Orozco painted the murals: “Maternity”, “Man in Battle Against Nature”, “Christ Destroys His Cross”, “Destruction of the Old Order”, “The Aristocrats”, and “The Trench and the Trinity” at the National Preparatory School. Some of the murals were destroyed by Orozco himself, and later repainted. Others were vandalized by conservative students and practically destroyed. Thus, Orozco had to repaint many of them when he came back to the School in 1926. 1925, he painted the mural “Omniscience” at Mexico City’s House of Tiles. In 1926, he painted a mural at the Industrial School in Orizaba, Veracruz.

Between 1927–1934 Orozco lived in the USA. Even after the fall of the stock market in 1929, his works were still in demand. From March to June 1930, at the invitation of the Pomona College Art Department, he painted what he noted was the “first fresco painted outside the country by a painter of the Contemporary Mexican School.”  The fresco, Prometheus (Prometeo del Pomona College), on the wall of a Pomona College dining hall, was direct and personal at a time when murals were expected to be decorous and decorative, and has been called the first “modern” fresco in the United States.[7] Later that year, he painted murals at the New School for Social Research, New York City, now known as the New School University. One of his most famous murals is The Epic of American Civilization at Dartmouth College, New Hampshire, USA. It was painted between 1932 and 1934 and covers almost 300 m² (3200 square feet) in 24 panels. Its parts include: “Migrations”, “Human Sacrifices”, “The Appearance of Quetzalcoatl”, “Corn Culture”, “Anglo-America”, “Hispano-America”, “Science” and “Modern Migration of the Spirit” (another version of “Christ Destroys His Cross”).

After returning to Mexico in 1935, Orozco painted in Guadalajara, Jalisco, the mural “The People and Its Leaders” in the Government Palace, and the frescos for the Hospicio Cabañas, which are considered his masterpiece. In 1940 he painted at the Gabino Ortiz Library in Jiquilpan, Michoacán. Between 1942–1944 Orozco painted for the Hospital de Jesús in Mexico City. Orozco’s 1948 “Juárez Reborn” huge portrait-mural was one of his last works.

In 1947, Orozco illustrated the book The Pearl, by John Steinbeck.

Orozco died in 1949 in Mexico City.

Most of the Time [Jeff Hardy x Reader]

Request for Anon: Where you live in North Carolina for just the summer and one day this guy comes sputtering through on his motorbike because he ran out of gas in your front yard. You help him out and get to know him and then he disappears until some days later he comes back and asks you for a ride. (This is when he was younger btw!)

A/N: For once this isn’t smut!! wow !! I hope y’all still enjoy my fluffy stuff. Plus a teeny bit of angst. I actually really enjoyed writing this out, though I took a lot of breaks because certain parts got rocky.

Warnings: Swearing, mentions of drugs/rehab

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Inside a Chinese Internet Cafe Where Gamers While Away Their Days

The Lemon Internet Bar is a tiny place, just 300 square feet and brimming with 80 or so computers in tidy rows. On any given day dozens of young men and women fill the oversized armchairs, illuminated by glowing screens as they wage war in games like Legendary Alliance and DOTA. They spend hours and hours there, sustaining themselves on junk food and catnaps as they lose all track of time. “You can stay indefinitely,” says photographer Jingli Wu. “You can even sleep there.”

(Continue Reading)


St. Vincent: A Mysterious Musician

Mike McGregor photographed singer/songwriter Annie Erin Clark, better known by her stage name St. Vincent, for the Guardian’s Observer magazine. The New York-based portrait photographer told PDN that after he posted images of the shoot, his blog, which normally gets a few reposts, had gotten almost two hundred reposts. He says, “She has some traction!” McGregor has worked with celebrities and musicians in the past, but he says his shoot with Clark was a little unusual. “I have a team (hair, makeup, stylist, etc) I normally bring for someone like [St. Vincent], but she was totally low key. She turned down my crew and I showed up with only my first assistant.” Unlike most celebrities, St. Vincent chose to do her own make up and did not have a change of clothes. McGregor wasn’t given the address of the shoot, he says, “just a coffee shop where I could meet her PR person who would guide me to the location. It was hugely unnerving but worked seamlessly in the end.” The location was a tiny space, about 300 square feet, but according to McGregor it had great light. “We needed to work out a cover and an interior spread so we improvised which proved extraordinarily easy with someone as photogenic as she is. What a treat.” - 

ivallinen  asked:

What was the most romantic thing that you or your wife has done for each other? Sorry if this has been answered before.

Hello! Kat and I don’t really go in for super romantic gestures, as that’s kind of all they are– gestures. We are pretty big fans of smaller, more important moments.

For our first Valentine’s Day together, years ago, Kat surprised me with this antique poison ring. I know that doesn’t sound very romantic, but I’d only ever mentioned wanting a poison ring once before, months before we even started dating. But it isn’t all about gifts. The night I came out to my parents, she sat by me the whole time, opening beers and lighting cigarettes (don’t smoke, kids) as I cried endlessly into the phone, trying to convince my parents that this was the person they would want their baby to spend her life with.

Kat says the sweetest thing I’ve ever done buying her a Five Guys burger to stop her from crying. We’d moved to Rhode Island from Arkansas and rented an apartment blind. It was a 200 square foot kitchen, about 300 less square feet than what was promised in the advert, that our bed wouldn’t even fit into. This is where we learned to sleep on the floor.

So, it’s the little things, like this morning buying Kat a piece of chocolate cake for breakfast instead of a sausage biscuit. Or when she purposefully gets David Bowie songs stuck in her head and sings them in the shower. Those are the most romantic things, to me.

Thanks for the ask. :)