art in the twenty first century

Graphic Women: Life Narrative and Contemporary Comics (2010) 

“Some of the most acclaimed books of the twenty-first century are autobiographical comics by women. Aline Kominsky-Crumb is a pioneer of the autobiographical form, showing women’s everyday lives, especially through the lens of the body. Phoebe Gloeckner places teenage sexuality at the center of her work, while Lynda Barry uses collage and the empty spaces between frames to capture the process of memory. Marjane Satrapi’s Persepolis experiments with visual witness to frame her personal and historical narrative, and Alison Bechdel’s Fun Home meticulously incorporates family documents by hand to re-present the author’s past.

These five cartoonists move the art of autobiography and graphic storytelling in new directions, particularly through the depiction of sex, gender, and lived experience. Hillary L. Chute explores their verbal and visual techniques, which have transformed autobiographical narrative and contemporary comics. Through the interplay of words and images, and the counterpoint of presence and absence, they express difficult, even traumatic stories while engaging with the workings of memory. Intertwining aesthetics and politics, these women both rewrite and redesign the parameters of acceptable discourse.”

by Hillary L. Chute

Get it here

Pike reads Jim’s class schedule before he starts his first semester and notices that Spock is one of his instructors. He takes pity on his first officer and gives him a packet of chalk.  

“What is this, sir?”

“Chalk.”

“The use of blackboards was discontinued in the twenty first century. I see no logical reason for–”

“Human tradition, Spock. When you get a really pesky student, which I have a feeling you might…”

So, when Jim remote hacks Spock’s Padd to play VERY loud pop music when he gets a message, Spock has trouble controlling his human impulses.


My thanks to @spockoholic for the song :)

10

Ruhlmann Master of Art Deco

Florence Camard

New York: Abrams, 1984. First English-language edition. Quarto. Black cloth embossed in black. Photo illustrated dust jacket. 312 pp. 487 illlustrations, 67 plates in color

140,00*

This is still the major reference work on the renowned French modernist architect and interior designer Jacques-Emile Ruhlmann. Known as The Master of Art Deco, Ruhlmann created opulent, exquisitely designed furniture, homes and showrooms for the Parisian beau monde in the twenties and thirties.

Excellent English translation of the 1983 Paris monograph (Paris: Editions Du Regard, 1983) on one of the greatest and most prolific Art Deco cabinetmakers and interior designers of the twentieth century. Translated by David Macey.

The legendary French furniture designer and interior decoratorJacques-Emile Ruhlmann (1879 - 1933) was a luminary of Art Deco, the creator of luxury designs that are today some of the most coveted masterpieces mde in Paris in the 1920s. Born in Paris in 1879, Ruhlmann took over the family decorating firm in 1907 and soon began showing his exquisitely elegant furniture and decorator objects at the Paris Salons d'Automne. Ruhlmann’s pieces were concieved as luxury one-offs, made of the most costly materials, including exotic hardwoods such as Macassar ebony, amboina, or rosewood with tortoiseshell and ebony intarsia inlay.

In 1919 Ruhlmann and Pierre Laurent founded Etablissement Ruhlmann et Laurent, specializing in interior design and producing luxury home goods that included furniture, wallpaper and lighting. For the 1925 Paris “Exposition Internationale des Arts Decoratifs et Industriels Modernes,” Ruhlmann caused a sensation with the interior design and furniture of the “Hotel du Collectionneur” (A Collector’s House).

In 1929 Ruhlmann showed an elegant study and living room he had designed for a crown prince at the “Salon des Artistes Decorateurs.” The storage furniture designed for the library was bought by the actress Jeanne Renouard. The Maharajah of Indore even had it copied in Macassar ebony for his new palace at Manik Bagh. These modular storage pieces were also the forerunners of modern system furniture.

Ruhlmann’s legacy as a designer was the subject of a major retrospective exhibition at the New York Metropolitan Museum of Art in 2004. In 2009, he was called the “Art Deco’s greatest artist” by the New York Times.

Florence Camard, specialist in the decorative arts from 1890 to 1930, teaches at the Center for the Study of the Art Object in Paris.

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the one in which they are all dragons

happy birthday, jen! jen prompted this a long while ago. i hope you enjoy!  based on this series of art called uncommon dragon hoards

It isn’t the Middle Ages anymore, no one expects any self-respecting dragon to have a hoard of shining gold pieces and gems anymore. Sure, if you’re traditional you might have a few sparkly pieces like that, but honestly! Twenty-first century! Stiles has the right to hoard whatever he wants. C'mon, Scott hoards pastries and other sweets and no one has ever suggested there was anything wrong with Scott’s dragon-ness. 

Then again, Scott, is a very large and impressive dragon, all gleaming red scales and he can breathe actual fire because he’s mated and all, okay, very cool, even if Scott never wants to use it and doesn’t have a tangible growing hoard of treasure because he keeps giving away his sweets. 

Stiles is a less coveted shade of blue, with mottled patches of orange, and yes he’s aware he’s a strange looking dragon, but he’s certain if he ever wants a dragonmate they’ll appreciate his humor and sarcasm over his weird colorings. Stiles is fine on his mountain, he doesn’t need other dragons making fun of his collection of comic books, movies and video games.

That is until Scott shows up one afternoon, flapping his red wings at him and climbing into the cave, knocking over a few of Stiles’ precious first editions. 

“Dude! You need to get out and stretch your wings!” Scott exclaims, flapping at him. “I found this great support group for dragons with, uh, unusual hoards.” He drops a flyer with the location of a nearby mountaintop with more information about the support group. 

Stiles rolls his eyes. “Scotty, I know you have a lot of faith in just going out and meeting people since you and Allison met in the most random of circumstances, but I’m not gonna meet my other half at some lame group for dragons with weird hoards. Comics and video games are not weirder than baked goods, okay." 

Keep reading

2

“ Is a pity , really . Such a promising , young mind ruined by foolish dreams of justice and that useless, unproductive Marxist trash of yours. You got any idea of how long will it take to the company’s economy to  recover from this damn strike? ”

Anon asked for an AU with Ivan as the capitalist and Alfred as the communist . So I though about this nice human!AU in the first years of the twenties century, where Ivan is a Russian businessman that owns a good deal of factories and a trade company in the united states ,while Alfred is a young worker that soon starts to fight for other worker’s and proletarian causes  and shares Marxists/ Communist ideals . The young boy manages to organize a strike (and manages to make it last for a whole week) in one of Ivan’s factory , claiming a raise of wages  and the recognition of the workers’ basic rights. Unfortunately , the police manages to put a violent end to the strike and drag Alfred directly to face Ivan , that is obviously  pissed bu the whole situation. That’s how the two meet . At first the Russian decide to get rid of the young boy , but he can’t help but notice that the boy is smart and could be put to a better use , will Alfred accept any of Ivan’s offers, tho?  WHO KNOWS

but yesss, love hate relationship , greedy businessmen , hopeless young souls and one of the most messed up centuries ever, guess it’d be a good mix   

Ever wondered how MoMA grows its collection? Curatorial assistant Nancy Lim explains the process. Stay tuned over the coming weeks for insights about works recently added to the collection. 


[Basim Magdy. Stills from A 240 Second Analysis of Failure and Hopefulness (With Coke, Vinegar and Other Tear Gas Remedies). 2012. 160 35mm color slides and two synchronized Kodak slide carousel projectors, 4 min. The Museum of Modern Art, New York. Fund for the Twenty-First Century. © 2015 Basim Magdy]

3

A 3D Font That Reads Like Text, But Can Be Viewed Like Sculpture

Woodblock printing and the innovation known as moveable type have their origins in China. Around 600 AD block prints appeared on the scene, perfected on paper toward the end of the Tang dynasty. You could say, then, that the Chinese innovators of the seventh to 10th centuries were some of the world’s earliest typography masters.

Twenty-first century artist and professor Hongtao Zhou knows this. His recent project, “Textscapes,” is as much an homage to their past ingenuity as it is a tribute to the progress made in design since.

Read on for the process of making these incredible sculptures here. 

The future we face at the dawn of the twenty-first century is, like all futures left to themselves, “emergent, complex messiness.” Its “messiness” lies not in disorder, but in an order that is unpredictable, spontaneous, and ever shifting, a pattern created by millions of uncoordinated, independent decisions. That pattern contains not just a few high-tech gizmos, but all the variegated aspects of life. As people create and sell products or services, adopt new fashions of speech or dress, form families and choose home towns, make medical decisions and seek spiritual insights, investigate the universe and invent new forms of art, these actions shape a future no one can see, a future that is dynamic and inherently unstable.
—  Virginia Postrel

Tomorrow: Experimental filmmaker Luther Price debuts new work, followed by a Q&A with Thomas Beard of Light Industry.  

[Luther Price. Sorry. 2005-2012. Eighty handmade slides transferred to transparency slides. 9 min. Fund for the Twenty-First Century and Committee on Media and Performance Art Funds. © 2014 Luther Price]

18th Century Celebrity - Ban Tarleton and Mary Robinson, the most gorgeous Georgians.

He was a young war hero, just returned from fighting in America with the wounds to prove it. He was young, wealthy, and widely considered the most handsome man in the British Army. She was a theatrical starlet, the darling of Drury Lane, a fashion setter and the women whom the Prince of Wales once offered twenty thousand pounds to if she would become his mistress.

When they met they were both at the peak of their game, beautiful, young, fiery, risk-loving party-addicts. Typically, he first seduced her as part of a bet with a friend. The ensuing affair was one of the hottest pieces of gossip in 1780s Britain, and continued with passionate intensity for the next 15 years.

Ultimately Banastre Tarleton and Mary Robinson were not meant to be. Tarleton’s family were displeased of his relations with a “mere” actress, while Mary never felt wholly fulfilled by the relationship. She bore Ban a child, but it proved to be stillborn, and complications left her partially paralyzed. Ban continued to look after her, but ultimately married the illegitimate daughter of the 4th Duke of Ancaster and settled into politics. He always appeared to retain a repressed affection for his greatest fling. Mary, meanwhile, became a successful author, poet, playwright and champion of women’s rights. Beset throughout her life by a frail constitution, she died at the age of 42.

Ban and Mary only burned together briefly in the vast gulf of History, but they certainly burned bright.

Birds: The Art of Ornithology

Written by Katharine Pigliacelli, graduate student employee

Birds: The Art of Ornithology by Jonathan Elphick, traces the history of humanity’s fascination with birds through art rather than through science. He takes the reader from engraving to lithography to the modern art of the twenty-first century, all while providing many visual examples. Special Collections owns a very rare complete set of James Audubon’s Birds of America prints, and this book helps to place those important art pieces in their proper historical context.

Example of an illuminated page from Pliny’s Historia Naturalis.

Watercolor of Jackass Penguin (c. 1781-1824) by John Latham

Watercolor of the Guianan Cock-of-the-Rock (1788) by Sarah Stone

Lithograph of the Marvellous Spatuletail (c. 1849-1861) by John Gould

Watercolor of the Rufous-capped Bush-Warbler (c. 1865-75) by William Edwin Brooks

Watercolor of Kakapo (1998) by Angela Gladwell

Audubon’s Golden Eagle, 1833

Peggy Carter had agreed to the LMD project on two conditions: 1) her LMD wouldn’t be activated until she herself was dead or SHIELD was in great danger, and 2) she wouldn’t be alone. SHIELD failed step one, and didn’t do much better on step two.

Or: the one where Peggy and Angie end up in the twenty-first century, deal with slight memory loss, Angie’s obsessed with converse, and some secrets were kept better than others.

So here’s the cover art I did for P1 of my giant fic.  I apologize for the infrequent updates.  Dance has been crazy.  Thank you all for reading my fic so far, and if you haven read it yet you can find it here on Ao3.