no-bones

The Boom in the Doom

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“The team investigates the murder of a police officer that sends shockwaves through both the Jeffersonian and FBI teams. Behavioral analyst Leslie Green is assigned to work with Booth on the investigation and lends her professional assessments on who the cop killer could be, while Cam must make some decisions in her personal life and the entire team re-evaluates what is truly important to them.“

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logic
  • person:i hate the shadowhunters show because it's nothing like the books and the acting and effects are horrible omg
  • person:...
  • person:so i'm going to watch the next episode
  • person:and write my hate about it
  • person:and maybe keep watching to idk post a video of me saying how bad it is and stuff
  • person:because you know
  • person:it's horrible and i hate it
10

LA ART BOOK PREVIEW THURSDAY NIGHT Part I

Last night we stopped by the Thursday night preview of  Printed Matter’s LA ART BOOK FAIR which opens this weekend FREE to the public 2/12 thru 2/14 at The Geffen Contemporary at MOCA.  With several rooms featuring zines, art prints, tote bags, enamel goods and more, we stopped by to see some of our pals such as Rich Jacobs, Valley Cruise Press, Bad Seed PrintingHamburger Eyes, Killer Acid, Bonethrower, and Dead Beat Club!   

Photos by Michael C. Hsiung

7

Snapping turtle skeleton is done! I’m very happy with this one. 
Every bone was separate to begin with, and it took quite a while to figure out how the carpals/tarsals go. Well, all of it did (and it’s probably not perfect) because I wasn’t familiar with turtle bones and didn’t have a whole dead one to reference.  
All of the toes are drilled into the ankles and then into the legs for support. Neck and tail are wired too, and every joint is pinned. Very sturdy.

On a side note, if I articulated skeletons and put them up for sale would there be any interest? I don’t know what to charge hourly… But I don’t think it would be cheap overall because of the time it takes. But I put in every effort to make them accurate and well supported. 

Sometimes it comes down to a choice,“ Magnus said. "Between saving one person and saving the whole world. I’ve seen it happen, and I’m selfish enough to want the person who loves me to choose me. But Nephilim wil always choose the world. I look at Alec and I feel like Lucifer in Paradise Lost. ‘Abashed the Devil stood, And felt how awful goodness is.’ He meant it in the classical sense. 'Awful’ as in inspiring awe. And awe is well and good, but it’s poison to love. Love has to be between equals.”
“He’s just a boy,” said Luke. “Alec–he’s not perfect. And you’re not fallen.”
“We’re all fallen,” said Magnus, and he wrapped himself up in his chains and was silent.
—  Cassandra Clare, City of Heavenly Fire
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Favorite Art Fact File

Who? Costanza Beltrami, IAS blog Staff Writer

What is one of your favorite artworks? A Marriage Casket produced at the turn of the fifteenth-century by the Embriachi workshop, now at the Victoria and Albert Museum in London.

…and your favorite detail? Two of the scenes on the side of the casket, representing the Greek Hero Jason killing a dragon, removing its teeth and then sowing them during his quest for the Golden Fleece

Why? Although surely expensive, this marriage casket and its mid-quality carving helps me imagine what a medieval houses would have looked like. I also love that the Ancient Greek myth of Jason and the Golden Fleece could excite and interest medieval people as it still does today.

IASBlog (Costanza Beltrami) explains …

Marriage caskets such as this were often gifted to brides, who could use them to hold jewels or documents. This particular piece is made of carved bone plaques, which represent the story of Jason on the body, and eight virtues on the lid. The reliefs are set in a certosina frame, a marquetry technique where various types of wood, bone, metal and mother-of-pearl were arranged to form geometrical patterns.

The coupling of bone carving and certosina frames is typical of the Embriachi family, a dynasty of Italian sculptors and entrepreneurs who appeared in the late fourteenth-century in Florence, but later settled in Venice, a popular production centre for certosina furniture. Specializing in the carving of horse and ox bone, the Embriachi could imitate the color and smoothness of ivory, an extremely expensive material carved in large numbers and with unsurpassed skill in 14th-century France, but at a much lower price. Next to large-scale altarpieces commissioned by the Certosa di Pavia monastery or by Philip the Bold, Duke of Burgundy, the Embriachi also mass produced stock items with mythological or romance scenes, among which the V&A’s marriage casket.

The myth of Jason and the Golden Fleece represented on the casket is timeless — it was composed around the 8th century BC, although the oldest surviving version is Apollonius of Rhodes’ Argonautica, dated to c. 200 BC. It narrates the quest of Jason and the Argonauts, a group of Greek heroes and demi-gods who set out to find the Golden Fleece and to regain Jason’s throne as King of Iolcus, usurped by his uncle Pelias. They accomplished this feat with the help of the sorceress Medea, although they actually failed to regain the throne and settled in Corinth.

The casket shows many of Jason’s adventures, now jumbled by nineteenth-century restorations: at the beginning of the trip, the hero kneels before King Pelias, receiving the promise that his throne will be returned in exchange for the Golden Fleece; then, he meets Medea, and they fall in love; thanks to Medea’s potions, Jason yokes and plows a field with two fire-breathing oxen, as requested by King Aeetes, owner of the Fleece; afterwards, Jason kills the dragon guarding the Fleece, sows his teeth and fights with the men emerging from the field, before finally the Golden Fleece; eventually, Jason and Medea sail away. In the remaining two scenes, Jason stands with a man and a woman on a shore, and then kneels gesturing to Medea who is being rowed away in a boat, a possible reference to Medea’s flight from Corinth after she murdered her own son in anger at Jason’s unfaithfulness and marriage with Glauce, daughter of the King of Corinth.


References: “Marriage Casket,” V&A Online Catalogue, http://collections.vam.ac.uk/item/O157340/marriage-casket-casket-workshop-of-embriachi/; Frank Minney. “Bone.” Grove Art Online. Oxford Art Online, http://www.oxfordartonline.com/subscriber/article/grove/art/T009854; Antonia Boström. “Embriachi.” Grove Art Online. Oxford Art Online, http://www.oxfordartonline.com/subscriber/article/grove/art/T025969.

Workshop of the Embriachi, Marriage Casket, wood, bone and horn, 37.6 cm x 33.9 cm, ca. 1390-1410, with later restorations. Victoria and Albert Museum, inv. no. 4304:1-1857. Images: © Victoria and Albert Museum.


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