I don’t have much for this besides he’s a huge ball of anxiety wrapped up in neat little box and cheap dyed clothing. The numbers on his screen count down starting from 8 and will change depending on his mood. So 8 for good and 1 for feeling like shit.
If he ever hits 0 you should run.
He also collects keys, some to use and others to keep safe.
Eventually, our lives had to come true; And the figures on the other side of the lens (The figures in the living room) Had to keep acting the same way, Repeating the patient, perfect life Ad interim, in a quiet room next to the mind. We never left there, did we? You and I are still at home, meaning to leave In a little while, and meanwhile Drawing the same dream closer And closer around us, like a shawl. But the days and the nights Don’t cut anymore; and the confusion, The repair, the little things I did And what I talked to you about, are all held In words like boxes, gentle worlds Whose inhabitants aren’t even human; And the window over your right shoulder Gives on a verbless worlds of things We meant to live through, a landscape.
—John Koethe, from “Objects in Autumn,” in The Late Wisconsin Spring (Princeton, 1984)
In honor of New York Textile Month we are posting about a unique textile sample book in the Brooklyn Museum Library collection. This book offers samples of ethnographic textiles from around the world primarily from the eighteenth and nineteenth centuries. The range of materials runs from woven fabrics to embroideries to batiks gathered together by Morris De Camp Crawford, a textile scholar and editor of Women’s Wear.
Crawford (1882-1949) was on a mission to connect artists and museums drawing from his experience in the textile industry and his work as a design editor at Women’s Wear. He held an honorary research position at the American Museum of Natural History and was a self-trained scholar of Andean textiles. Crawford’s enthusiasm for connecting art and industry was well matched by Stewart Culin, the Brooklyn Museum’s Founding Curator of Ethnology from 1903 to 1929. Culin (1858-1929) was instrumental in making the Museum’s ethnographic collections more available to the public by organizing special exhibitions, lectures and classes and by setting up a special study room in the Museum so that designers could study objects up close.
Some of New York’s leading textile and fashion designers became frequent users of the Brooklyn Museum’s study room including Jessie Franklin Turner and Ruth Reeves. Culin and Crawford inspired many artists to explore new design aesthetics and their work together resulted in the formation of the Brooklyn Museum’s Design Laboratory, an innovative program to bring designers and their work into a museum setting. This textile sample book is a remnant left over from Laboratory and is still studied and admired today by designers and students alike.
Inspired by @ramdot ‘s Barcodi I decided to make my own barcode head. The top one is basically his head (so that when I draw him it is 100% easier to recreate) also I wanted to draw our what his tattoos look like (aka all the tattoos I want to have put onto a character
-IF YOU SEE CREEPY CLOWNS-
Try and stay safe guys. They are in many states across the country including:
-The Carolinas (N & S)
-and New York
There may be others but these are the ones I can remember
You can check local news feeds too, for more info.