The clip: Footage of Fakir performing the sundance ritual in the film Dances Sacred and Profane.
Fakir is featured from 2:35 onwards.
“War is good business – invest your son”, a criticism of war.
“Milk in such containers may be unfit for human consumption”, a criticism of DDT.
A Roland Topor graphic on censorship used by Scanlan’s, criticism of Nixon.
A poster mentioning the “Chicago Seven trial, G. Harold Carswell, The Cattonsville 9, Jackson State, Invasion of Cambodia, Kent State, My Lai Massacre, Alaskan pipeline, ITT scandal, Watergate Caper, 20,000 Americans dead, ? Asians dead, 26,000,000 bombs, General Lavalle, Wheat Scandal, Unemployment.”
“Jesus was an only child”, criticism of anticonception. Correction: Jesus was apparently not an only child, he had brothers.
Tom Wolfe was an American author and journalist widely known for his association with New Journalism, a style of news writing and journalism developed in the 1960s and 1970s that incorporated literary techniques.
He wrote The Painted Word (1975) and From Bauhaus to Our House (1981), both critical of high modernism and avant-gardism to the extent that they have been connected to the death of the avant-garde meme.
All my research on Rodin and eroticism can be found at Eros and Rodin.
There is a wonderful exhibition in Brussels right now. Spanish Still Life – Velázquez, Goya, Picasso, Miró has two Cotáns, apart from Zurbarán, the crème de la crème of still life.
There were two Goya’s: Still Life with Golden Bream and one with a bird (I was unable to find the title, it’s this one). There were no Zurbaráns. I would have paid the price of the entrance for the two Cotans alone.
It drew — among many other things — my attention to the satirical vignette against Bertrand Chaupy (above), an engraving better known as the “turd engraving by Piranesi.”
Regarding the obfuscation in this book, Robert Harbison says in The Built, the Unbuilt, and the Unbuildable (1993):
“Recently the idea has infiltrated academic consciousness that the eighteenth-century crank Lequeu, one of the world’s fringiest paper architects, is really Marcel Duchamp inserting himself Trojan-horse-like into the musty tomes of the Bibliotheque Nationale, whiling away countless hours creating a large hollow space in which a few hundred pseudo-eighteenth-century beings can roost.”
See on elucidation and obfuscation the dictum by Cioran: between the demand to be clear, and the temptation to be obscure, impossible to decide which deserves more respect.
I spent the day in London yesterday. I arrived at St Pancras railway station, headed for the University of London in Russell Square where there was a day on political myth and Hans Blumenberg. I skipped class and went to the National Gallery and saw:
Lady Standing at a Virginal by Johannes Vermeer, detail
Witches at their Incantations by Salvator Rosa, full and cooking hag detail
Forgotten which this one is, I was quite impressed by it, I think it’s Dutch, detail
The Agony in the Garden by Andrea Mantegna, detail
The Fight between the Lapiths and the Centaurs by Piero di Cosimo, detail
The Death of Procris by Piero di Cosimo, detail
Meeting Place of the Hunt by Adolphe Joseph Thomas Monticelli, detail
Rain, Steam and Speed – The Great Western Railway by J. M. W. Turner, detail
Forgot, probably a Jupiter and Antiope, I loved the way the nipple was pinched, detail
Portrait of the Artist’s Wife, Cunera van der Cock by Frans van Mieris the Elder, very small and delicate painting, this one.
The Ugly Duchess by Quentin Matsys, cleavage detail
The Agony in the Garden by Bellini, detail of village in the distance
A Scene from El Hechizado por Fuerza (‘The Forcibly Bewitched’) by Francisco Goya, apparently a portrait of Charles II of Spain, detail
Still Life with a Nautilus Cup by Gerrit Willemsz. Heda, detail
André S. Labarthe was a French actor, film producer and director.
He starred alongside Anna Karina in the 1962 film Vivre sa vie and was a celebrated television documentary maker.
He directed the documentary Georges Bataille – À perte de vue (1997) and David Cronenberg: I Have to Make the Word Be Flesh (1999).