Aimee Erickson’s Iceberg Principle in Painting | November 08 2024, 02:39

Today — Aimee Erickson (Portland, Oregon, b. 1967). The first painting in the gallery is her self-portrait. Her work is truly remarkable. In literature, there’s a concept called the “iceberg principle,” introduced by Ernest Hemingway. Gertrude Stein advised him on this technique, something along the lines of, “describe a little, but leave most of it beneath the surface. Let the viewer draw their own conclusions.” Aimee’s paintings embody this approach, and I absolutely love it.

Similar posts are tagged with #artrauflikes, and you can find all 128 of them on beinginamerica.com under the section β€œArt Rauf Likes (unlike Facebook, which forgets or skips nearly half of them).

Monkeys Released from Research Center During New Presidency | November 07 2024, 13:59

During Trump’s presidency, it was COVID. This time – we’re releasing 40 monkeys from a research center. πŸ™ˆπŸ™‰πŸ™‰πŸ™ŠπŸ™‰πŸ™ˆπŸ™‰πŸ™ŠπŸ™ŠπŸ™‰πŸ™ˆπŸ™‰πŸ™ŠπŸ™ŠπŸ™ˆπŸ™‰πŸ™ŠπŸ™‰πŸ™ˆπŸ™‰πŸ™ŠπŸ™‰πŸ™‰πŸ™ŠπŸ™ˆπŸ™ˆπŸ™ŠπŸ™‰πŸ™ˆπŸ™‰πŸ™ŠπŸ™ŠπŸ™‰πŸ™ˆπŸ™‰πŸ™ŠπŸ™‰πŸ™ˆ

https://www.nbcnews.com/news/us-news/monkeys-escape-alpha-genesis-research-facility-south-carolina-rcna179077

https://www.nbcnews.com/news/us-news/monkeys-escape-alpha-genesis-research-facility-south-carolina-rcna179077

Exploring Regina Jacobson’s Fantasy-Inspired Artistry | November 07 2024, 03:26

An interesting American artist, Regina Jacobson. Her enchanting, fantasy-inspired style, filled with countless intricate details, is incredibly captivating.

Similar posts are grouped under the hashtag #artrauflikes, and all 127 of them can be found on beinginamerica.com in the “Art Rauf Likes” section (unlike Facebook, which forgetsβ€”or overlooksβ€”almost half of them).

Political Divides in Springfield: Trump vs. Kamala Voting Trends | November 06 2024, 14:56

The funniest thing is that in Springfield itself, 64.06% of voters cast their vote for Trump, and almost every district did the same, except for two where nearly 70-80% voted for Kamala. Probably the resentment was just in those two πŸ˜‰

https://youtu.be/3BrCvZmSnKA?si=8I1JCPzu1rpigS1A

Exploring Dmitry Annenkov’s Hyperrealism: Art or Automation? | November 05 2024, 16:33

Today’s spotlight is on the works of Russian hyperrealist Dmitry Annenkov. How one can fit so many minute details onto a 40×60 cm canvas is beyond me, but if the Dutch painters managed it back then, why not now? That’s one way of looking at it.

To be honest, I’m not much of a fan of hyperrealism, because I’m left wondering: what’s the point, when we already have photography? Hyperrealism might give the impression that, if you select the precise color from a photograph using a colorimeter and apply it exactly to each millimeter of the canvas, with enough time, patience, and perhaps a bit of automation (like a canvas printer?), you’d end up with something close to what Annenkov creates. With more automation, you could churn out a painting a week. That’s why I find it far more intriguing when the mind has to fill in the gaps itself. Here, there’s nothing missing; the brain just ends up bored. Even watching the process would be interesting. Take, for example, those apples in waterβ€”was it painted layer by layer, moving from general forms to details, or simply from the top-left corner down and to the right, like a printer? If there were any visible signs of layering from broad strokes to fine detail, it would be a different conversation entirely. But I don’t see them anywhere.

I haven’t seen a single high-resolution image where you can make out brushstrokes, nor any YouTube videos showing the processβ€”or even an interview.

So, forgive me, but I can’t help thinking critically and suspecting that these works might just be printed on canvas from photographs in oil paint. I’m really looking for arguments against this heretical, and probably offensive, idea for the artist. Do you have any?

But even if it is done with a printer, it’s still art. After all, you have to set the scene, arrange the lighting, take the photograph, and transfer it to the canvas. All of that takes a great deal of effort and time, and the result is something that admirers of beauty are willing to pay for.

Posts like these are grouped under #artrauflikes, and all 127 of them can be found in the “Art Rauf Likes” section on beinginamerica.com (unlike on Facebook, which seems to forgetβ€”or ignoreβ€”almost half of them).

The Fabrication of Poet James Clifford | November 04 2024, 15:33

This is an excerpt from the poem “Square” by English poet James Clifford, translated by Vladimir Livshits. Clifford was a man with a remarkable destiny, crushed in the vices of two world wars. He was born on the eve of World War I, in 1913 in London, and died in 1944 while repelling a German tank attack in the Ardennes.

Paradoxically, the legacy of the young English poet was better known in the Soviet Union than in his homeland. While in England they asked, “Who is Mr. Clifford?”β€”in the USSR, his new poems were regularly published from the mid-sixties onward. Thanks must be given to his translatorβ€”Vladimir Livshits. He was the first to translate into Russian the famous, seemingly familiar lines from “Retreat in the Ardennes”: “There were five of us left. In a chilly dugout. The command had lost its mind. And was already fleeing.”

But Livshits didn’t just translate these lines; he practically “sanctified” them, because James Clifford, the young English poet who fell in 1944 while repelling the German attack, was for Livshits not just a translation subject but also his own creation. The real James Clifford, who supposedly was born in London, lost his parents early, and was raised by a grandfatherβ€”a connoisseur of English and Scottish folkloreβ€”never actually existed. Following Walter, Livshits repeated: “If Clifford did not exist, it would be necessary to invent him.” And he invented him.

For decades, Livshits published his own poems in the Soviet Union, presenting them as translations of the non-existent English poet James Clifford.

(taken from the video “Armen and Fedor,” “Comrade Hemingway: How the USSR reforged the novel ‘For Whom the Bell Tolls’?”)

This is how you hack the system πŸ™‚

* * *

SQUARES

Vladimir Lifshits

.

And yet the order of things is absurd.

People, melting metal,

weaving fabric, baking breadβ€”

Someone has shamelessly robbed you.

.

Not just your labor, love, leisureβ€”

They stole the curiosity of open eyes;

Feeding truths by handfuls,

They robbed you of the ability to think.

.

For every question, they handed an answer.

Seeing all, you see nothing at all.

Your unquestioning minds

Have become matrices of newspapers.

.

They have handed an answer for every question…

Dressed both drab and colorful,

Morning and evening, like a vacuum cleaner,

The metro swallows you up.

.

Here you go, dense as caviar,

All cut from the same cloth,

People who can shoe,

People who can procure.

.

And here they go, row upon rowβ€”

March – march – march β€” march,

So far only for parades,

People who can kill…

.

But one day, amidst the trivial affairs,

Feeding you crumbs,

You decided to break out

From the tiresome square forms.

.

You rebelled. You scream: “They steal!”β€”

You refuse to comply.

And first, those will come to you

Who know how to persuade.

.

Their words will carry weight,

They will be exalted and kind.

They will prove, as twice two,

That you cannot leave this game.

.

And you will repent, poor brother.

Misguided brother, you will be forgiven.

To chants, you’ll be gently returned

Back to your square.

.

And if you persist:

– I won’t give in!.. No going back!…

Silently, from the shadows

Will come those who know how to kill.

.

You will gulp your despair like henna,

And on squares, as if in a dream,

A blue patch will be lined

With a black grid in your window.

The Destructive Genius of Yuri Pimenov: A Forgotten Moscow Artist | November 04 2024, 01:29

(ENG below) Today I introduce you to a Moscow artist of the 1930s, Yuri Pimenov (Yuri Pimenov). The first painting in the galleryβ€”his “calling card”β€”is “New Moscow” (1937). However, it merely opens the series. Seven years later, Pimenov painted “Frontline Road,” in which, according to some art critics, the same young woman is depicted. Another appears sixteen years later.

One might wonder, what should an artist do, having found his creative path after all the hurdles and earned fame? Yuri Ivanovich behaved unconventionally: he began destroying all his previous paintings in his possession, and even took home museum pieces he had created, promising to return or bring new ones, and destroyed those as well.

In the end, many of his paintings remain only in photographs…

Similar posts are grouped under the tag #artrauflikes, and on beinginamerica.com in the “Art Rauf Likes” section, all 126 are available (unlike Facebook, which forgets about nearly half of them).

(ENG) Today, a Moscow artist of the 1930s, Yuri Pimenov. The first painting in the gallery, his “calling card,” is *New Moscow* (1937). Yet this work merely opens the series. Seven years later, Pimenov painted *Frontline Road*, in which, according to some art critics, the same young woman appears.

One might think that an artist who has found his creative path after all his struggles and gained renown would settle into his success. But Yuri Ivanovich took an unconventional route: he began to destroy all his earlier works that he still possessed. He even reclaimed pieces from museums, promising to return or replace them with new ones, only to destroy those as well.

As a result, many of his paintings now exist solely in photographs…

Posts like this are grouped under the hashtag #artrauflikes, and all 126 can be found on beinginamerica.com in the β€œArt Rauf Likes section (unlike Facebook, which tends to overlook almost half of them).

Decoding Betteridge’s Law of Headlines | November 03 2024, 21:12

Today I learned about Betteridge’s Law of Headlines: the rule that posits “If a headline ends with a question mark, the answer is ‘no’.” This law is named after British journalist Ian Betteridge who mentioned it in 2009, though the principle itself has long been in existence. The gist is that if the publisher was confident about a positive answer, they would have phrased it as a statement rather than a question. By framing it as a question, they dodge the responsibility for its accuracy. This sets up automatic expectations for the reader based on the article’s headline, functioning as positive feedback, and headlines are now phrased in this manner not because there’s some psychological explanation, but because it has become customary that a question in the headline implies an unconventional “yes” answer.

I hope I’ve saved you time on reading pre-election articles.