*dupeof=http://videosift.com/video/A-3D-Exploration-of-Picassos-Guernica (longer and older).

This video has been nominated as a duplicate of this video by ant. If this nomination is seconded with *isdupe, the video will be killed and its votes transferred to the original.

Picasso references in there, as well as Japanese paintings from the Edo era... or maybe that's just me.

I posted this video purely for it's wtf factor. Somehow, this has ignited a serious conversation as to what and what does not constitute true art, and has called her artistic integrity and true motivations into question. Although I wouldn't classify this as 'high art', who the fuck am I to say that it is completely devoid of artistic merit? This seems to be more along the lines of conceptual performance art, and I highly doubt that she billed this as 'great theatre'...I enter into videos, such as this, with experiential prejudices and preconceived notions of the 'pretentious hipster artist', and I judge her and her type quite harshly, dismissing her work as an infantile attempt to induce shock value. If I knew that she was some kind of Julliard alumni who was touted as 'the future of dance', I wonder how that might affect my rating this video on a scale of 'artistic merit'. At least this production has balls and doesn't pander to the accepted norm. I would love to hear the average sifters critical analysis of a Picasso(for instance). We all know that he's considered to be a master, but why? Could you explain it without rehashing what you learned in Art History or what you've read on Wikipedia? Art fascism is an ugly thing. In the end it boils down to personal opinion....

Dali was fascist scum.

http://www.counterpunch.org/navarro12062003.html

The Jackboot of Dada

Salvador Dali, Fascist

By VICENTE NAVARRO

The year 2004, the centenary of Dali's birth, has been proclaimed "the year of Dali" in many countries. Led by the Spanish establishment, with the King at the helm, there has been an international mobilization in the artistic community to pay homage to Dali. But this movement has been silent on a rather crucial item of Dali's biography: his active and belligerent support for Spain's fascist regime, one of the most repressive dictatorial regimes in Europe during the twentieth century.

For every political assassination carried out by Mussolini's fascist regime, there were 10,000 such assassinations by the Franco regime. More than 200,000 people were killed or died in concentration camps between 1939 (when Franco defeated the Spanish Republic, with the military assistance of Hitler and Mussolini) and 1945 (the end of World War II, an anti-fascist war, in Europe). And 30,000 people remain desaparecidos in Spain; no one knows where their bodies are. The Aznar government (Bush's strongest ally in continental Europe) has ignored the instructions of the U.N. Human Rights Agency to help families find the bodies of their loved ones. And the Spanish Supreme Court, appointed by the Aznar government, has even refused to change the legal status of those who, assassinated by the Franco regime because of their struggle for liberty and freedom, remain "criminals."

Now the Spanish establishment, with the assistance of the Catalan establishment, wants to mobilize international support for their painter, Dali, portraying him as a "rebel," an "anti-establishment figure" who stood up to the dominant forces of art. They compare Dali with Picasso. A minor literary figure in Catalonia, Baltasar Porcel (chairman of the Dali year commission), has even said that if Picasso, "who was a Stalinist" (Porcel's term), can receive international acclaim, then Dali, who admittedly supported fascism in Spain, should receive his own homage." Drawing this equivalency between Dali and Picasso is profoundly offensive to all those who remember Picasso's active support for the democratic forces of Spain and who regard his "Guernica" (painted at the request of the Spanish republican government) as an international symbol of the fight against fascism and the Franco regime.

Dali supported the fascist coup by Franco; he applauded the brutal repression by that regime, to the point of congratulating the dictator for his actions aimed "at clearing Spain of destructive forces" (Dali's words). He sent telegrams to Franco, praising him for signing death warrants for political prisoners. The brutality of Franco's regime lasted to his last day. The year he died, 1975, he signed the death sentences of four political prisoners. Dali sent Franco a telegram congratulating him. He had to leave his refuge in Port Lligat because the local people wanted to lynch him. He declared himself an admirer of the founder of the fascist party, Jose Antonio Primo de Rivera. He used fascist terminology and discourse, presenting himself as a devout servant of the Spanish Church and its teaching--which at that time was celebrating Queen Isabella for having the foresight to expel the Jews from Spain and which had explicitly referred to Hitler's program to exterminate the Jews as the best solution to the Jewish question. Fully aware of the fate of those who were persecuted by Franco's Gestapo, Dali denounced Bunuel and many others, causing them enormous pain and suffering.

None of these events are recorded in the official Dali biography and few people outside Spain know of them. It is difficult to find a more despicable person than Dali. He never changed his opinions. Only when the dictatorship was ending, collapsing under the weight of its enormous corruption, did he become an ardent defender of the monarchy. And when things did not come out in this way, he died.

Dali also visited the U.S. frequently. He referred to Cardinal Spellman as one of the greatest Americans. And while in the U.S., he named names to the FBI of all the friends he had betrayed. In 1942, he used all his influence to have Buñuel fired from the Museum of Modern Art in New York, where Buñuel worked after having to leave Spain following Franco's victory. Dali denounced Buñuel as a communist and an atheist, and it seems that under pressure from the Archbishop of New York, Buñuel had to leave for Mexico, where he remained for most of his life. In his frequent visits to New York, Dali made a point of praying in St. Patrick's Cathedral for the health of Franco, announcing at many press conferences his unconditional loyalty to Franco's regime.

Quite a record, yet mostly unknown or ignored by his many fans in the art world.

Vicente Navarro is the author of The Political Economy of Social Inequalities: Consequences for Health and Quality of Life and Dangerous to Your Health. He teaches at Johns Hopkins University. He can be reached at navarro@counterpunch.org.

Dali was fascist scum. http://www.counterpunch.org/navarro12062003.html

The Jackboot of Dada

Salvador Dali, Fascist

By VICENTE NAVARRO

The year 2004, the centenary of Dali's birth, has been proclaimed "the year of Dali" in many countries. Led by the Spanish establishment, with the King at the helm, there has been an international mobilization in the artistic community to pay homage to Dali. But this movement has been silent on a rather crucial item of Dali's biography: his active and belligerent support for Spain's fascist regime, one of the most repressive dictatorial regimes in Europe during the twentieth century.

For every political assassination carried out by Mussolini's fascist regime, there were 10,000 such assassinations by the Franco regime. More than 200,000 people were killed or died in concentration camps between 1939 (when Franco defeated the Spanish Republic, with the military assistance of Hitler and Mussolini) and 1945 (the end of World War II, an anti-fascist war, in Europe). And 30,000 people remain desaparecidos in Spain; no one knows where their bodies are. The Aznar government (Bush's strongest ally in continental Europe) has ignored the instructions of the U.N. Human Rights Agency to help families find the bodies of their loved ones. And the Spanish Supreme Court, appointed by the Aznar government, has even refused to change the legal status of those who, assassinated by the Franco regime because of their struggle for liberty and freedom, remain "criminals."

Now the Spanish establishment, with the assistance of the Catalan establishment, wants to mobilize international support for their painter, Dali, portraying him as a "rebel," an "anti-establishment figure" who stood up to the dominant forces of art. They compare Dali with Picasso. A minor literary figure in Catalonia, Baltasar Porcel (chairman of the Dali year commission), has even said that if Picasso, "who was a Stalinist" (Porcel's term), can receive international acclaim, then Dali, who admittedly supported fascism in Spain, should receive his own homage." Drawing this equivalency between Dali and Picasso is profoundly offensive to all those who remember Picasso's active support for the democratic forces of Spain and who regard his "Guernica" (painted at the request of the Spanish republican government) as an international symbol of the fight against fascism and the Franco regime.

Dali supported the fascist coup by Franco; he applauded the brutal repression by that regime, to the point of congratulating the dictator for his actions aimed "at clearing Spain of destructive forces" (Dali's words). He sent telegrams to Franco, praising him for signing death warrants for political prisoners. The brutality of Franco's regime lasted to his last day. The year he died, 1975, he signed the death sentences of four political prisoners. Dali sent Franco a telegram congratulating him. He had to leave his refuge in Port Lligat because the local people wanted to lynch him. He declared himself an admirer of the founder of the fascist party, Jose Antonio Primo de Rivera. He used fascist terminology and discourse, presenting himself as a devout servant of the Spanish Church and its teaching--which at that time was celebrating Queen Isabella for having the foresight to expel the Jews from Spain and which had explicitly referred to Hitler's program to exterminate the Jews as the best solution to the Jewish question. Fully aware of the fate of those who were persecuted by Franco's Gestapo, Dali denounced Bunuel and many others, causing them enormous pain and suffering.

None of these events are recorded in the official Dali biography and few people outside Spain know of them. It is difficult to find a more despicable person than Dali. He never changed his opinions. Only when the dictatorship was ending, collapsing under the weight of its enormous corruption, did he become an ardent defender of the monarchy. And when things did not come out in this way, he died.

Dali also visited the U.S. frequently. He referred to Cardinal Spellman as one of the greatest Americans. And while in the U.S., he named names to the FBI of all the friends he had betrayed. In 1942, he used all his influence to have Buñuel fired from the Museum of Modern Art in New York, where Buñuel worked after having to leave Spain following Franco's victory. Dali denounced Buñuel as a communist and an atheist, and it seems that under pressure from the Archbishop of New York, Buñuel had to leave for Mexico, where he remained for most of his life. In his frequent visits to New York, Dali made a point of praying in St. Patrick's Cathedral for the health of Franco, announcing at many press conferences his unconditional loyalty to Franco's regime.

Quite a record, yet mostly unknown or ignored by his many fans in the art world.

Vicente Navarro is the author of The Political Economy of Social Inequalities: Consequences for Health and Quality of Life and Dangerous to Your Health. He teaches at Johns Hopkins University. He can be reached at navarro@counterpunch.org.

Suck it Picasso.

The paintings it is based on, thanks to basilisk on Reddit:

• Last Supper by da Vinci
• The Birth of Venus by Boticelli
• The Anatomy Lesson by Rembrandt
• On the right, Girl with a Pearl Earring by Vermeer; on the left one of the Portraits of Henry VIII by Holbein
• The Raft of the Medusa by Géricault
• The Death of Marat by David
• The Creation of Adam by Michelangelo

• The Son of Man by Magritte
• Composition with Large Red Plane by Mondrian
• one of Frida Kahlo's self-portraits
• Portrait of Dora Maar Seated by Picasso
• The Scream by Munch
• The 1899 self-portrait by Van Gogh
• Ten Marilyns by Andy Warhol

• Gabrielle d'Estrées et une de ses soeurs by unknown
• Maestá by Cimabue
• Salome by Caravaggio
• Olympia by Manet
• Liberty Leading the People by Delacroix
• Portrait of the Journalist Sylvia von Harden by Dix
• The Kiss by Klimt

• La Mariée by Chagall
• Las Meninas by Velázquez
• One of the Sunflowers by van Gogh, probably the Third Version

If you like movies so bad they're good, then yes. Sidaris is the guy responsible for this and this.

In reply to this comment by dystopianfuturetoday:
I haven't seen it, I was just liberating some pq9s and your absurd clip cracked me up. Should I put it in my Netflix queue?

In reply to this comment by SlipperyPete:
big Picasso Trigger fan, eh?

thanks for being #10!

I haven't seen it, I was just liberating some pq9s and your absurd clip cracked me up. Should I put it in my Netflix queue?

In reply to this comment by SlipperyPete:
big Picasso Trigger fan, eh?

thanks for being #10!

big Picasso Trigger fan, eh?

thanks for being #10!

"Huh? Not appropriate."

That's what they said to Picasso.

I'd always heard that quote attributed to Stravinsky, but I guess he and Elliot and Picasso were all contemporaries. It's a wise saying, and it probably applies to commerce just as much as art. If another artist or company has succeeded in doing something you like, there is no shame in taking that process and incorporating it into your own.

I guess I've delayed this for too long, but here goes:

1. I've killed at least 250 birds
2. and I don't feel bad about it
3. As a kid I was a talented chess player
4. I used to be a member of MENSA, but it was too geeky and self-indulgent for me
5. My first car was a Seat Leon
6. I loved that car and still miss it
7. I've been involved in a serious car crash and was the only one to walk away unharmed
8. The only code I know is html
9. In school I made a fansite about Wesley Willis
10. I've dislocated both shoulders numerous times
11. I haven't been in a fight for over 6 years now (and I don't plan to)
12. I'm a big fan of Liverpool FC
13. I've never been to Liverpool
14. I own a 12 gauge shotgun and a .30-06 rifle
15. I'm not a big fan of handguns, but I used to have a Desert Eagle .45 (the kickback was fun and frightening at the same time)
16. I suffer from an autoimmune disease (it's not lupus )
17. Growing up, 3 different teachers encouraged me to see a therapist
18. I never did
19. I own a perfect replica of a Picasso self portrait. I love that picture.
20. I'm a terrible dancer
21. I love vintage clothing like hats and vests
22. I competed in the British national athletics championship final when I was 12 yrs old (100m hurdles and 4x100m relay)
23. I didn't win, but it was a a lot of fun
24. My favourite number is 46
25. I've never shot a man in Reno just to watch him die

>> ^therealblankman:
>> ^Raaagh:
Ok, let me predicate this my mentioning a few weeks ago I poured over a picture book on Picasso with the stories behind each painting.

I dont really like Picassos paintings, but his attitude tickles/scares me (painting pictures of his sister getting auto-sodomised etc)

I was expecting something far more, angsty, anti-social, lewd, and arty but that was just beautiful and so passionate. It really drew me and and had its way with me.
Thanks poster.

Picasso?


bwahahaha

I mean Dali, I was dog tired when I wrote that


The book was something like this but probably slightly diff format as the cropping on the cover image is better:
http://www.amazon.com/Dali-Midsize-Robert-Descharnes/dp/3822831816/ref=sr_1_1?ie=UTF8&s=books&qid=1246844599&sr=1-1