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I couldnt help it one thing led to another as i spell checked this then became a new page
more or less about an appropriate apropiation and parody...
_________________________
I appropriate an an appropriate portion
http://images.google.com/images?hl=en&safe=off&sa=X&oi=spell&resnum=0&ct=result&cd=1&q=I+appropriate+an+an+appropriate+portion __________________________________________
Marcel Duchamp. Reproduction of L.H.O.O.Q. 1919. from Box in a Valise.
Readymade: pencil on a reproduction of the Mona Lisa. 19.7 x 12.4 cm.
The Philadelphia Museum of Art, Philadelphia, PA, USA.
http://www.abcgallery.com/D/duchamp/duchamp24.html
Why is this dudes doodeling famious
Wow! Any Image in Public Domain
well how good is the painting?
http://www.bestpriceart.com/?tc=abcgallery
prints
Olgas print gallery http://www.abcgallery.com/index.html
Concept of a paper clip
©1999 80" x 53" x 0.5" wool pile/ cotton backing/ acid dyes tufted with industrial punch gun; sheared; hand-dyed; latex backed photo credit: the artist http://www.flickr.com/photos/santafestudio/MarthaDonovanOpdahl's photostream http://images.google.com/images?hl=en&safe=off&resnum=0&q=Martha%20Donovan%20Opdahl&um=1&ie=UTF-8&sa=N&tab=wi_________________________________________________________________ 1 Copyright © Charles Mingus 2008 seeingisbelievingapictureisworthathousandwords.jpg
This looks like a photoshop ‘lie’ Am I mistaken Charles?
M
On 12/10/08 11:55 PM, "Charles Mingus III" <cm3-art-nyc > wrote:
"Seeing is believing a picture is worth a thousand words "
Copyright © Charles Mingus 2008 seeingisbelievingapictureisworthathousandwords.jpg
2 M wrote: This looks like a photoshop ‘lie’ Am I mistaken Charles?
M
This is not a pipe... I want it to look a little like paper and a little like digital and a little like hand made
On 12/10/08 11:55 PM, "Charles Mingus III" wrote:
"Seeing is believing a picture is worth a thousand words " Copyright © Charles Mingus 2008 seeingisbelievingapictureisworthathousandwords.jpg Correction of error Re: I couldn't help it one thing led to another I could not help it, one thing led to another as I spell checked
and did this edit to save time this & the previous page...
http://mingus.charlesmingus3art.com/index.php?artikel=870&target=login.php
http://mingus.charlesmingus3art.com/i-appropriate-apportion--_871.html http://mingus.charlesmingus3art.com/mingusart.com-_870.html be well
CM3
check out http://www.futureofthebook.org/itinplace/ http://images.sub-studio.com/labels/illustration.htmlHanna H collage http://www.zazzle.com/hannahs_faux_collages_2008_calendar-158522701417838752
Hannah Höch - Wikipedia, the free encyclopedia
Nov 8, 2008 ... Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage
of pasted papers, ...en.wikipedia.org/wiki/Hannah_Höch -
borrowing or appropriating the concept http://images.google.com/images?um=1&hl=en&safe=off&sa=X&oi=spell&resnum=0&ct=result&cd=1&q=borrowing+or+appropriating+the+concept
Stick a fork in it its done... RE:borrowing or appropriating the concept http://www.alexalienart.com/schoolofbacon.htm School of Francis Bacon
"The School of Francis Bacon opens up the valves of Sensationism. In the Beginning there was always
already only Sensation which was always always already before the construction of the conceptual, meaning
and narrative - (which are always already added after the event of Sensation). Abstract Art does not exist.
Conceptual Art does not exist. Contemporary Art does not exist. Sensation of the Image exists. Sensation
is Image. Sensation is Being. Being is Sensation. Truth is Sensation. Being Sensation. Truth Sensation."
Alex Alien Russell, School of Francis Bacon, London, 2003.
"Art negates the conceptualization foisted on the real world...The truth of works of art hinges on whether
or not they succeed, in accordance with their inner necessity, to absorb the non-conceptual and the contingent.
For their purposefulness requires the purposelessness, which is illusion... Aesthetics cannot hope to grasp
works of art if it treats them as hermeneutical objects. What at present needs to be grasped is their unintelligibility...
By its mere existence, every artwork, as alien artwork to what is alienated, conjures up the circus and yet is lost as
soon as it emulates it. Art becomes an image not directly by becoming an apparition but only through the
counter-tendency to it... The subject only becomes the essence of the artwork when it confronts it foreignly,
externally, and compensates for the foreigness by substituting itself for the work...Artworks win life only when
they renounce likeness to the human...Actually, only what does not fit into this world is true."
Theodor W. Adorno, Aesthetic Theory, The Athlone Press, 1997.
Alex Alien Russell, School of Francis Bacon, London, 2003.
"Art negates the conceptualization foisted on the real world...The truth of works of art hinges on whether
or not they succeed, in accordance with their inner necessity, to absorb the non-conceptual and the contingent.
For their purposefulness requires the purposelessness, which is illusion... Aesthetics cannot hope to grasp
works of art if it treats them as hermeneutical objects. What at present needs to be grasped is their unintelligibility...
By its mere existence, every artwork, as alien artwork to what is alienated, conjures up the circus and yet is lost as
soon as it emulates it. Art becomes an image not directly by becoming an apparition but only through the
counter-tendency to it... The subject only becomes the essence of the artwork when it confronts it foreignly,
externally, and compensates for the foreigness by substituting itself for the work...Artworks win life only when
they renounce likeness to the human...Actually, only what does not fit into this world is true."
Theodor W. Adorno, Aesthetic Theory, The Athlone Press, 1997.
http://www.alexalienart.com/schoolofbacon.htm
==========================================
3. [Art must own even the accidental event, then use the illusion of free will.
One must own even the accidental event then use the illusion of free will to construct
even more illusions ... This is not a pipe, this is not a picture , its a replica of a copy
of a digital photo I made of the fence on Second Ave. at 93nd St in N.Y.C. put up as
a protective padestrian barrier as the work on the 2nd. Ave Subway proceeds,and a
photo of an x picasso painting I guess I am probably borrowing the photo college
method of quoting a famous subject such as, Hannah_Höch or more like Marcel
DuChamp's use of the Mona Lisa with a mustache and the American
painter Bob Tompson use of Art book illustrations as inspirations or
substrates which he then covered with paint...
( Hannah Höch http://www.google.com/search?hl=en&safe=off&q=Hannah+H%C3%B6ch&btnG=Search
http://images.google.com/images?hl=en&safe=off&q=Hannah%20H%C3%B6ch&um=1&ie=UTF-8&sa=N&tab=wi)
[Although in my work the paper was not cut and the photo collages is not actually
a true composite, I enjoy looking at yellow these days and find the daubs of jackson
Polick like spagitti refreshingly rhythmic... cant blame the obviously curious shadow
"in fornt" of the display of my inserted blue eyed macaroni for the cut out images of
museum visitors posing as aficionados of high art which they do very effectivly ...]
Mackatoneyeyeballbigblue1b Copyright© Charles Mingus 2008
seeingisbelievingapictureisworthathousandwords.jpg
Copyright © Charles Mingus 2008 seeingisbelievingapictureisworthathousandwords.jpg 2
"Own even the accidental event then use the illusion of free will.."
The glitch is a part of life as a fact of random chance change
"Broken English" Copyright © Charles Mingus 2008 seeingisbelievingapictureisworthathousandwordx.jpg2 Own even the accidental event reserve then use the ilusion of free will..
3. "Seeing is believing a picture is worth a thousand words "
seeingisbeliwords2b.jpg "Broken English" Copyright © Charles Mingus 2008
My Ave C NY studio 30 year ago
Early web work
Teaching Art Using Technology
http://www.talentteacher.com/teachart.html
Bob Thompson in studio on Clinton Street, NYC
[Bob Thompson in studio on Clinton Street, NYC], 1960 / Charles Rotmil,
photographer. Photographic print : 1 : b&w ; 26 x 21 cm. Bob Thompson
papers, 1955-2000. Archives of American Art.
http://www.aaa.si.edu/exhibits/recentacquisitions-spring2006/index.cfm/fuseaction/items.detailItem/ItemID/7486
http://assemblyman-eph.blogspot.com/2008/02/exhibition-marcel-duchamp-1938.html
marcel DuChamp's with Mona Lisa DuChamp's & Mona Lisa
http://images.google.com/images?um=1&hl=en&safe=off&q=DuChamp%27s++Mona+Lisa&btnG=Search+Images
Marcel Duchamp Redux
at the Norton Simon Museum, Pasadena
Date: April 25, 2008 - December 8, 2008
Time: 12:00 PM - 6:00 PM
Address: 411 W. Colorado Blvd , Pasadena , 91105
Phone: (626) 449-6840
http://www.nortonsimon.org
This year marks the 45th anniversary of Marcel Duchamp's legendary retrospective at the Pasadena Art Museum, now the Norton Simon Museum,
from April 25 to December 8, 2008. Organized by Director Walter Hopps in 1963, By or of Marcel Duchamp or Rrose Selavy— the first-ever retrospective
of the artist's oeuvre— featured 114 works of art, including major loans from Europe and the Philadelphia Museum of Art's Arensberg collection.
Organizing an exhibition around this groundbreaking artist was a major coup for a small West Coast institution. The Museum's challenge to East Coast
authority was widely touted, and Hopps went on to organize a series of innovative exhibitions there.
The installation Marcel Duchamp Redux features a dozen Duchamp works acquired by the Museum during and after the 1963 exhibition, as well as
photographs and ephemera from the retrospective. Ready-mades (everyday or found objects that become art, thanks to the artist's idea and designation
thereof) perfectly illustrate Duchamp's irreverent wit and subversive relationship to art history. Two of them, The Bottle Rack, 1963 (original 1914), and
L.H.O.O.Q. or La Jaconde, 1964 (original 1919), included in the installation, exemplify the idea that what constitutes art is defined by the artist. The Bottle
Rack is a utilitarian object and L.H.O.O.Q. is a poster of Leonardo da Vinci's Mona Lisa on which the artist has drawn with pencil and gouache.
Duchamp had a long-standing interest in optical illusion and movement, particularly as applied to painting. One of the results of this preoccupation is a
set of "rotoreliefs" from 1953: motor-driven constructions with rotating color disks that give the impression of three-dimensional form in movement.
This will be the first time since the 1963 retrospective that they are on view. Boite-en-Valise, 1941–42 (original 1938), represents an entirely new and
different attitude by an artist about his artwork. This portable assemblage contains examples of Duchamp's works, reproduced in miniature, and packed
in a customized case that presents the artist's idea for a traveling mini-museum.
Duchamp's retrospective occurred at a moment when the Southern California art community was exploding with new talent and boasted a number of
galleries to host it. Interest in the art of such an experimental and nonconforming artist was high. The opening reception was attended by Duchamp
himself and such well-known artists as Edward Ruscha, Robert Irwin and Andy Warhol. A selection of photographs from the opening and other events
during Duchamp's Pasadena visit are included in the installation.
http://www.huliq.com/51001/marcel-duchamp-redux-works-pasadena-museum
This explains what is wrong with America !! SECRETS. OF THE. FEDERAL RESERVE. SECRETS OF THE FEDERAL RESERVE. Download in ZIP File ...
www.thebirdman.org/Index/Others/Others-Doc.../+Doc...Mullins/SecretsOfTheFederalReserve-EustaceMullins.htm -
http://www.thebirdman.org/Index/Others/Others-Doc-Economics&Finance/+Doc-Economics&Finance-FederalReserve&Banksters/+++BOOK-SecretsOfTheFederalReserve-Mullins/SecretsOfTheFederalReserve-EustaceMullins.htm
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