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Art and stuff:

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Paul Klee Hand Puppets

Images:  Old Chum on Flickr   HERE 

Description from publishedart.com:  HERE   ”Between 1916 and 1925 Paul Klee (1879-1940) created a total of around fifty hand puppets for his son, Felix, of which thirty are still in existence. For the heads, the artist used materials from his own household: beef bones and electrical outlets, bristle brushes, leftover bits of fur, and nutshells. The first costumes were sewn by Sasha Morgenthaler, who later became a well-known puppet maker, but Klee soon took over this task himself. Although the hand puppets are a group of works that do not strive to be great art, they reflect the artistic and social developments of their time - the chronological proximity to Dada and the collages by Kurt Schwitters can be seen in Klee’s Specter of the Matchbox.

This volume presents Paul Klee’s superbly imaginative hand puppets and describes each figure in detail. An introductory essay is dedicated to Klee’s connection to the theater, his relationship to the puppets made by other avant-garde artists, and his sculptural works. Klee’s son, Felix, and his grandson, Alexander, relate how the figures were created.”

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Acne Resort 2015

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The single greatest picture ever taken in my life. We threw Yu-gi-oh cards at the ceiling fan to watch them scatter, and just happened to take a picture right at this exact moment. To this day, this is the only time I’ve ever heard of anyone breaking a ceiling fan blade with cards.

His status as public jester, good-timing party-crasher, and Waldo-like impresario surely tells us things about Web culture, contemporary celebrity, and the ways in which people prefer their famous people to be both generous and too cool to care. Will we ever grow tired of these Murray moments? Is there such a thing as Peak Bill Murray, and then the backlash?

Ian Crouch on Bill Murray, Internet jester: http://nyr.kr/1om3ziZ (via newyorker)


Hannah Arendt “Zur Person” Full Interview (with English subtitles)

(Source: youtube.com)

I began to understand that the city intellectuals of the world were divorced from the folkbody blood of the land and were just rootless fools, the permissible fools, who really didn’t know how to go on living. I began to get a new vision of my own of a truer darkness which just overshadowed all this overlaid mental garbage of ‘existentialism’ and ‘hipsterism’ and ‘bourgeois decadence’ and whatever names you want to give it.

Jack Kerouac, Vanity of Duluoz (1968)

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Roland Topor, Les Masochistes, 1960.

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Jeff Koons at home

Photograph by Jason Schmidt; W magazine June/ July 2014. 

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