Frog Effigy Pendant

Veraguas-Gran Chiriquí, Frog Effigy Pendant, 700-1520 AD, Gold, Walters Art Museum, Baltimore, Maryland

Sometime after 500 CE, gold became the preferred material for fashioning personal adornments, supplanting jadeite and other green stones from which artists had made impressive pendants and necklaces for centuries. The relatively sudden appearance of gold and the specialized knowledge needed to work it imply the introduction of metallurgy from outside the region.

All evidence points to northwestern Colombia as the point of origin of the metal arts, a region filled with other archaeological and art historical lines of evidence indicating a long-standing history of contacts between the two regions. Gold pendants were cast in a variety of forms, from relatively naturalistic portrayals of animals to composite creatures combining human and zoomorphic features. The frog may be a totem, symbolic of transformational abilities or special connections to the supernatural.

James Mortimer

James Mortimer: Paintings, Oil on Linen

James Mortimer, a painter and a sculptor, was born in Swindon, Wiltshire in 1989. He was educated at a Catholic School and studied sculpture at the Bath School of Art, receiving the Kenneth Armitage Prize for Sculpture. Mortimer now devotes himself to painting imagined scenes of immoral excess, mythical creatures and larger than life characters. He is represented by the Catto Gallery on Heath Street in London.

James Mortimer’s fey boys inhabit a world of uncomplicated decadence, a surreal Renaissance landscape where man and beast exist together on increasingly equal terms. Inhibitions go out the window; each is a slave to their own nature. The ensuing relationships provide fertile ground for myriad little dramas as the companions look to get along. Animals become mischievous, even vicious at times. Their masters try to rise above it, retaining an almost Imperial sense of composure, but in the process find themselves somehow detached, lost even, gazing wistfully into the opium haze of their peculiar adopted land.

Whilst seemingly simple, there is wealth of drama playing out behind the scenes. Visual puns and innuendoes pepper his paintings like Freudian slips of the brush. Every fruit and every plant is pregnant with suggestion. Exoticism and the thrill of travel also permeate every scene, like Victorian Boy’s Own adventures that have turned slightly spicy and risqué. And underneath it all, there is a simmering sexuality. These characters are vain, vice-loving and beautiful.

Note: an Extensive collection of James Mortimer’s work can be found at: http://www.jamesmortimerart.com/paintings

art@cattogallery.co.uk

Dante Gabriel Rossetti

Dante Gabriel Rossetti, “How They Met Themselves”, 1864, Watercolor and Bodycolor on Paper, 11 x 10 Inches, Leicester Galleries

There are three versions of this watercolor “How They Met Themselves”. One exists  in a private collection and the other two at the Fitzwilliam Museum. The first version of this doppelganger theme was made with pen and ink and brush and is dated 1851 1860. It was painted for George Price Boyce, Rossetti’s friend and fellow Pre-Raphaelite artist, during Rossetti’s honeymoon in Paris in 1860, to replace the earlier pen and ink drawing of the same subject which was either lost or destroyed.

In a letter to George Price Boyce dated February 4th of 1861, Dante Rossetti expressed, his intentions to undertaking a watercolour version: “I was much wishing to execute the Bogie pen and ink drawing which you have as a watercolour and would be greatly obliged to you for the loan of it…”

Dante Rossetti, by calling it the `Bogie drawing’, expressed his continuing fascination with the legend of the ‘Doppleganger’, the vision of which is a presentiment of death. To illustrate this strange theme, Rossetti chose the subject of two medieval lovers in a wood meeting their doubles who glow supernaturally. Doppelgänger imagery occurs in poems he admired such as Elizabeth Barrett Browning’s “ The Romaunt of Margaret” and Poe’s “Silence” and also frequently in his own more autobiographical poems such as “Sudden Light”, “Even So”, and “Willowwood”.

Calendar: August 25

A Year: Day to Day Men: 25th of August

Marrakesh Delicacy

Beginning on August 25, 1835, six articles about the discovery of life on the Moon are published in the New York Sun newspaper.

The Great Moon Hoax refers to the series of articles published by the Sun, describing the discovery of life and possibly civilization on the Moon. The article was attributed to Sir John Herschel, one of the best known astronomers of that period, and written down by Dr. Andrew Grant, the personal secretary of Herschel.  The discoveries were made with an immense telescope based on an entirely new principle. Fantastic animals, including goats and bison, as well as bat-like winged humanoids were described. Ultimately, the observations were terminated with the destruction of the telescope and the observatory by the intense heat of the sun focusing through the lens of the telescope.

Authorship of the articles has been attributed to Richard Adams Locke, a reporter working for the New York Sun. Locke admitted it years later in an letter to the weekly paper “New World”. Rumors persisted that others were involved; but no evidence could be found to support that theory. Locke never gave any reasons for writing the series. His intentions were probably first to create a sensational story which would increase sales of The Sun, and, second, to ridicule some astronomical theories recently published.

In 1824, Franz von Paula Gruithuisen, Professor of Astronomy at Munich University, published a paper titled “Discovery of Many Distinct Traces of Lunar Inhabitants,  Especially of One Their Colossal Buildings”. Gruithuisen claimed to have observed color on the lunar surface, indicating climate and vegetation zones, and lines and geometric shapes, indicating the existence of walls, roads, fortifications, and cities.  Reverend Thomas Dick, minister and science teacher, wrote a book that computed the number of inhabitants of the solar system; the moon by his count would contain four billion inhabitants. Reverend Dick’s writings were very popular in the United States; Ralph Waldo Emerson was a fan of his book.

The story was not discovered to be a hoax for several weeks after its publication; even then, the New York Sun did not issue a retraction. Sir John Herschel was initially amused by the hoax, but grew annoyed when he had to answer questions by people who really believed the story was true. The Sun’s circulation increased dramatically because of the hoax and remained greater than before, establishing The Sun as a successful paper. The Great Moon Hoax is mentioned by characters in Jules Verne’s “From the Earth to the Moon”, published in 1865 by Pierre-Jules Hetzel.

Alsarah and the Nubatones, “Wad Alnuba”

Alsarah and the Nubatones, “Wad Alnuba”, from the Album “Captain Planet Presents: Through the Wire”, 2015

Producer Captain Planet has become well known in the house & tropical bass scene for his original productions and equally his wide and prolific remixing skills and Bastard Jazz Recordings has compiled up a double LP and digital release of the Captain’s finest remixes of the last three years in one place for maximum dancefloor potential.

As is the Captain Planet style, the remixes touch on all corners of the globe – hitting Middle Eastern/Nubian vibes (Alsarah & The Nubatones’ “Wad Alnuba”), Sub Saharn Africa (Saran’s “Tounkan”), Cumbia (Buyepongo’s “Maestros”), Dub Reggae (La Yegros “Viene Di Mi”), Centeral American Folklore (Los Folkloristas “El Coco”), Afrobeat (London Afrobeat Collective’s “Prime Minister”) and many more.

Jeffrey Milstein

Jeffrey Milstein, Five Photographs from His Series LANY: Aerial Photographs of Los Angeles and New York, Published by Thomas & Hudson,

Using the highest-resolution cameras available mounted to a stabilizing gyro, Milstein leans out of helicopters and does steep circles in small airplanes over Los Angeles where he grew up and over New York where he now lives, looking for shapes and patterns of culture from above, continually awed by the difference between the aerial view and the view on the ground.

Millstein emphasizes the abstraction of pattern and reveals aspects of urban design and planning of both cities at the same time as he offers an intensification of detail and an abundance of information. He composes his images so that the viewer is still vividly aware of the human scale.

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