Something more on the last post on a new style of folklore prints in China. In the example I gave, the scene depicts characters in the fashion of the Republic period, with men wearing Western-style hats, and the woman in fringed shagged hairstyle. The inscriptions on the top right-hand corner tells of a story reminiscent of one of Aesop’s fables, ‘The Boy who Cried Wolves’: Continue reading →
I’m studying popular prints of China and came across this rather refreshing one that does not copy from old styles. Instead of using fables as subject matter and character names as the title, this new style of prints is very straightforward about the content – a moral teaching on the ‘disadvantages’ of lying.
This exquisite bronze model of Jacqueline Roque (?) by Picasso exemplifies the ingenuity of the artist. She’s like a goddess, with its lightness, its grace and the elegant contour of her head seen from every angle.
Read this (marketing) blog on Picasso’s Many Talents, whose multifaceted talents seem to speak to this photo
I spent a fair amount of time in the last post on this topic to examine the shortfalls of big data memory, especially in its inability to engender human identity and therefore a coherent subjectivity. Without that, I argued, it is impossible to form any meaningful relationship with the world. This may sound phenomenological, but essential to our discussion of big data aesthetics, especially when we put it within a larger context of the recent threat from big data insurgence, namely that a lot of our daily activities are being dictated by empirical analysis of conceivable data to a point where our aesthetic experience is greatly diminished. Continue reading →
For Li Jin, it’s either food or woman, and such devotion to sensual pleasure makes him a devout epicurean. His love for good food is well documented in his often diaristic works, depicting again and again all sorts of gastronomic delight: enticing seafood, fat-reeking meat, sashimi platter, grill on sticks, plump peaches, grapes on vines or big round turnips. When he doesn’t paint food, he paints himself and other people, mostly women, and all manner of them: naked, scantily clad, fully dressed, posing like Olympia, dancing Matissesque, picnicking sur l’herbe, fornicating or simply being. Continue reading →