Monday, January 31, 2011

DIY The Perfect LBD?

The search for the perfect little black dress has been a long and arduous one. I must have about 10 black dresses in my wardrobe (I was banned from buying them for a while there) but none of them are that perfect dress that works in any situation and will take you from work to a party to a dinner to your divorce court proceedings with ease. I decided it was high time I got one made in the shape, style and fabric I wanted. Having obviously done a lot of hands on research on the subject of black dresses, it wasn't hard to come up with this one. It has really nice paneling on the front and a lovely cinched in waist. Will probably wear it with sheer spotted or opaque tights for work. It's such a lovely shape I'll probably get it made in a few other colours and a longer version too.
Wearing: dress designed by me, reiss mesh heels.

Profile Eugene - Kim Yoo Jin : Foto - Biography

Biodata Artis Korea - Profil Selebritis


* Stage name: Eugene
* Real name: 김� 진 / Kim Yoo Jin (Gim Yu Jin)
* Nickname: Panda
* Profession: Singer and actress
* Birthdate: March 03, 1981
* Birthplace: Seoul, South Korea
* Height: 160cm
* Weight: 47kg
* Star sign: Pisces
* Blood type: A
* Education: Sang Soo Elementary School, Agatha Johnston Middle School, JFK

Profile Lee Young Ah : Foto - Biography

Biodata Artis Korea - Profil Selebritis


* Name: 이영아 / Lee Young Ah (Yi Yeong Ah)
* Profession: Actress
* Birthdate: October 23, 1984
* Birthplace: North Gyeongsang, South Korea
* Height: 165cm
* Weight: 45kg
* Star sign: Scorpio
* Blood type: B

TV Shows
* King of Baking, Kim Tak Goo (KBS2, 2010)
* Empress Chun Chu (KBS2, 2009)
* Iljimae (SBS, 2008)
* Golden Bride (SBS,

Profile Byun Woo Min : Foto - Biography

Biodata Aktor Korea - Profil Selebritis


* Name: 변우민 / Byun Woo Min
* Profession: Actor
* Birth date: December 1, 1965
* Height: 177cm
* Weight: 70kg
* Star sign: Sagittarius
* Blood type: B

TV Shows
* Creating Destiny (MBC, 2009)
* Tempted Again (MBC, 2009)
* Temptation of Wife (SBS, 2008)
* Love Me When You Can (MBC, 2006)
* Can We Refill the Love? (KBS2, 2005)

Over to you


Firstly, thank you so much for all your condolences and kind comments on my previous post. I was really touched and grateful to receive each one. Thank you.

I want to know more about you. Who are you? Where do you come from? Tea or coffee? Cat person or no? Or whatever else you want to say. I would love to get to know you better.

Andrea x

Blooming on Hawaii�s Garden Isle

Winter is an ideal time of year to visit the Garden Island. While most of the country is enduring the chilliness of winter, Kaua�i is sizzling with some events and festivals ..... and here are some of them.

Leilani Rivera Bond�s 17th Annual Hula H��ike on February 5 features Hawaiian music and dances by H�lau Hula �O Leilani and special guest artists.

The Zonta Club of Kaua�i will hold its Eat Dessert First fundraiser on February 11 at the Courtyard by Marriott Kauai at Coconut Beach. The event features desserts from Kaua�i chefs, fruit and cheese trays, a silent auction, prize drawings, and live island-style entertainment.

The cultural festival E Pili Kakou I Ho�okahi Lahui from February 18 to 20 brings together accomplished Kumu Hula (instructors) and cultural specialists to teach workshops in all styles of hula and chanting, and share stories and spirituality behind the dance in a non-competitive and open environment. The festival also showcases arts and crafts, food, music, and entertainment unique to Hawai�i.

Waimea Town Celebration on February 25 and 26 offers live top-line entertainment .... and crafts, games and product booths, along with a rodeo, softball, and three-man basketball tournament. Events on February 26 include a 10K run, canoe race, RC car race, ice cream eating contest, and ukulele competition.

The inaugural Garden Isle Tri-fest on March 12 and 23 features a variety of events at the Kaua'i Marriott Resort at Kalapaki Beach in Lihue Kaua'i.

A week of festivities honoring Prince Jonah K�hi� Kalaniana�ole, one of Hawai�i�s most beloved monarchs, takes place from March 19 to 26 in Po�ip�.

For more information about top events in Hawaii take a look at the Top Events USA selection of the annual main festivals and events in Hawaii.

For information about Kaua�i � Hawai�i�s Island of Discovery � visit

ARCHIVE: Chris Ofili / Art In America / January 2000

In January 2000, a detail of Chris Ofili's 1999 painting Third Eye Vision (comprised of acrylic, collage, glitter, resin, map pins and elephant dung on canvas) vaingloriously stretched across the cover of Art In America magazine. In the accompanying article "Ofili's Glittering Icons" art critic Lynn MacRitchie wrote: "Ofili works his themes over and over again. In the process, the street-smart references he so much enjoys sampling from urban culture are being gradually incorporated into a more formal vocabulary which seems to be taking the work forward into its next phase." 

Theological Worlds

Last week I was guest lecturing at McMurry University talking to a class about my research regarding Summer and Winter Christians. During the discussion we got into a conversation about Paul Jones' notion of theological worlds.

The first part of Jones' thesis is that our spiritual lives are characterized by an obsessio and an epiphania. Here is how Jones describes our obsessio:
An obsessio is whatever functions deeply and pervasively in one’s life as a defining quandary, a conundrum, a boggling of the mind, a hemorrhaging of the soul, a wound that bewilders healing, a mystification than renders one’s life cryptic. Whatever inadequate words one might choose to describe it, an obsessio is that which so gets its teeth into a person that it establishes one’s life as plot. It is a memory which, as resident image, becomes so congealed as Question that all else in one’s experience is sifted in terms of its promise as Answer. Put another way, an obsessio is whatever threatens to deadlock Yeses with No. It is one horn that establishes life as dilemma…The etymology of the word says it well: obsessio means “to be besieged."
Basically, the obsessio is the Question of your existence, theologically speaking. What's the location of brokenness in the world or in your life?

The epiphania, by contrast, is the experience (or hope) of an Answer to the obsessio:
epiphania, etymologically meaning “to show upon,” that which keeps the functioning obsessio fluid, hopeful, searching, restless, energized, intriguing, as a question worth pursuing for a lifetime. It keeps one’s obsessio from becoming a fatal conclusion that signals futility…Epiphania is epiphany precisely because its absurdity resides in being too good to be true.
Jones suggests that the experience of obsessio and epiphania can be asymmetrical. For Winter Christians the obsessio is the major chord of the faith experience: questions predominate over answers, the experience of brokenness is more acute than the experience of grace. For Summer Christians the epiphania is the dominant experience, with answers sufficient to the questions and grace able to relieve the brokenness.

I like to use Jones' notion of obsessio and epiphania to illustrate the theological differences between Summer and Winter Christians. But in my lecture at McMurry we moved on to discuss Jones' notion of theological worlds.

What is a theological world? According to Jones each obsessio is different. And, as a consequence, so is each epiphania. Basically, my Questions might be different from your Questions. And what keeps you up at night, spiritually speaking, might be different from what keeps me up at night. We each have different felt experiences about what is wrong with the world. And, as a result, we go looking for different sorts of answers. Thus, your unique obsessio and epiphania--your Question and your quest for an Answer--creates a distinct spiritual experience, defining the sort of faith quest you are on, your theological world.

What is helpful about Jones' ideas is that they highlight the great diversity of the Christian experience. It's not a one size fits all deal.

Consider one of the theological worlds. Perhaps the dominant theological world in Protestantism is the world where the obsessio is human sin and guilt. In this world sin--your sin--is the problem and predicament. Sin, guilt and judgment are what is wrong with the world (and with you in particular). Sin is the location of brokenness. Judgment is what keeps you up at night.

Consequently, the epiphania in this world is forgiveness and grace. The journey in this theological world is to find relief for sin--the obsessio--in the experience of God's salvation and forgiveness.

Importantly, your theological world shapes your Christology, how you see the work of the Christ. When the obsessio is sin and the epiphania is forgiveness the work of the Christ is specified: In the atoning death of Jesus on the cross the predicament of sin is confronted and overcome. In the sacrificial death of Jesus the Question has found an Answer.

Now, it's a big shocker for some Christians to find out that many of their brothers and sisters don't live within this theological world. Sin isn't their obsessio. Not that they deny the existence and problem of sin, just that sin isn't the defining quandary of their spiritual lives.

I am an example of a Christian of this stripe. Sin and guilt isn't my obsessio. If you tell me that I'm going to hell I'll just blink at you blandly and yawn. I'm emotionally unmoved. To be clear, it's not that I don't want to go to heaven. I do. I just don't spend my life trying to save my own skin.

Because who really cares if I, one privileged American male, gets to go to heaven when 15 million children will die from hunger this year? I mean, really? I'm supposed to sweat my own eternal destiny in the face of that suffering? Wouldn't a pietistic obsession about my own status in the afterlife seem a bit obscene and self-serving given what is happening in the world?

Of course, you might disagree with me on this score. Strongly so. But that's the point. We live in different theological worlds. Your obsessio is not my obsessio. And these differences cause us to approach our faith experience in qualitatively different ways. You might go to church and rejoice in the experience of God's grace and God's great and amazing love for us. I, by contrast, am calculating in my mind that over 7,000 children starved to death while were standing here singing praise songs.

We just are living in two different theological worlds.

And, again, this shapes our respective Christologies. Where you see the cross of Jesus as a substitutionary sacrifice--the epiphania for your theological world--I see Divine solidarity with the starving child. I'm not interested in if the death of Jesus "saves" me. No doubt it does. But that's not my obsessio. I'm not looking for those sorts of answers from the cross. I'm looking for an epiphania for my obsessio. What I'm looking for in the cross is less about salvation than about God's solidarity with victims. As Jurgen Moltmann has written:
The crucified Christ becomes the brother of the despised, abandoned and oppressed. And this is why brotherhood with the "least of his brethren" is a necessary part of brotherhood with Christ and identification with him.
To conclude, let me say that no world is "better" than the other, although I expect we each favor our own. The main point is that we are different. And each of us has a bit of the truth. The world is a very broken place. It is sinful and it is suffering. And some of us are attuned to one more than the other. I think that's healthy. May grace abound to us all. May God find you in your theological world, in your dark night of the soul...

No matter what Question keeps you up at night.


Women like to wear lip color, a little lipstick can make a person beautiful. Her makeup is not complete without lip color. You should know the proper way to apply lip color, or not be able to produce the desired effect. You should always use a shade that suits you. Never choose a color just because people go crazy about him.

Tips for longer stays Lip Color

A lip color that stays on your lips is something that everyone dreams. But in fact, we find that the lip color fades when we drink or eat anything. Here are some tips that will ensure that your lipstick on. First you must know that it is better to put your lipstick in the refrigerator. This will make your color last longer. You will notice that your refrigerator has a separate box for cosmetics storage.

Magic with Lip Liner

Always line your lips with a lipstick that matches your lipstick shade. Then, cover your mouth thoroughly with the coating. This will act as a base and color to join. Use lip color on top and you're ready. If you use a light shade of lip color, then the first coat your lips with a neutral color lip liner.

Durable Gloss

You must remember that if you like to use lip gloss that will not last long. But if you still want to wear it, so you must first use all the lips on your lips and add shine. Thus, it will be long.

Advice for midlife women

Older women should be careful while lipstick. They should stick to lip color that have a creamy base. They should use natural colors and earth and stay away from shades shiny, matte or structured.

Sunday, January 30, 2011

Profile Jang Seo Hee : Foto - Biography Jang Suh Hee

Biodata artis korea - Profil selebritis korea


Name: 장서희 / Jang Seo Hee (Jang Suh Hee)
Chinese name: � 瑞姬 / Zhang Rui Ji
Birth Date : January 5, 1972
Height: 163cm
Weight: 47kg
Horoscope: Capricorn
Profession: Actress

Profile Jang Seo Hee
Jang Seo-hee� is a South Korean actress. She has starred in numerous television dramas and films, including SBS drama Temptation of a

Thrifted Yellow Shoes

Love these cute yellow flats I found at my favourite thrift market on the weekend. For $30 honky. That's about £2.50. Very happy. They are actually Elle magazine brand, umm did they ever even make clothes.

Profile Yoon Shi-yoon : Foto - Biography Yoon Dong Goo

Biodata Aktor Korea - Profil Artis Korea


Real Name : Yoon Dong Goo
Popular Name : Yoon Shi Yoon
Birth Date : September 26, 1986
Birth Place : Incheon, South Korea
Height : 178 cm

Profile Yoon Shi Yoon
Yoon Si-yoon is a South Korean actor who was born on September 26, 1986. Yoon Shi Yoon, who was born as Yoon Dong Goo, a name he used until his agency

NEW YORK: Ellen Gallagher: Greasy / Gagosian Gallery / January 22 - February 26, 2011

At the request of Gagosian Gallery the images associated with Ellen Gallagher: Greasy and posted here at BlackArtistNews were removed. ?They can be viewed at:

 "The work comes out of my desire to create an expansive, fluid realm that is both the concrete historical fragments it is made up of and the new form it describes."

Ellen Gallagher

Gagosian Gallery is pleased to present recent work by Ellen Gallagher. �Greasy� is her first exhibition in New York since �DeLuxe� at the Whitney Museum in 2005.

From the outset of her career, Gallagher has brought together non-representational formal concerns (seriality, process) and charged figuration in paintings, drawings, collages, and films that reveal themselves slowly, first as intricate abstractions, then later as unnerving stories. The tension sustained between minimalist abstraction and image-based narratives deriving from her use of found materials gives rise to a dynamic that posits the historical constructions of the �New Negro� -- a central development of the Harlem Renaissance -- with concurrent developments in modernist abstraction. In doing so, she points to the artificiality of the perceived schism between figuration and abstraction in art.

Selecting from a wealth of popular ephemera -- lined penmanship paper, magazine pages, journals, and advertising -- as support for her paintings and drawings, Gallagher subjects the original elements and motifs to intense and laborious processes of transformation including accumulation, erasure, interruption and interference. Like forensic evidence, only traces of their original state remain, veiled by inky saturation, smudges, staining, perforations, punctures, spills, abrasions, printed lettering and marking, all potent evocations and emanations of time and its materiality. This attained state of "un-knowing" fascinates Gallagher and is one of the primary themes in her work.

Her new work, which she has described as �charts or maps of a world not yet visible,� requires an exploratory approach, as if navigating unfamiliar territory or ruins. It is a liminal realm that oscillates between legibility and blankness and which appears at different velocities, both sudden and perpetual. Corporeal features well out of overlapping, intertwining abstract fields; protagonists recur in various guises; incompatible narratives meet in fragmentation, cutting, and collage; fact and fiction merge in graphic eddies: Meaning is everywhere, generated by the elasticity between myriad associations.

In An Experiment Of Unusual Opportunity (2008) a macabre scene emerges from an ink-stained ground whose surface folds, twists and bends as though its underlying grid structure is convulsed by an internal energy, while recognizable physiognomic features surface momentarily among its folds. In OK Corral (2008) and Puppy Chow (2009) the urgency of printed media becomes the temporal pulp of a complex cultural past. Taking magazine pages from popular black periodicals, Gallagher soaks them in washes of indigo, slices them into thin strips, pastes the resulting stuff together, cuts it once more, then finally reassembles it to create a �jam� of frequencies and patterns in the swirling surface. Occasionally, legible words escape, disrupting the subtle modulations of the silent blue monochrome. In Greasy (2010), the magazine pages undergo various degrees of obliteration as she applies white ink to the surface to mask everything except the letters e and o; bottles, jars and tubes are whited out, leaving only a few graphic details. In a different mode of dissembling, the Morphia drawings are a series of transformed artifacts or �forgeries.� Drawn in graphite on transparent layers of paper, the transfer of mark-making on one side of the paper materializes onto the other side, making visible the inverse order of representation. Placed between glass so that both sides can be seen, they deliver a palimpsest of constantly shifting patterns that sometimes cohere to suggest a figure appearing from within.

Gallagher's approach is marked by the technological. The experience of working for extended periods on the films that she makes in collaboration with Edgar Cleijne-- where the totality of the work exists only on the screen -- offers a model for the organization of her paintings. IGBT (2008) plays on the horizontal condition of the flatbed surface of painting as an operational device. Its bold abstract ground takes the form of a circuit-board as the template for a geometric fabulation. Circuit-board references, the structures of digital music and its internal patterns, are indexical of the movement of electricity that becomes sound. Two silhouettes are positioned at its center, both inside the structure and floating away from it, like a frontispiece of a nineteenth century novel. The transformation in scale between the small circuit-board and the large-format painting creates a temporal disturbance that directs the invisibility of the acoustic toward the spatial conditions of abstraction.

An illustrated catalogue, designed by Louis Luthi, accompanies the exhibition, with a text by Amna Malik, lecturer in Art History at the Slade School of Art.

Ellen Gallagher was born in 1965 in Providence, Rhode Island. She studied at Oberlin College, Ohio (1982-1984); Studio 70, Fort Thomas, Kentucky (1989); School of the Museum of Fine Arts, Boston, Massachusetts (1992); and Skowhegan School of Art, Maine (1993). In 2000 Gallagher was awarded the American Academy Award in Art and participated in the Biennale di Venezia in 2003. Her work is represented in public collections including Tate Modern, London; Centre Pompidou, Paris; Moderna Museet, Stockholm; Museum of Modern Art, New York, and Whitney Museum of American Art; Museum of Fine Arts, Boston; San Francisco Museum of Modern Art; and the Museum of Contemporary Art, Los Angeles. Solo exhibitions include �Watery Ecstatic,� Institute of Contemporary Art, Boston (2001, traveled to the Museum of Contemporary Art, Sydney Australia in 2002); �Preserve,� Des Moines Art Center, Iowa (2001, traveled to Yerba Buena Arts Center, San Francisco and The Drawing Center, New York in 2002); St. Louis Art Museum, Missouri (2003); �Ichthyosaurus,� Freud Museum, London (2005); �Deluxe,� Whitney Museum of American Art, New York and Museum of Contemporary Art, Miami (2005); Tate Liverpool (2007); and �An experiment of unusual opportunity,� South London Gallery (2009). 

Gallagher lives and works in Rotterdam, The Netherlands and New York City. 

Images for Ellen Gallagher: Greasy can be viewed at:

Gagosian Gallery
555 West 24th Street
New York, NY

Profile Joo Won : Foto - Biography

Biodata Artis Korea - Profil Selebritis


* Name: 주원 / Joo Won
* Real name: 문준원 / Moon Joon Won
* Profession: Actor
* Birthdate: September 30, 1987
* Height: 185cm
* Weight: 68kg
* Star sign: Libra
* Education: School of Art (Theatre), Sungkyunkwan University (Film and Television)

Profile Joo Won
Joo Won, or better known as Go Ma Jun, is one of the actor in Baker King, Kim Tak

Profile Dian Ayu Lestari : Foto - Biography

Biodata Artis Indonesia - Profil Model - Selebritis


Full Name : Dian Ayu Lestari
Popular Name : Dian Ayu
Twitter : @DianAyuLestari
Website :

Profile Dian Ayu Lestari
Dian Ayu Lestari is a newcomer actress who started her career from a beauty contest in 2007. Beautiful girl who completed her studies at the Department of Communications, UPN

Saturday, January 29, 2011

Kendra Wilkinson Sex Tape Revealed - Free Exposed Leaked Video

Kendra Wilkinson Sex Tape Revealed - Free Exposed Leaked Video�
Kendra Wilkinson has been very popular among the fans of Hollywood gossip. The Girls Next Door star was popular because of her xxx video circulating on the internet and even produced and sold by Everyone tries to find a free download of Kendra Wilkinson Free Exposed Leaked Video or Kendra Wilkinson free Sex Tape on

DIY Christopher Kane Inspired Tassel Earrings

Continuing the theme on from my recent Jil Sander inspired DIY maxi, I have been feeling very bright and neon recently. It probably helps that Hong Kong winter is pretty damn pleasant compared to London. I absolutely loved the Christopher Kane Spring Summer 11 collection and wanted to make something inspired by the brights. Neon accessories are particularly good if you want to get amongst the brights trend but dont want to go large on a dress or trousers. Found these tassels in a market and was instantly inspired. Bought some little earring studs and tied the tassels on. I can separate them in the future and just wear one colour, very versatile!
Wearing: DIY tassell earrings, vintage floral dress, tan sandals by river island.

Premier League Footballer Sex Tape Scandal in 2011

Premier League Footballer Sex Tape Scandal in 2011
Premier League shocked with a circulation of sex video, which shows a Premier League footballer are doing an orgy with three Blondes and two male pals in a Las Vegas hotel. A Premier League football star has been caught on video taking part in an Orgy with two brunettes and an international team-mate, The Sun can reveal.

He plays for the same

Lip Care Optimized

If you thought that chapped lips can occur during the winter season, you're wrong. The lips may become dry in all seasons, including spring, summer and autumn, let alone the winter. Although the products of lip care are the best way to care for your lips, there are some tips to consider when buying.

1.The range of lip care always choose one that contains no petrochemicals, alcohols and glycerin. This may affect your offer lip skin. Always choose one that contains hyaluronic acid and the best combination with natural products.

2.Do not use commercial winter lipstick cosmetics, because they can significantly damage the skin pores. If you can not resist cosmetics, apply some lip balm or balm. This will prevent chapped lips.

3.Installation to moisten your lips with lip care every day. You can apply a lip balm at all times, especially at night. Make sure you wear a lip balm in your purse or pocket when you leave. Lip balm can also act as a sunscreen to your lips. They are made of different ingredients, including natural oils, vitamins, salicylic acid and alum.

4.There also some options for natural lip care products. They allow you to make the skin of the lips. For example, you can search for a natural honey scrub the semolina, stirring the mixture and gently massage your lips every week. Alternatively, a massage with a soft toothbrush can also make the skin soft lips.

5.To make your lips more attractive and sensual, apply lip gloss. Apart from the bright colors and light lip gloss and good quality containing many essential oils and relaxing. This will not only satisfy your desire for decoration, but also help to combat dry, cracked lips.

Although the lack of sebaceous glands to prevent the lips hydrated, of course, suggested tips and tricks to treat your lips to help keep the lips properly moisture.

REVIEW: Kerry James Marshall / Vancouver Art Gallery, Canada / ArtForum / January 2011

Click to enlarge
Kerry James Marshall, De Style, 1993, acrylic and collage on canvas, 8' 8" x 10' 2".

FEW ARTISTS have imagined the present in the manner of art history�s grand styles as successfully as Kerry James Marshall. Although he has made work in many media over the past three decades, he remains best known for large figurative paintings that compellingly interweave explorations of African-American history, the mechanisms of remembrance, and the venerable traditions of old-school European painting. And while the fifty-five-year-old artist has been the subject of important solo museum shows and is a staple of major international exhibitions (including two of the past three Documentas), there have been relatively few opportunities to consider the development of his painted oeuvre on its own.
All the more welcome, then, that the Chicago-based artist�s first one-man exhibition in Canada�organized by Kathleen S. Bartels and artist Jeff Wall, and on view at the Vancouver Art Gallery until January 3�conjoins eight iconic canvases from the 1990s with a complement of recent works (including a series of prints). A studied selection rather than a survey, the three-room show provides a valuable chance to take stock of Marshall�s position vis-�-vis the histories of painting he strategically engages. The picture that emerges from this restrictive focus is of an artist committed to using the formal conventions of European picturemaking in and of themselves and as springboards for contemporary political and cultural commentary.
The considerable literature on Marshall typically frames his practice in terms of identity politics and reads his paintings against the backdrop of the artist�s biography, which coincides with important benchmarks of the civil rights struggle in the United States. It is easy to see why such interpretations prevail, for Marshall has committed himself to an artistic program of visualizing African-American personages and histories and has famously resolved never to include a white figure in his art. (In this vein, his five-venue traveling solo exhibition in 2003�2005 was titled �One True Thing: Meditations on Black Aesthetics.�) To neglect such openly stated polemics would be to misread Marshall�s art, but to foreground them at the expense of an account of his formal investments is to sell him short as a painter. Thus, somewhat against this grain, the medium-specific focus of the current exhibition provides space to consider how the artist�s extended engagement with the canon of European painting elaborates the more overtly political content of his work.
The earliest piece in the show�a large, colorful 1993 canvas titled De Style�inaugurated many of the terms for the artist�s subsequent painting practice and provides a good case study for the lens the exhibition affords. In this oversize, multifigure composition, Marshall plays with two seminal traditions of Dutch painting in equal measure: group portraiture and abstraction. By inscribing the vernacular social space of the African-American barbershop within the form of the seventeenth-century large-scale group portrait, Marshall makes good on his agenda of inserting black figures within frameworks from which they have typically been excluded. But the artist pointedly invites the viewer to appraise the nonrepresentational qualities of the picture as well. From his insistent reiteration of the horizontal and vertical lines that organize the composition and emphasize its flatness to his concerted use of the five �zero degree� colors (the primaries blue, yellow, and red, with black and white), Marshall explicitly recasts the painterly tropes of Piet Mondrian. Lest one miss these cues, the artist homophonically titles his piece in reference to the twentieth-century movement associated with such abstractions: When �De Stijl� becomes De Style, we know we are in the very particular realm of Marshall�s artistic practice. The verbal equivalent of what the artist renders in paint, the title calls out to an important chapter in the medium�s past, impressing on it a vital inflection of present concerns and figures.
Such references abound in Marshall�s paintings, and it�s fun to read many of his formal moves as consciously inhabiting previous artworks. Familiar compositions, figural poses, brushwork, and color palettes from myriad episodes in the medium�s history are everywhere put into play, challenging viewers to seek them out. (I found myself wondering: Is that mirror a quotation of Manet�s Bar at the Folies-Berg�re? That figure lifted from Courbet�s Stonebreakers? Isn�t that facture explicitly Gustonesque?) However, the ultimate strength of Marshall�s citational strategy transcends the art-historical parlor game it elicits, evincing something more concerted than typical painterly appropriations. Indeed, Marshall�s borrowing is fundamentally different from the way Titian might cop a figure group from Giorgione, for example. Marshall is undoubtedly looking for tricks of the trade and guideposts for how to put pictures together, but he is simultaneously aligning himself both within and against a specific history of painting. It is a complex program of reference and amendment, which serves not only to position Marshall within an august lineage but also to read the history of art in light of its blind spots. That is, as much as Marshall conjures painting�s history and desires to converse with it, he offers critiques and correctives�unraveling the �naturalized� fictions the medium has often serviced. This is most overt when Marshall addresses the ideologies of narrative painting, laden as it is with religious and political histories of power and social control. But Marshall does not stop there. As Wall argues in his smart, compact catalogue essay, the artist enlists �every part� of the art-historical canon in order to populate these various genres with black subjects and his own aesthetics�rewriting them, marking them with difference.
Click to enlarge
Kerry James Marshall,Souvenir I, 1997, acrylic and glitter on canvas, 9' x 13' 1".
Through this interpretative frame, the exhibition can be read as a catalogue of Marshall�s tour through art history: The 1995 �Garden Project� paintings can be seen as a hybrid of history painting and the pastoral form; Frankenstein and Bride of Frankenstein, both 2009, become Baroque full-length nudes; the three �Vignette� paintings of 2005 read as meditations on sentimental, Rococo fantasy; the Black Painting, 2003�2006, is a recast domestic genre scene, and so on. By bopping among forms, Marshall underscores the radical contingency of each and unravels its claim to a totalizing worldview. Thus the forms and content of Marshall�s paintings play off one another, taking his project far beyond a literal excursus on issue-based politics and raising more structural questions about representation and visibility generally.
As interesting as this strategy is between works, it is arguably even more compelling when it happenswithin individual paintings. Among the works on view here, this �meta� style is most dynamic in the canvases from the mid- to late 1990s. Each of these paintings�drawn from his �Garden Project� and the 1997�98 �Souvenir� series�features an image characterized by several registers of representation overlaid into one pictorial space; together they constitute the heart of the show. In Watts 1963, 1995, for example, a loosely naturalistic depiction of three children on a lawn is disrupted by all sorts of diverse pictorial incidents: the text running throughout the image; the pink stenciled forms, cartoonish flowers, stylized bluebirds, and diagrammatic sun; and, perhaps most emphatically, the areas of gestural abstract brushwork. As much as all of Marshall�s outward-glancing figures address and implicate the viewer, these shifting modes of representation also serve to, in the artist�s own words, �intrude,� �disrupt,� and �disturb� the fictional transparency of the image. That is to say, while ironically re-presenting urban public-housing projects that have �garden� in their title in a kind of contemporary history painting, Marshall here also underscores the contingency, and subjectivity, of pictorial representation itself. Watts 1963 and the other paintings of this type are made of distinct component modes, each of which individually proves incapable of relaying the whole story Marshall wants to tell. Working in concert, however, these individual manners add up to a complete image, in which difference, instability, and pictorial interdependence remain at the fore.
Nowhere is this manner of self-reflexive play more apparent than in Marshall�s �Souvenir� pictures, each of which contains a stenciled glitter frame within the image that duplicates the rectilinear format of the canvas. These frames not only reinforce the flatness of the paintings, but also echo the memorial banners depicted within many of the images (featuring, for instance, portraits of John F. Kennedy, Robert F. Kennedy, and Martin Luther King above the phrase WE MOURN OUR LOSS). The charge of this rearticulated framing is most pronounced here in Souvenir I, 1997, in which the golden glitter fringe of the felt banner rendered in perspective within the image re-appears around the painting itself�as if stretched and flattened out to coincide with the plane of the surface before which we stand. This device functions to collapse the different spaces of representation and to implicate us in our own looking, revealing Marshall�s standing interest in shuttling his viewer�s attention between the depicted space and the physical reality of the canvas. It also, interestingly, proposes that the painting might somehow fulfill the same memorializing task as the banner, thus picturing its own use. The very physical stuff of these paintings buttresses this sense of functionality as well, for their supports�swaths of canvas attached directly to the wall with screws, rather than stretched over a wooden frame�bespeak easy portability. More than conventional canvases, which rhetorically project solidity and permanence, these paintings look like they could be quickly taken off the wall, rolled up, and shown elsewhere if need be. They have the physical quality of banners�of images intended more for urgent use than for relaxed contemplation. (This is an inquiry Marshall followed to its logical conclusion in other paintings from this time�not included here�which remade banners as paintings.)
In Marshall�s most recent work, his strategies of collapsing the frames of representation appear to have become more synthetic, knit into the narratives of the images themselves rather than revealed in visibly different constituent parts. When it works, this is an amazing tack, and the most gripping image in the exhibition is among his newest: the life-size, half-length portrait Untitled; Painter, 2010. This piece depicts a seated artist in the studio as well as the painted self-portrait on which he appears to still be working. While, of course, any depiction of an image maker provides fertile occasion for a meditation on the mechanisms of making images�that quintessentially modernist preoccupation�Marshall ups the ante here, using the structure of the image itself to poetically explore his central concerns about representation, race, and self. The painted artist, whose face is rendered in Marshall�s signature uninflected black, is shown wearing a shirt with a camouflage-like design�he is depicted as doubly invisible. The image he paints, on the other hand, is cast in a vibrant rainbow of pinks, the kind of colors that until recently were marketed in art-supply stores generically as �flesh tone.� Marshall depicts the painter at the moment after he has put down the pink brush and begun to render his own face, filling in ready-made, paint-by-number compartments with dark blue hues. The image is a powerful metonym for the central concerns of the first thirty years of Marshall�s art, self-reflexively picturing as it does an unfinished moment of self-representation within the hallowed historical genre of portraiture. And as one of the most recent works in the show, it leaves us with Marshall�s contemporary diagnosis, showing that although the painter�s image is coming into focus, the most important parts remain a work in progress.
Jordan Kantor is an artist and an associate professor of painting and humanities at California College of the Arts in San Francisco.

Makeup Tips That Will Keep Natural Cosmetics

The point of the entire composition is to make the best of you, so be sure to wear makeup properly.

A natural glow of pink color is very attractive. When applying blush, you want the color to look soft and natural:

1. Blow gently to remove excess makeup brush blush makeup first to avoid serious and illegal.

2. Apply your blush on the apple of the cheek and carefully blend with your natural hairline.If, you have two shades, apply the darker the apple of the cheek first and then use the lighter shade to highlight . Mix well.

3. Highlight the temples, forehead and chin.

Makeup is a trick to know "where glowing" look for 30 seconds and then slowly increasing. When your cheeks are flushed is where you are supposed to apply blush.

Another trick of makeup is very important to ensure that color plays should be used to improve your complexion, not to change your natural skin tone. Blush Use carefully for the day, then add more or a darker shade for a more dramatic at night. For special occasions, dust a little powder on her cheeks glow ice cream for sensitive but attractive.

Be sure to blend your makeup blush in your makeup, and otherwise tend to look natural and add the appearance of 5 years from their appearance.

Shape your lips right to go with his flush. Lining your lips is important for creating plump, sensitive mouth. Perfect your pout also adds to the perfect composition. What are the effects to be achieved, cream, pure and bright. Attractive lips are soft and flexible, to keep lips soft.


physical but also the psychological aspect of women, most of these changes are for the better. Since the sudden change in hormonal environment raises many problems. Therefore, the care of the body after childbirth is so important.

First, think about numbers. Most go for a walk with your child. Active on foot to save you from extra calories, and the fresh air saturates the blood with oxygen to make you feel happy. Find a couple of minutes each day to shake the press. 3-6 to start the real estate boom, which is gradually increasing the load. The result was not so long. In a few weeks you will notice that the stomach may be the elasticity ex. Jump rope, turn the wheel, not leaning, squat, it's all going to benefit from your figure. Remove the consumption of foods high in calories, fat, fried, smoked. I prefer vegetables, fruits, yogurt. If you are breast-feeding, so this diet will benefit you and your child. In the daily care of the body, do not forget to mention the water treatment. Bathrooms contrast perfectly toned skin, making it more flexible. Several times a week use a body scrub, focusing particularly on the hips, abdomen and hips. Pound problem areas, hard sponge, apply anti-cellulite.

Many women during pregnancy seems pigmented spots on the body and face. Normally after birth, the problem is resolved in a few months. But if you want to get rid of quickly, you will need to mask the bleach fruits like lemon, currants, strawberries, or vegetables such as cucumber. Put the mask on for 15-20 minutes, rinse with water at room temperature. If your skin is dry - use a nourishing cream. And do not forget the liquid, drink at least 1.5 liters a day. Think of the hair, which is also in need of care during this time. Hormonal changes in young mothers body often lead to hair loss. This will help to solve the problem of complex treatment, such as vitamins, herbal extracts, masks.

Try to sleep well. Prolonged sleep beneficial effect on your physical and mental condition.

As you can see, the procedures for body care is not much time, but help restore youth and beauty.

Guest DIY Post: Topshop SS11 Inspired Nails by MJ of Dreaming Spires and Old Car Tyres

My gorgeous friend MJ of Dreaming Spires and Old Car Tyres has done a tutorial of her tie-dye nails inspired by the Topshop SS11 collection. I saw them on her blog a while ago and just had to know how she did then. MJ jas been doing a number of nail DIYs inspired by SS11 collections. Aren't these ones perfect and oh so 70's? She's done a fantastic video tutorial for you all, showing a very interesting water marbling technique to get the tie dye effect. It looks like it takes a bit time and a whole lot of skill, and the technique has the most beautiful results. I know this is something I am going to have to practice a bit (or a lot!), and can't wait to try. And MJ has the cutest accent too. Scroll down for the video tutorial. I hope you'll also head of the MJ's blog and check out all her other fantastic DIYs!

Friday, January 28, 2011

Hot Profile Kinaryosih : Foto - Biography

Profil Artis Indonesia - Biodata Model Cantik


Name : Kinaryosih
Birth Date : March 3, 1979
Birth Place : Jakarta, Indonesia
Occupations : actress, model

Profile Kinaryosih
Kinaryosih or commonly called Kinar, started her gait in the world of entertainment through the model stage. Winner of Wajah Femina 1997 was increasingly recognized since starred in soap opera

Profile Indah Dewi Pertiwi : Foto - Biography IDP

Biodata Artis Indonesia - Profil Selebritis


Name : Indah Dewi Pertiwi
Nickname : IDP
Birth Date : January 30, 1991
Birth Place : Bogor, Indonesia
Occupations : Singer
Hobby : Singing
TWITTER: @IndahKeci

Profile Indah Dewi Pertiwi
Indah Dewi Pertiwi is a newcomer singer in the entertainment world of Indonesia. She was born in

Is Facebook Making Us Sadder?

In my posts on unhappiness last week I talked about how relative comparisons with our peers can lead to unhappiness. I saw an interesting example of that dynamic this week over at Slate.

In her piece The Anti-Social Network Libby Copeland reviews a recent study published psychologist Alex Jordan and others in Personality and Social Psychology Bulletin. The study examined how we tend to unfavorably compare our lives to others and how Facebook exacerbates these comparisions. From Copeland's article:
...the researchers found that their subjects consistently underestimated how dejected others were–and likely wound up feeling more dejected as a result. Jordan got the idea for the inquiry after observing his friends' reactions to Facebook: He noticed that they seemed to feel particularly crummy about themselves after logging onto the site and scrolling through others' attractive photos, accomplished bios, and chipper status updates. "They were convinced that everyone else was leading a perfect life," he told me.

The human habit of overestimating other people's happiness is nothing new, of course. Jordan points to a quote by Montesquieu: "If we only wanted to be happy it would be easy; but we want to be happier than other people, which is almost always difficult, since we think them happier than they are." But social networking may be making this tendency worse. Jordan's research doesn't look at Facebook explicitly, but if his conclusions are correct, it follows that the site would have a special power to make us sadder and lonelier. By showcasing the most witty, joyful, bullet-pointed versions of people's lives, and inviting constant comparisons in which we tend to see ourselves as the losers, Facebook appears to exploit an Achilles' heel of human nature...
The whole article is worth a read.


Production line has the experience and ability to meet the aesthetic requirements for the cosmetics industry. Components must be error-free, attachment rings, waves or other defects.

special metal finishing and coating is operated by a manufacturing line through our network of suppliers to meet ISO standards and approved.

Thursday, January 27, 2011

Things I learned from my great-grandmother

Me and Gran-nan.

It is essential to watch every film starring Mario Lanza.

Fish 'n' chips is the food of the gods.

Dress with care and attention to detail.

Men think glasses are sexy.

Do the crossword regularly.

Buy good quality clothing and take good care of it.

When in doubt, hum a tune.

Garlic should be consumed daily.

Never neglect your hair style.

Potatoes go with everything.

There's nothing wrong with a glass of wine at the end of the day.

Musicals make everything brighter.

Wear red lipstick and red nail polish.

Everything and everyone is interesting.

You can make a home wherever you are.

Turn off The Sound of Music before you get to the Nazi scenes.

Eat and drink with relish and never feel guilty about it.

Go thrift-shopping - you will find treasure.

Wear your scarves with panache.

One strong, beautiful and determined woman can shape four generations - and probably many more to come.


Gran-nan died this afternoon. I am going to miss her so much.

DIY Safety Pin Collar

Was looking for a safety pin project (as I bought about a million last week). This image taken by my lovely friend Jill of London Street Style has completely inspired me. Go check out Jill's blog for gorgeous pics of blogger friends from London (miss you guys) and her hilarious sense of humour. Safety pin DIY to come soon I promise.

Mardi Gras in Fort Walton Beach

A little bit of New Orleans is coming to Fort Walton Beach, Florida, at its very own �Mardi Gras 2011� celebration on Saturday, February 12. Because it�s Valentine�s weekend, the theme this year will be �Love on the Island.� Sponsored by the Greater Fort Walton Beach Chamber of Commerce and its annual sponsors, �Mardi Gras on the Island� is a full day of activities, starting with the Mardi Gras Parade on Okaloosa Island at 11am.
There will be beads, treats, and even more beads as the colorful floats make their way down Santa Rosa Blvd. Stick around after the parade and enjoy a festive Block Party sponsored by Helen Back on Amberjack Drive. There will be games for the kids, vendors with exotic items, and food galore.  It�s a family-friendly way to make a day of it!
Later that evening, the Chamber will host the Mardi Gras Ball at the Emerald Coast Conference Center from 8 pm to Midnight.  Come in costume or come in your favorite gown - this is the time to bring out your Mardi Gras finery, enjoy the sounds of the �Swingin� Dick Tracys,� and sample food items provided by Chamber-member restaurants.  
�Mardi Gras 2011 � Love on the Island� is sponsored by the Fort Walton Beach Chamber of Commerce, A to Z Security and Sound, the City of Fort Walton Beach, Cox, Cumulus Broadcasting, Emerald Coast Tourism Development Council, Fort Walton Beach Medical Center, Golden Corral-Fort Walton Beach, Helen Back, Image Printing and Digital Services, Northwest Florida Daily News, Qantum, ResortQuest, and White-Wilson Medical Center. 
For more information about top events in Florida take a look at the Top Events USA selection of the annual main festivals and events in Florida
For more information visit

On the Possibility of Happiness: Part 2, What is Joy?

Growing up in my little church I often heard in my Sunday School classes that there was a difference between happiness and joy. It's a pretty ubiquitous Christian meme. I'm sure you've heard it before. But what does it mean?

When I probed this formulation as a child I found that illumination wasn't often forthcoming. Happiness, I was told, was immediate, hedonic, and fleeting. Joy, by contrast, was sturdy and enduring, even in the most difficult of circumstances. The point being that, when life gets tough, you can still have joy while not being happy.

Fair enough, but who, exactly, in the world thinks happiness of this sort is better than joy? If you're using happiness as a synonym for instant gratification then just say so. But, then, if all you're saying is that joy is better than instant gratification I can't see this as a particularly profound, or even uniquely Christian, observation. It's a straw man dressed up as wisdom.

My sense is that, when most people say they want to be happy they are, in fact, saying they want joy. I think happiness and joy are pretty much synonymous.

True, the word "happy" has been degraded a bit. But so has the word love. But that doesn't mean that happiness is distinct from joy, just that when we use the word happy (or love) we take the time to clarify that we are not using its degraded meaning ("Have a happy day!" or "I love peanut butter!"). Ways I see people do this is by adding an adverb to happy. I am truly happy. Deeply happy. When someone tells me they are truly and deeply happy I know they are not talking about instant gratification. They are talking about joy.

Still, when we talk about being truly happy we are often making a commentary about our environment. When we inquire as to why someone might be truly happy my guess is that they would report that the important things in life are all in order: Loved ones are close and safe, friendships are rich, work and other pursuits are rewarding and fulfilling. We look over this scene and sigh, "I am truly happy."

But what if life isn't going well? Where is happiness, even true happiness, during difficult times?

If that old Sunday School meme was trying to get at something important it was trying to get after this. The notion that joy could be found in any circumstance. Even in the face of grief or pain.

Which means that joy has to be an internal state. That was the point of my last post. Happiness isn't about external circumstances but about internal dispositions.

So what is this internal disposition? What, exactly, is joy?

I'm not exactly sure, but I'll give you my best guess. At root, when people talk about joy or deep happiness they are talking about gratitude.

I believe this for a couple of different reasons. First, the science of happiness tells us that gratitude is the trait most characteristic of the happiest people in the world. Second, if you look at my posts about the impossibility of happiness gratitude seems to be the antidote to many of the psychological dynamics associated with unhappiness. Take habituation and boredom. We often get "used to" stuff. Our jobs or spouse or house. But gratitude cracks habituation. If you feel grateful for your job, spouse, or house you fend off habituation. Gratitude keeps you happy. Consider also how we make relative comparisons, how the grass is always greener on the other side of the fence. Again, gratitude thwarts this dynamic. When you feel grateful for what you have you're not as envious. Gratitude again keeps you happy. And this happiness is starting to look a lot like contentment. Which my Sunday School teachers told me was a sign of joy.

Finally, gratitude can exist in both happiness and heartache. Things don't have to be going well to feel gratitude. In fact, it's in the face of loss when we often feel most grateful. Not for the loss, but for the gift that I was allowed, if only briefly, to experience. So gratitude can be infused with sadness and grief.

All this makes me think that gratitude is what Christians are talking about when they talk about joy or being truly happy. Gratitude characterizes the happiest people in the world. But it is also found in the middle of loss, heartache, and sadness. And, finally, gratitude thwarts the dynamics of unhappiness. Gratitude produces contentment.

So what is joy? I'm not sure, but this is my best guess. I think joy is another name for gratitude.


right cosmetics for every skin type is important to create a fresh and natural to prevent reactions to cosmetics, such as allergies rashes, itching and discharge flares or black and white dots or painful rashes. the skin of each person is unique and different regions in the face of a person may have different characteristics that must be taken into account when selecting suitable cosmetics.

Aesthetic Image

If you were disappointed when your powder eye folds and slides before lunch or your foundation seems doubled the cake, understanding the characteristics of your skin buying cosmetics appropriate for your skin type is a good exercise . Here are some tips to help you look your best.

Avoid drying cosmetic or skin irritation

Each type of skin react differently to different types of cosmetics. Even if a particular brand works of your eye shadow, the brand may not work for lipstick. This is because the type of eyelid skin can be very different from the kind of skin on the lips. When choosing cosmetics, as a base, for example, avoid drying cosmetics and beauty products that cause the skin to exit. Unfortunately, you may need to try several products to determine those who work in your skin regularly. Another issue to consider is that your skin may be a reaction to a particular cosmetic and not irritate the skin, then you may be forced to find an alternative to a brand that has been well demonstrated in the past. characteristics of the skin may significantly change throughout life as well, forcing a change in the type of cosmetics you select.

Consider your skin in the selection of cosmetics

Although the particular type of cosmetics is just right for your skin type, choosing the right color and one that is too light or too dark will be less attractive cosmetics. Choose cosmetics that complement and match your skin tone and minor defects of tone and texture will disappear. Darker foundations, deeper colors for eye shadow and eyeliner would be best suited to them with shades of chocolate or olive skin. At the other extreme, if you have pale skin, choose lighter shades of foundation and eye makeup. Cosmetics should enhance, never overwhelm the skin tones.

Investing in quality makeup

make quality often tends to be painful for the wallet, but it shows in your skin. cheap makeup can cake or a slide on the skin and is not likely to mix. It is more likely to sit on the surface, giving a plastic. Look for good quality cosmetics that are not necessarily expensive. It is better to invest in yourself by purchasing quality makeup that looks very much to know your skin type.

Dry skin

If you run into the skin is dry, do not despair. You should find the type of cream or mousse foundations. If you use the spelling, make sure it is cream based and you have to push the powder compact powder compact. You should avoid loss of power or oil-free formulas, as they try to solve the appearance of wrinkles on your face. Eye Make-up can best silk textured powder or cream eye shadows, and distinctions should be either a glow pencil or untyped. Moisture is the key word of lipsticks and lip gloss. Find a moisturizing lipstick and lip gloss to use ingredients such as aloe or vitamin E, both of which offer more moisture lip.

Sensitive Skin

Look for products that are labeled specifically for use with sensitive skin and avoid perfumes in cosmetics. Allergen is another phrase to search tags. The key is to avoid anything with high levels of artificial colors or preservatives.

Combination Skin

You can choose different products for different skin problems on your face or you can choose products that are created specifically for combination skin. Even the so-called normal skin are often areas that are more or less fat than other regions. Normal skin may be times during the monthly cycle when there is more fat than normal.

Oily Skin

For oily skin, try using an oil primer before applying a type of matte foundation that will not clog your powder pores.Loose has less oil than the powder. Dab the skin regularly throughout the day to eliminate any shine. Avoid creams, eye shadow or mascara and lip pencils creamy style.

Cleans options

Avoid using strong detergents or dry cleaners, and oil and as a very negative reaction to your skin type. Best cleaner skin, regardless of skin type is a water soluble detergent that is gentle on the skin.

Wednesday, January 26, 2011

Profile Astrid Tiar : Photo - Biography

Biodata Artis Indonesia - Profil Selebritis


Name : Astrid Tiar Yosephine Panjaitan
Popular Name : Astrid Tiar
Birth Date : 12 Juli 1986
Occupations : Model, actress

Profile Astrid Tiar
Astrid Tiar Yosephine Panjaitan (born in Jakarta, July 12, 1986) is an actress and model who is quite popular in Indonesia. A beautiful 169 cm actress started her career in entertainment

Profile Olivia Lubis Jensen : Photo - Biography

Biodata Artis Indonesia - Profil Selebritis


Name : Olivia Lubis Jensen
Birth Date : 11 April 1993
Birth Place : Denmark
Occupations : actress, model
Parents : Benny Jensen dan Viverina Lubis

Profile Olivia Lubis Jensen
Olivia Lubis Jensen (born in Denmark, 11 April 1993) is an Indonesian artist. She debuted on the big screen while starring in the movie "Bukan

HOMAGE: Kara Walker Inspires Musician Daniel Bejar's "Suicide" / L.A. Times Blog / January 25, 2011

Within 24 hours of the M.E. Grant post Black Artist News learned of another musician inspired by Kara Walker. The following blogs are from the L.A. Times and Music for Kids Who Can't Read Good.

One Song: Daniel Bejar's Destroyer finds a different angle on Kara Walker's words

January 25, 2011 |  5:27 am
Daniel Bejar forces listeners to hear Kara Walker's words from a different angle on �Suicide Demo for Kara Walker.'
Musician Daniel Bejar
Appropriation -- the act of making something your own by copying it -- has been a hot topic in the art world at least since Andy Warhol first closely examined the can that contained his lunch. It's become increasingly relevant in popular music circles too, leading to big questions about intellectual property and the nature of originality.
�Suicide Demo for Kara Walker� employs appropriation in fascinating ways. It's on �Kaputt,� the new album from Vancouver-based bard Daniel Bejar's semi-solo project, Destroyer. �Kaputt� rethinks Destroyer's noisy, rococo indie rock within the startling context of New Romantic smooth jazz, in the process changing the meaning of clich�s like �mellow� and �art rock.�
All the songs on �Kaputt� pose this challenge, but �Suicide Demo� goes furthest by featuring lyrics Bejar cut up from text-filled cue cards sent to him by the fine artist Kara Walker. Walker herself is an appropriation genius, known for work that fearlessly interrogates the deep history of African American and female oppression through refashioned imagery. Singing loaded phrases like �Seen you consorting with your Invisible Manhole� or �Don't talk about the South, she said,� in his quavery Canadian tenor, Bejar doesn't become Walker but forces the listener to hear her words in a different voice, from a different angle. Disturbing and illuminating, �Suicide Demo� leads us somewhere new.

-- Ann Powers

Suicide Demo for Kara Walker
Music For Kids Who Can't Read Good

JANUARY 24, 2011

Destroyer�s Kaputt is the best album I�ve heard so far in 2011 and my favorite of Dan Bejar�s nine albums. Much has been said about the album�s vintage 80�s sound (referred to as soft-rock, smooth jazz, or �ambient disco� depending on who you�re talking to) but I find it amazing how Bejar has taken a style of music that is easily laughed off and used it as the medium for his most ravishing work. The album strikes a balance of being faithful to the sound, with it�s palette of airy synths, extravagant woodwinds and soulful back-up singers, and creating something entirely new that�s both whimsical and stunning. The best example is the lively eight-minute epic, �Suicide Demo for Kara Walker�, the centerpiece of the album and the track that fully realizes its� potential.

The song�s curious title is actually far less sinister then you may expect on first glance. The �Suicide� the title refers to is the 70�s synth-rock band and Kara Walker is a contemporary artist who collaborated with Bejar on the songs� free association lyrics. The track opens with a hazy blend of synths, guitar, piano and flute that immediately puts you in a trance-like state. Everything about the song evokes a dream from the abstract lyrics to Bejar�s drowsy, sly vocal delivery. The lyrics are nonsensical by nature, yet never boring, feeling like long run-on sentences that are full of interesting words and clever turn of phrases (�Longings, longings, longings, all in vain, just ask Vanity, abandoned out in the rain by the world, another proud American�). Most breathtaking is the song�s instrumental refrain, a captivating display of dueling instrumentation amidst the pulsating electronic backdrop. The horns and woodwinds take turns one-upping each other with their increasingly flamboyant improvisations, resulting in the most arresting musical passage I�ve heard this year. In other words, a masterpiece.

MP3 Destroyer � Suicide Demo For Kara Walker

Purchase Kaputt at Merge Records.
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