March 31, 2010

eric swartz

Filed under: arhtists — oood @ 18:10



good morning

Filed under: pics — oood @ 14:09

Asala’am Alaikum Dearest One.‏ (SPAM)

Filed under: merdredi — oood @ 13:40

Asala’am Alaikum Dearest One

I humbly write to solicit for your partnership and assistance in the transfer and investment of my inheritance fund USD$17.5M from my late father who died mysteriously last Dec.
It was very evident that he was poisoned to death. In my culture, when a man dies, if he does not have a male child, the brothers shares his property leaving both the wife and the daughters empty handed including the house they live in. This is the exact case with me as I am the only daughter of my father. I lost my mother when I was barely a year old and my father refused to re-marry another wife because he felt solely responsible for my mother’s death.

This is so because he concentrated much on his businesses that he rarely pays attention to domestic affairs. He was always traveling taking care of his businesses that he did not notice when my mother took ill. He thought it was a minor illness and was ignorant of this. My mother her own resorted to self-medication. It was not until the illness degenerated that my father took my mother to hospital where she was diagnosed to find out that hepatitis had eaten deep into her blood stream. She didn’t last long before she died.
This happened when I was barely a year old. Based on this, my father could not forgive himself easily because of it and said he was responsible for her death as he could have saved her if only he had paid attention to the things at home rather than concentrating much on his businesses.
Despite all entreaties by friends and relatives, he refused to remarry but ensured that I had everything that I wanted. It was as a result of this that he made me the next of kin to his fund deposit with the bank and stated that in the event of any eventuality, I should have a direct access to the fund only when I am 25 years of age otherwise I should have a guardian/partner intercede on my behalf for the release of the funds to me. Unfortunately, he died late last year and I am 19 years of age currently.

This is why I have contacted you to serve as a guardian to me and as my foreign partner for the transfer and investment of the fund overseas My uncles does not know about the fund because they had already taken my father’s houses and other properties because I am a girl and they said I do not have rights for any property. They have requested to have my father’s bank papers but I simply told them that I do not know where he kept them. The younger brother took the house in the village while the houses in the town were sold out they shared the proceed they got from the sale.
Right now I am in the hotel and do sincerely want to travel out of my country. This can only happen when I have secured the release and transfer of the funds in the bank. This is why it is important that we have a plan on the type of lucrative business that we can invest the funds on.
I had at various times had discussions with the director of international remittance unit of the bank where my father deposited the funds and I was assured that once, I have someone who would be willing to receive the funds on my behalf, they shall commence all proceedings to effect the release and transfer of the funds into the person’s designated account.

Now, that you have signified your interest to partner with me, it would only be very necessary if you contact the bank and request for the release and transfer of my inheritance fund into your nominated account for the purpose of investment and to further have me come over to your country to continue with my studies.

I shall be giving you the banks contact details as soon as I hear back
from you so that you will go ahead and contact the bank, PLEASE CONTACT ME ON MY PRAVITE EMAIL ADDRESS(

Your urgent response will be appreciated,

Talk to you the more.



Mariam Abdullah.

March 30, 2010

ISBN-13: 978-0807610237

Filed under: books — oood @ 21:50

In 1929 Surrealist artist Max Ernst published the first of a series of collage novels. It was a kind of comic strip, but not a real comic book, selecting fragments of wood engravings from nineteenth-century magazines, encyclopaedias and trivial novels. Some collages parody famous works of art. The newly forged combinations of scientific instruments and floating figures and of landscapes with unexpected interiors guarantee the odd dream world identified so closely with Surrealism. These scenes were praised in the book’s introduction. This was to be ‘the ideal picture book of this age’, and the future was to leap forth from it. ‘Children’s eyes, wide with awe, that open like butterflies’ wings on the shore of a lake’. The time had now come – according to the introduction – for ‘the first hundred visions of fairies’. These prophetic words came from André Breton, the executuve director of surrealism.

Breton had invited Max Ernst in 1921 for an exhibition in Paris at Galerie Au Sans Pareil. It was his first solo exhibition. Before this, Ernst, who had been born in Cologne, had exhibited his work in German Expressionist and Dadaist circles. Besides being a painter, Ernst was also a practicing art critic. He left his native land in 1922 and departed for Paris. He fled from the Gestapo in 1941 and settled down in America, where he had exhibited his work regularly since 1932. He became an American citizen, but returned to Paris in 1953. He later moved to the south of France, adopting the French nationality. He became known as a painter around the world.

In the collages, dissimilar elements are brought together without forming a logical whole. They are in fact democratized by the collage technique, because none of them dominates the other elements. Without any connections, there is no hierarchy. One element might stand out more than another, or take up a more central position than another, but the distinction between main elements and supporting elements has been lifted: readers can impose their own order on them. The choice of elements was made by Ernst. One of his main goals was obscuring the meaning of the original engraving. That is why he avoided overly familiar engravings like the illustrations of Gustave Doré and William Blake.

Surrealism caused a worldwide shock. Ernst did pioneering work with new techniques that he called Übermalung, frottage, grattage, decalcomania and collage. He used Catholic themes and Freud’s explanation of dreams for his iconoclastic and sacrilegious universe. His impact was enormous, also – or perhaps especially – in the humorous genre. American artist Edward Gorey, like so many other artists, owed much to his inventions. The echoes of his collage technique also reverberated throughout the Netherlands for a long time. In 1977 for instance Dutch poet Gerrit Komrij wrote twenty poems for collages by artist J.B. Meinen, published under the title De verschrikking. Rudy Kousbroek published Vincent of het geheim van zijn vaders lichaam in 1981, with illustrations that Ernst could have used in his collages.

La femme 100 têtes was the first collage novel. The title itself is a collage of meanings: The woman a hundred heads as well as The headless woman – and there are more possibilities than ‘100 têtes’, ‘sans tête’, ‘s’entête’ or ‘sang tête’. Nine chapters ‘tell’ the story of a woman who is believed by some to be Mary. Her name is Wirrwarr, Perturbation and Germinal (‘my sister’, camping out alone between phantoms and ants). As each page contains a single print with a brief subtitle (the legend), the reader mostly follows the trail of the illustrations. Although they are intentionally confusing, the subtitles are crucial in meaning. In the first chapter for instance, the consecutive collages as a whole appear to reject the dogma of the Virgin Birth. The legends were also published subsequently by Ernst under the title Le poème de la femme 100 têtes (1959). Two other collage novels were published in 1930 and 1934: Rêve d’une petite fille qui voulut entrer au Carmel has a certain narrative progression, and in Une semaine de bonté, the images are derived from eroticism, hysteria, and mysticism.

The first two collage novels were published by Carrefour, owned by book seller Pierre Lévy (1894-1945). This young Parisian publisher printed the Surrealist magazine Bifur from 1929 to 1931, and brought together a number of big names in twentieth-century literature prior to 1931: Max Ernst, Henri Michaux, Franz Kafka, James Joyce, William Carlos Williams and Man Ray, for instance. The publisher and artist met in 1926 after an exhibition of Ernst’s series of prints ‘L’histoire naturelle’.

La femme 100 têtes was published on 20 December 1929. Because its production was expensive and sales were doubtful, only 1000 copies were printed. But it sold quite well, and within a few weeks publisher Carrefour had already sold out its entire supply. Besides the regular edition, 88 copies appeared on Dutch Pannekoek paper. The pictures are printed more clearly in these copies, and have remained in better condition. The copy owned by the Koninklijke Bibliotheek, National Library of the Netherlands is number 51 of these 88 copies, containing an extra supplement (in the back) of a catalogue of the important exhibition of 1921 in Galerie Au Sans Pareil, which was wholly dedicated to Ernst’s work at the request of André Breton.

The book was bound by Atelier Alix (Paris) in a simple green leather binding. The Alix family provided bookbinders for generations, including the head of the bookbinding studio of the Bibliothèque nationale de France. His granddaughter Hélène Alix, who also worked there, left the BnF in 1949 to start an independent studio with her husband. In 1959, after the death of her husband Henri Alix, who only lived to be 38 years old, the work at the studio could be continued, and her son Jean-Bernard ultimately also came to work there as a bookbinder. Many of the Alix bindings display abstract patterns, based on quotes from the author and illustrator about the story or the characters in the book. The studio also produced bindings in Art Deco style.

a stroll in the park

Filed under: pics — oood @ 21:11

olivia wilde

Filed under: pics — oood @ 21:09


Filed under: pics — oood @ 14:55

the story of the eye

Filed under: arht, books, pics — oood @ 14:54

good morning

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chris stain

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