Group items tagged

"VANDALS have struck a painting that depicts South African President Jacob Zuma with his genitals hanging out. Two men defaced the picture with gobs of paint, as Mr Zuma and his African National Congress sought a court order yesterday to have the painting removed from an art gallery. The case is spiced with freedom of expression on the one hand and the right to dignity on the other. It took centre stage after the painting by Brett Murray went on display in a Johannesburg gallery this month and was reported on in local media. Mr Zuma, who has a reputation for promiscuity, took the depiction of him with his private parts exposed very personally and compared himself to a rape victim. Mr Zuma himself was put on trial for rape, and acquitted, in 2006. "The portrayal has ridiculed and caused me humiliation and indignity," Mr Zuma contended in an affidavit filed yesterday with the South Gauteng High Court in Johannesburg. Presiding over the hearing in a courtroom a few kilometres from the gallery, Judge Fayeeza Kathree-Setiloane said the full three-judge bench should hear the case because the national interest and constitutional issues are at stake. South Africa's constitution protects the right to dignity as well as to freedom of expression. She said the hearing would recommence tomorrow. Mr Zuma and the ANC sought to have the painting, titled "The Spear," removed from the Goodman Gallery and to stop the newspaper City Press from displaying a photo of it on its website. Just before the hearing was scheduled to begin, two men wielding cans of red and black paint calmly walked up to the painting hanging on a gallery wall and took turns defacing it. "Now it's completely and utterly destroyed," said Iman Rappetti, a reporter for a South African TV channel who happened to be on the scene at the time as her camera rolled. Her channel showed a man in a tweed jacket painting a red X over the president's genital area and then his face. Next, a man in a hoodie smeared bl

"After retiring from truck driving in 1987, Teri Horton devoted much of her time to bargain hunting around the Los Angeles area. Sometimes the bargains were discovered on Salvation Army shelves and sometimes, she willingly admits, at the bottom of Dumpsters. Even the most stubborn deal scrounger probably would have been satisfied with the rate of return recently offered to her for a curiosity she snagged for $5 in a San Bernardino thrift shop in the early 1990s. A buyer, said to be from Saudi Arabia, was willing to pay $9 million for it, just under an 180 million percent increase on her original investment. Ms. Horton, a sandpaper-voiced woman with a hard-shell perm who lives in a mobile home in Costa Mesa and depends on her Social Security checks, turned him down without a second thought. Ms. Horton's find is not exactly the kind that gets pulled from a steamer trunk on the "Antiques Roadshow." It is a dinner-table-size painting, crosshatched in the unmistakable drippy, streaky, swirly style that made Jackson Pollock one of the most famous artists of the last century. Ms. Horton had never heard of Pollock before buying the painting, but when an art teacher saw it and told her that it might be his work (and that it could fetch untold millions if it were), she launched herself on a single-minded post-retirement career - enlisting, along the way, a forensic expert and a once-powerful art dealer - to have her painting acknowledged as authentic by scholars and the art market."

"Teri Horton is a 74-year-old retired truck driver with an eighth grade education. She likes to gamble a bit, and now she thinks she has hit the jackpot. Not in a casino, but in the high-stakes world of modern art. Teri isn't the kind of person who knows-or cares-much about art. But as CNN's Anderson Cooper reports, she has caused a stir in the upper reaches of the art world because of a painting she bought years ago, a painting she now believes is the work of the famous abstract expressionist Jackson Pollock. If Teri's painting is by Pollock, it would likely be worth tens of millions of dollars. Not bad, considering she bought it as a gift for a friend and only paid $5 for it in a thrift shop in San Bernardino, Calif."

"Melvyn Bragg and guests David Jackson, Dorothy Rowe and Alastair Wright discuss the work of the Norwegian artist Edvard Munch, focusing on his most famous painting, The Scream. First exhibited in 1893 in Berlin, The Scream was the culmination of Munch's magnum opus, a series of paintings called The Frieze of Life. This depicted the course of human existence through burgeoning love and sexual passion to suffering, despair and death, in Munch's highly original, proto-expressionist style. His titles, from Death in the Sickroom, through Madonna to The Vampire, suggest just how directly and unironically he sought to depict the anxieties of late-19th century Europe. But against all Munch's images, it is The Scream which stands out as the work which has seared itself into the Western imagination. It remains widely celebrated for capturing the torment of existence in what appeared to many in Munch's time to be a frightening, godless world. Munch himself endured a childhood beset by illness, madness and bereavement. At 13, he was told by his father that his tuberculosis was fatal. But he survived and went on to become a major figure first in the Norwegian, then the European, avant-garde. He became involved with two of the great playwrights of the period. He collaborated with his fellow countryman Henrik Ibsen and became a close friend of the tempestuous Swede August Strindberg. He admired the work of Post-Impressionist painters such as Paul Gauguin and Vincent van Gogh and the philosophy of Friedrich Nietzsche, all of whom influenced his art. Munch's own influence resonated through the 20th century, from German Expressionism to Andy Warhol and beyond. His work, particularly The Scream, remains powerful today."

"True art would never be mistaken for a crude, paint-by-the-numbers copy. But a researcher has developed a statistical tool for determining whether a purported masterpiece is only a skilled imitation, suggesting that art may be a numbers game after all. Using high-resolution digital images and complex mathematical formulas, associate professor Hany Farid of Dartmouth College analyzed works by Renaissance artists to determine their authenticity. His computer program was able to accurately separate eight drawings by 16th century Flemish artist Pieter Bruegel the Elder from five drawings by imitators. It also found that portions of a painting by Italian artist Pietro di Cristoforo Vannucci, known as Perugino, were probably done by Perugino's apprentices. Farid described his work, presented Monday in the Proceedings of the National Academy of Sciences, as "simply another tool that is contributing to the dialogue of art authenticating" and said more work is needed before digital analysis of art could be done on a wider scale. Art experts reacted warily to the prospect that a masterpiece could be reduced to the sum of its digital parts. "

Today, West Vancouver officials will roll out a new way to keep drivers alert and slow them down: a little girl speed bump. A trompe-l'œil, the apparently 3D girl located near the École Pauline Johnson Elementary School is actually a 2D pavement painting, similar to the one shown here.

All you Psych folks out there. What type of behavioral conditioning is this likely to create?!?!?

"In 1990, Thomas J. Bouchard, Jr. and his colleagues at the University of Minnesota published a striking finding: About 70 percent of the variance in IQ found in their particular sample of identical twins was found to be associated with genetic variation. Furthermore, identical twins reared apart were eerily similar to identical twins reared together on various measures of personality, occupational and leisure-time interests, and social attitudes. Bouchard's study, along with many others, has painted a consistent picture: Genes matter. The studies say nothing about how they matter, or which genes matter, but they show quite convincingly that they indeed do matter. Genes vary within any group of people (even among the inhabitants of middle-class in Western society), and this variation contributes to variations in these people's behaviors. Let's be clear: Twin studies have received much criticism. Even though the proliferation of advanced statistical techniques (such as structural equation modeling) and the implementation of additional controls have allayed some of the concerns, they haven't allayed all of the them. Even so, the findings from twin studies should not be understated; it counters many a prevailing belief that we are born into this world as blank slates, completely at the mercy of the external environment. Because our psychological characteristics reflect the physical structures of our brains and because our genes contribute to those physical structures, there are unlikely to be any psychological characteristics that are completely unaffected by our DNA. "

"The alteration of photos for propaganda purposes has been with us as long as photography itself; it is not an invention of the digital age. But while digitally altered photographs can easily fool the eye, they often leave telltale footprints that allow them to be unmasked as forgeries. There are many famous altered photographs, from a Matthew Brady photograph of Abraham Lincoln's head composited on to John Calhoun's body to the endlessly altered photographs from Soviet Russia. An entire book, "The Commissar Vanishes," by David King, is devoted to Soviet whims about who should be included (or deleted) in photographs. In the series shown above, Stalin is accompanied by three officials, then two, then one, as they successively fall out of favor and are cropped and airbrushed into non-existence. (In the end, in a painting based on the photograph, he stands alone.) We understand Stalin's intentions by removing comrades, but what is the purpose of these Iranian missile photographs? They are clearly altered. The question remains: Why, and to what end?"