Bruce Kurland painted this still life while he was living in the town of Curriers in Wyoming County, New York. He felt that the city offered dismal prospects for a representational painter and moved to the countryside, where he painted images that focused on simple objects “being revealed by light.” Here, the dried bone, shriveled crab apple, and rusty cup emphasize the transformation of both natural and manmade materials over time. The dark, empty background highlights the delicacy and transitory nature of these strange objects. (more over at the Lucie Foundation Center for American Art)

About Bruce Kurland:

Bruce Kurland began painting in the late 1950s and studied at the Art Students League and the National Academy School of Fine Arts in New York. He spent almost twenty years living a “nineteenth-century life” in Wyoming County, New York, where he was inspired by the dramatic open vistas of the countryside. His small paintings show still lifes in miniature and often include unconventional items, from wilting flowers to old bones and dead mice. (more)

First spotted via On the Sunny Side of the Sunny Side up

First caption:

Storming of the Bastille:

The citizens of Paris led by the Gardes Françaises on the 14th of July 1789. Building of this fortification started in 1369 during the reign of Charles V. Hugues Aubriot, a native of Dijon and Provost of Paris, laid the first stone. Construction was completed in 1382. Aubriot was born in Dijon. He became one of the first prisoners of the Bastille, imprisoned under the pretext of heresy. He was liberated by the Parisians during the troubles that stirred the capital, and escaped to his motherland.

Second caption:

This is how we punish traitors.

I first found this photo over at Washington’s Blog. The post where it appears makes a (short) argument about the ban of media coverage apparently imposed by BP and US officials and the alleged suspension of the 1st Amendment of the US Constitution it represents. At the very end of the post, the author seems to put forward a legal argument supporting the publication of such pictures as the one shown above:

In addition, use of such images is also protected under the First Amendment to the United States Constitution. Specifically, reproduction is protected under the “Mai Lai/Zapruder line of cases”, since:

(1) The images are of historical significance;

(2) They show facts which cannot be conveyed effectively in any other manner, and

(3) Therefore the Constitution trumps copyright law. (more)

Now, what exactly are those “Mai Lai/Zapruder line of cases” ? It’s not a law, but a “line of cases” and it could plausibly be used to challenge the ban of some media access to the site of the catastrophe (see The New York Times: “BP and Officials Block Some Coverage of Golf Oil Spill”). More thoughts about this over at Aphelis.

The New York Times: Harvey Pekar with a copy of “American Splendor” in 1986, photo by Mark Duncan for the Associated Press

Harvey Pekar, whose autobiographical comic book “American Splendor” attracted a cult following for its unvarnished stories of a depressed, aggrieved Everyman negotiating daily life in Cleveland and became the basis for a critically acclaimed 2003 film, died on Monday at his home in Cleveland Heights, Ohio. He was 70. […] Mr. Pekar (pronounced PEE-kar), who toiled for nearly 40 years as a file clerk in a Veterans Administration hospital, applied the brutally frank autobiographical style of Henry Miller to the comic-book format, creating a distinctive series of dispatches from an all-too-ordinary life. His alter ego, introduced in 1976, trudged on from episode to episode, quarreling with co-workers, dealing with car problems, addressing family crises and fretting over money matters and health problems.(“Harvey Pekar, ‘American Splendor’ Creator, Dies at 70” by William Grimes, July 12th, 2010)

Learn more about the frontispiece on wikipedia.

Here’s another way to interpret this illustration:

The incorporation of the father on the part of the sons corresponds to the incorporation of the sons of the part of which, upon the death of the father, substitutes for him. What else does the celebrated image of the Leviathan represent, composed as it is of many small human forms wedged in together one against the other in the shape of a scale of impenetrable armor, if not the inclusion again of the murderous sons on the part of the “second” father in one’s own body? (Communitas. The Origin and Destiny of Community by Roberto Esposito, trans. by Thimothy Campbell, Standford: Stanford University Press, [1998]2010, p. 40)

Si on en croit la Bible, c’est Caïn qui créa la première ville, pour avoir, selon la remarque de Bossuet, où étourdir ses remords. Quel jugement ! Et combien de fois n’en ai-je pas éprouvé la justesse dans mes déambulations nocturnes !

Quoted from De l’inconvénient d’être né by Emil Cioran, Paris:Gallimard, coll. Quarto, [1973]1995, p. 1307

About Fernand Cormon:

At an early age he attracted attention for the perceived sensationalism in his art, although for a time his powerful brush dwelled with particular delight on scenes of bloodshed, such as the Murder in the Seraglio (1868) and the Death of Ravara, Queen of Lanka at the Toulouse Museum. The Musée d’Orsay has his Cain flying before Jehovah’s Curse; and for the Mairie of the fourth arrondissement of Paris he executed in grisaille a series of panels: Birth, Death, Marriage, War, etc. A Chiefs Funeral, and pictures having the Stone Age for their subject, occupied him for several years. He was appointed to the Legion of Honor in 1880. Subsequently he also devoted himself to portraiture. (wikipedia)

The New York Times: “In transit, Kyrgystan to Afghanistan, April 5: Soldiers in full gear on a C-17 military transport from the Transit Center at Manas to the Mazar-i-Sharif Airfield” by Damon Winter [click for full scale]

In “A Year at War,” The New York Times will trace the steps of the men and women of the First Battalion, 87th Infantry of the 10th Mountain Division during their yearlong deployment in northern Afghanistan. Damon Winter, the winner of the 2009 Pulitzer Prize for feature photography, followed the battalion in late March and early April as it made its way from Fort Drum, N.Y., to Kunduz Province. Over the weekend, as the first installments of the series were published, he spoke about the project with James Estrin. Their conversation has been edited and condensed.

All Things Amazing: José Benlliure y Gil, ” La Barca De Caronte”

“José Benlliure y Gil (1858 – 1937), Spanish painter, was born at Valencia, studied painting under Domingo, and showed from the first such marked talent that he was sent to the Spanish school in Rome.” (wikipedia)

From The New York Times:

““Exit” is billed as “a Banksy film,” but Banksy, the notoriously reclusive British street artist, appears only rarely, face hooded and voice distorted. Even so, it is Banksy whom audiences will come hoping to see, stimulated by the canopy of hype that this artist has carefully erected, in interviews and on the festival circuit. What they will find is, like Banksy’s best work, a trompe l’oeil: a film that looks like a documentary but feels like a monumental con.” (more)

Visit the film’s official website.

“Minor Martin White (July 9, 1908 – June 24, 1976) was an American photographer born in Minneapolis, Minnesota. […] After serving in military intelligence during World War II, White moved to New York City in 1945. He spent two years studying aesthetics and art history at Columbia University under Meyer Schapiro and developing his own distinctive style. He became involved with a circle of influential photographers including Alfred Stieglitz, Edward Weston, and Ansel Adams; hearing Stieglitz’s idea of “equivalents” from the master himself was crucial to the direction of White’s mature post-war work.” (wikipedia)

Minor White was John Clendenen favorite photographer when he took up photography.