She was born Jane Burden, but married William Morris and flirted and modelled her way into art history as Jane Morris.  Her “relationships” with the Pre-Raphaelites means that her face graces so many of the worlds art galleries, arty coffee table books, art course work plates, posters, carrier bags and more besides.

The Pre-Raphaelite Brotherhood were into photographic quality detail and likeness and so Jane Morris is recognisable irrespective of which artist painted her.

For me, she is the face of the Tractarians and the Oxford movement, the face of Pre-Raphalites, the face of the catholic movement in Anglicanism, of High Church, of High Victorian Britishness.

I had posters of her before I knew it was her.  I can see the charm she held over Rossetti — and I can appreciate the resemblance with Elizabeth Siddal and Sarah Cox (Fanny Cornforth)

She certainly has very sculptured features, particularly the “Roman Nose”! She was apparently the epitome of beauty according to the brotherhood.

Personally, I don’t see it quite like that; I see her as a perfect depiction of allegory — the type of artists’ model who would be perfect for representing an ideal, such as “Generosity” or “Chastity” and just about anything else, even “War”.  There is something about Jane and Elizabeth Siddal that makes them seem beautiful in the aesthetic sense, rather than the erotic sense.

For me, and I suspect for most men, Morris is an idealisation, not something to be desired.  More of an archetype really, and that is fascinating!

A mate of mine years ago suggested that Jane Morris was a bit like those strange manly females painted by Michelangelo, the classical nose, the strong limbs, the polished marble complexion. I disagreed because Siddal and Fanny had the amazing red hair, and both, but Jane especially, had the listlessness, the boredom and aloofness of the idealised female, not a bastardised man!

The really fun thing when studying these people and this movement is that there are letters and even photographs available.

This blew me away. Obviously you can compare the paintings with the photographs, but the photographs are of an actual — real — wife and mother, not the painted allegorical or historical figure.

• If you want to compare paintings and sketches with real photographs of Jane Morris, check out the Pre-Raphaelite Sisterhood website — it’s a great place to start looking into this fascinating movement and era.

Rossetti married Siddal and when she died, Fanny moved in as housekeeper/lover despite everyone’s view of her as a common lass.  They both grew tremendously fat together.  Through both relationships, Rossetti had a long-term “relationship” with Jane Morris, but it was a secretive affair because Morris was Rossetti’s social equal and colleague in the Pre-Raphaelite brotherhood.

If that little paragraph doesn’t whet your appetite for further research and enquiry, then I don’t know what would do the trick!

The whole thing is fascinating, fascinating ideas in fascinating times.  The high church artistic values of spires and stained glass, against the frugality of the stricter protestant faiths.  The strictness of Victorian moral values with the affairs of the people involved in painting them.

All of this is fabulous, dramatic and well documented.  There are many characters, many perpetrators, many artists, but in the end the face that stands out, the face that represents it all is Jane Morris’s. 

Women may not have been equal in terms of votes and inheritance (etc), but it is absolutely clear from Queen Victoria’s time, that women played a massive part in the various artistic, religious, moral and political movements of the time.

• Jane Morris The Pre-Raphaelite Model of Beauty by Debra N Mancoff

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It is by Jean-Paul Bataille, and is a bouncy dropped-G tuning swing study Enjoy!

I cannot seem to embed the video, so the link is www.guitar-tube.com/watch/jean-paul-bataille-devine

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He became famous for his graffiti, especially his “Radiant Baby” symbol. It was not paint, just chalk drawings on the New York underground system — but it was just amazing!

Keith was a trained and studying artist, and he grew very successful indeed in the early 1980s. He had become a friend of Andy Warhol and Basquiat and was always in the news for getting up to all sorts.  He looked kinda geeky and nerdy too — which helped a great deal, as this was a sought-after look in those days.

He seemed always to be in some country or other doing a mural. He painted weird pop star Grace Jones as I recall.

• Haring’s Art Database
• Haring’s official website!

OK, all that aside, I LOVED his work. It was doodles, almost stick men, but somehow it was just brilliant.  I couldn’t get enough of it. It always cheered me up.

They are simply a joy!  He used cartoon lines to suggest movement, but I love it when he does a very old Beano trick of lines representing wonder, beeling, astonishment, embarrassment, amazement, and even love.  How else does one transfer that in art? It reminds me of Oor Wullie more than Lowry. It is personal and personable yet anonymous — you cannot even tell the gender of the adult with the baby – parent? possibly, probably, but more importantly is the love for the baby. (I have had people tell me that it is a mother [pink] with a son [blue], but I am not convinced, and I think it is meant to be open to interpretation — I certainly identify with it as a father.

Haring rode on the street art bandwagon of the early 1980s, but he was very commercial, and marketed well.  However, today he and his work is more firmly identified with AIDS — which I feel is a shame. He was such a great pop artist, and had he lived his art and products would have built him an empire and massive brand identity.

Haring is one of those whose work is immediately identifiable — as such his influence tends to be more in avoiding producing any art that could be mistaken for Haring’s!  I like that he is so much a part of it — yet my kids can copy his work (anyone can).

For me there is a slight irony in that his work began as chalk line men in the subway, and that usually means a crime scene, an homicide, a dead person… yet Haring made the chalk man come to life.  When I see a chalk line today, I more think of happy Haring than of Weegee’s Hell’s Kitchen’s homicides.

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]]> http://davedevine.wordpress.com/2011/07/04/keith-haring/feed/ 0 Dave radiant baby wedding invite haring haring party parent haring http://davedevine.wordpress.com/2011/06/26/basquiat/ http://davedevine.wordpress.com/2011/06/26/basquiat/#comments Sun, 26 Jun 2011 20:15:08 +0000 Dave http://davedevine.wordpress.com/?p=1918 ]]> Jean-Michel Basquiat just amazed me to be frank.  He was almost the same age as me, but his life couldn’t have been more different; his life was complicated and truly deserves the description, “amazing”.

He died of an heroin overdose in 1988, and I heard the news when I was in London.  As a tribute, a bunch of us trekked around the rougher parts of town to look at the graffiti. It was one of the most bizarre nights of my life — but I won’t go into that here and now.

They said that Basquiat never got over the death of Andy Warhol the previous year. And although we didn’t know it at the time, but Keith Haring was to die of AIDS in the next few years.

For me, rightly or wrongly, Basquiat and Haring represented street art elevated to “high art”.  What was happening with dance seemed to be echoed in art.  Break dancing and body popping on the street gained international recognition along with BMX bikes, skateboarding and — finally — proper graffiti.

It was the next big thing in the art world. And it represented a break from the tradition of education and established art world. This remains the case today; many professional and acclaimed artists have no formal training.

Basquiat (as SAMO) was a black impoverished going-nowhere fast kid in New York who started spraying graffiti — and it got noticed by the TV stations.

Basquiat went from a homeless, abandoned street urchin who had been run-over and left for dead, to a feted neo-expressionist artist and mate of David Bowie and Andy Warhol. Jeeezo — he even dated Madonna!

The branded suit was discovered in the early 1980s , and Basquiat used to paint in a very expensive Armani suit, getting it covered in paint, and still wear it out to clubs! Brilliant.

Basquiat was rich, successful, famous, and of his time.  We were all getting on with our brick-sized mobile phones, shoulder pads and talk of “loadsamoney”.  It was excessive, and Basquiat died from overdosing, some say from his lifestyle.

I was not really a fan of his work (I much preferred Haring’s), but I recognised the importance of the man in raising graffiti to an artform.  Without Basquiat, we would not / could not have Banksy.

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Punk used strong imagery too — ransom note styles and punk fashion thanks to Malcolm McLaren. Comic book covers were getting sophisticated with fantasy art images by the likes of Boris Vallejo.

In those few short years at the end of the 1970s, the creative arts exploded.

And in 1978 I bought Mythopoeikon by Patrick Woodroffe, and my mates and I tried to copy the fantasy styles of Frank Frazetta, Boris Vallejo, Roger Dean and Patrick Woodroffe as we experimented with air brushing art onto vans and hairy bikers’ leather jackets.

Fantasy was a brand new genre at the time, and offered an escape from the bleak economic climate, nuclear cold war and doomsayer inevitabilities. Woodroffe was a Big Star at the time.

• Patrick Woodroffe has an official website: patrickwoodroffe-world.com, which is worth visiting.

The Big Image for me at the time was a book cover for The Billion Year Spree by Brian Aldiss as it was photo-realistic art — but it was nevertheless eyes on lighted candles. The wax drip runs resembled tears, and somehow it was an image that endured in the mind. Of course it made no actual sense, nor was it making any philosophic point. But still.

I found that, on his website, Patrick has this image as an album cover by the Strawbs:

We LOVED Woodroffe’s  Budgie and Judas Priest covers — and of course, his famous Greenslade ones.  You know, we actually bought records because of the artwork! This is something lost when the music business switched to CD — and now that this is broken, people can just download MP3 files.  maybe they should bring back the art?

But the link to fantasy is the strongest with Woodroffe for me.  I read a lot of fantasy at the time, including The Lord of The Rings, but also the newer stuff — one that stands out in my memory is The Chronicles of Thomas Covenant, the Unbeliever (by Stephen R Donaldson). The first of the trilogy came out in the late 70s, and we had to wait until the next one was written and published, and again.

This period was like that; we were always waiting for the next release or publication — magazines, comics, books, albums, books, movies — you name it , things were in a series and fans were “locked in”.

You were always on the look-out for sub-cultural references, and cross-pollination, so there was a great delight to discover that  Jaco Pastorius played for Weather Report — but also played on Joni Mitchell albums, or that a browse around a second-hand book shop would unearth a book with a cover by Woodroffe — such as I did with The Seedbearers by Peter Valentine Timlett:

I loved Mythopoeikon — and still have it.  It was my very first “coffee table book”, my first “art book”, and I have travelled with it as a very important part of my youth when I have sold or given away an enormous amount over the years.

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Olly is a young graphic designer with a good eye. I first saw evidence of this with his “Dirt Harry” movie poster. Clint Eastwood’s face or a smoking gun. That’s pretty clever I thought.

Then I saw a similar work of his. This was every more amazing, but the same type of graphic illusion, it was the poster for the movie, “American Werewolf in London“.

Come on, how clever is that image? Apart from the loss of A Country The Size of Wales, or as in this case, Wales itself, it is still a map of Britain, and it takes a minute to see the wolf.  Sublime.

He really is worthy 0f anyone’s attention.  there are loads of posters, book and Nintendo and Playstation games covers and much more on his website at ollymoss.com. Please check out his work, and spread the word.

• You can buy prints of his work on Amazon’s site.

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He told us that this was the meaning behind his song “We Do What We’re Told (Milgram’s 37)” from “So, 1986″, which needed an explanation as the lyrics are very brief!

I remembered this when I did some sociology and criminology modules at Open University.

Pioneering social psychologist, Stanley Milgram, did a very controversial and famous experiment in the 1960s. It was designed to determine just how far ordinary people would go in obeying people in authority. “Following Orders”. Milgram was Jewish and wanted to understand how Germans could have persecuted the Jews and other groups during WWII.

A volunteer was wired up in a room, and in an adjoining room was a device that administered a varying electric shock to the volunteer.  Subjects were asked by researchers to administer the shock each time that the volunteer failed a word association test. The Subjects did not know that the shocks were fake and that the volunteer doing the word association tests was in fact an actor.

Over 65 per cent of the subject followed orders, even to the extent of delivering potentially lethal electric shocks “Carrying Out Orders“.  They simply felt that the moral responsibility did not lie with them, but with the authority figure telling them to do it.

It was all about who had the ultimate responsibility, and that each of us has a far greater capacity to be evil if the circumstances are right, and where there is a recognised hierarchy, or a clear ringleader.

The Milgram Experiment has had a profound effect ever since.  It means that we each have to be watchful of the context in which we act.  I am amazed at how often Milgram crops up in my life.

Not long after Milgram‘s experiment, Philip Zimbardo set up a new experiment where female subjects were asked to monitor a task and to give electric shocks to those who failed, but half of the female subject were dressed in normal clothes, the other half were in a disguise that rendered them anonymous. Those who could not be identified gave stronger and longer shocks.

Zimbardo showed that people are more viscous when masked, in disguise, unidentifiable, in a crowd, in a car, on the telephone, or through the internet. Anonymity is incredibly important, and when mixed with Milgram, such as with the army, or police force, where anonymity and authority / abrogated responsibility come into play, the de-individualisation and dehumanisation is maximised.

Ordinary, nice people can carry out acts of violence or cruelty that they would never believe themselves to be capable of.

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However, a lot has been written about Sellers, but most of this is rubbish.  I say that, not because I know better; I never met him, and never knew him. I say that because most of what’s been written has been by people who also didn’t know him either. There is also a lot of looking back with today’s prevalent views and dominant ideology, and I don’t think you should do that; Sellers was a man of those times, not of today’s.

I can recall the way men were when I was younger and everyone smoked and drank. I can remember my father’s friends and I can still pick up the vibe.  Those were days when women dressed very differently from men.  The gender gap was massive compared with today.  There was a man’s world and Sellers lived and worked there.  Back then you could understand someone turning down open-heart surgery after having 13 heart attacks in a short space of time.

I do not believe he was depressed in the modern sense.  I think he was a very creative and humorous personality, and this would naturally lead to periods of writer’s block, and of boredom.  I don’t think we ought to make too much of any of that.  Humans have good times and bad times, I think we can forgive and forget most of the normal human errors and traits in favour of the aspects that matter — in Sellers’s case, what made him loved and famous was his creativity, his fun and his personality.

I was not really old enough for The Goon Show era, but I did appreciate these later when I heard them. I got into Milligan, and then Sellers made it big.

Dudley Moore sort of did the same thing later — a very specialised form of comedy, and a not-all-that-good-looking man making it big in the States.  Super models and yachts in the South of France.  Sellers blazed that trail.

Sellers and Moore are so valuable in that respect.  This cannot be underestimated; it shows that yes, it IS possible to live that life — to join the megarich Hollywood jetset — as long as you had genuine talent. And you do not have to sell-out and change!  And its not just Dud, Rowan Atkinson has gone into movies, and he’s a hit with Mr Bean (even in cartoon form), Russell Brand is just starting.

For me, and so many others, Peter Sellers was definitely a role model.  I adored his out takes (I am pretty sure he single-handedly invented the out take genre); they showed the fun he had at work.  Hey, I wanted to have a job like that.  Imagine enjoying your work? Everyday would be such fun! He was such a student of human nature (all mimics are), too much is made of him saying he had no personality as he was always adopting a character or other — THAT was his personality, he interprets and reflects, and uses inventive ways to communicate his views and feelings. I can identify with that, sometimes I have to put on a silly voice to say something important, and I really don’t know why, other than it is how I somehow have to do it!

I simply remember Inspector Jacques Clouseau as one of the funniest characters I have ever seen.  I love all the Pink Panthers.  Steve Martin, sorry, but the role is Sellers’s.  These films always make me laugh – and without fail – and within a few minutes because they are so tightly written, gag after  gag of comedy genius.

There really has been nothing to match it since.  The nearest have been American self-referential cultural parodies, such as  Porky’s,  Animal House, Police Academy, Police Squad, and Airplane.  All very silly, very, very funny, but not ground-breakingly genre-inventing original.  Pink Panther came from nowhere, it set the bar.  Edwards and Sellers were not doing ironic humour, developing a TV show sketch or referring to modern media culture (such as The Simpsons and Family Guy do).

The legacy is obvious — not just the cartoon character in the Pink Panther show, or the Goon Show’s influence on Monty Python and so forth. But the character of Dr Strangelove too. We couldn’t have ‘Allo ‘Allo with their rubbish French accents without Clouseau. Harry Enfield and so many of today’s British comedians refer back to Goons, Sellers and Python as a matter of course.  But Sellers was kinda cool too, everyone wanted to be around that type of guy because it was going to be good fun.

Peter Sellers’s biggest feat was being able to pull off being a really funny comedian, yet being a proper grown up man (he managed never to come across as a fool or an idiot). He managed to be one of the cool crowd, a jet-setter, with his own ratpack, and yet he stayed himself.  He often said he was always in character as there was no Peter Sellers character, but he never changed into an American fake or flake.  For a man with no character, he had bags of something that everyone could agree was “Peter Sellers”.

I read not that long ago that he was brought up with a strict Roman Catholic education, and because his mother was Jewish, he was sensitive to religious topics especially anti-Semitic or bigoted comments.  He was not of any religion, but it is very clear that he had a strong moral compass.  He shared that with his close friend in the Goons, Harry Secombe – who later presented a long-running Christian Hymn programme on British TV.

But it is telling that with his health crises, he never turned to religion, but to alternative therapies.

“Being There” was simply wonderful acting, and a triumph in that it showed the preposterousness of our ways without hamming up the comedy. Textbook example of exactly how this ought to be done.

Ultimately, you can look back over Sellers’s work knowing that it is safe — you can watch with your family without fear. No political subtexts, no cultural references to date it, no swearing or off-colour stuff.  It’s not Carry-On, it’s not Benny Hill slapstick, it’s just real life with the fun squeezed to the fore. It shows up the preposterousness and pomposity of our world.

That’ll do me. It’s timeless; we never learn.

• Peter Sellers’ “official” website
• www.imdb.com

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The Basquiat Strings are an innovative hybrid of classical string quartet (two violins, viola and cello) and a jazz rhythm section (double bass and drums), and with composer Ben Davis, comprises Emma Smith, Vicky Fifield, Jennymay Logan, Richard Pryce and Seb Rochford.

I am struck at times with how King Crimson Starless & Bible Black it can be. Other times, I can get a Jean-Luc Ponty feel — which is forgiveable to the point of being a compliment.

Read reviews and listen to previews here at Amazon. Folk have mentioned Surfjan Stevens and even Sigur Rós!

It ranges from trippy to dreamy, to driving along apace with a light heart and a slight trance.  Wonderful stuff. Remarkable that it manages to sit so well into several seriously complicated genres. Expect pizzicato, but also expect very yiddish violin moods too.

The whole album is  a well conceived and constructed project worthy of any collection. It will expand your mind!

Ben Davis has a website — www.bendavis.info They’re on Myspace too.

I like it because it takes me back in memory to my prog rock days — King Crimson, Yes, Genesis, Pink Floyd — and the other strands, such as Bruford, UK, and even Jethro Tull and Gentle Giant.  But then, I like odd time signatures, key changes, long instrumentals and the creation of a really cool aural environment — a mood, a different vibe.

[Embedded video of Double Dares by Basquiat Strings at Mercury Prize 2007 on YouTube]

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So let’s turn to the helpful links and things that all worked at the time of posting this here…

Once you have found out How to Pronounce Bon Iver, you can check out videos on YouTube.  I came across BON IVER through the excellent French program “A Take Away Show” doing a live and on-the-move version of  “For Emma, Forever Ago”. Here’s a link.

[Embedded Video clip from YouTube A Take Away Show Bon Iver's For Emma]

If you watched that clip, you would have to admit that Justin is very talented indeed, I just cannot understand the reaction of the American tourists in Montmartre. Bizarre!

I read about the band on Wikipedia:  en.wikipedia.org/wiki/Bon_iver, and found out that the name means (have a) good winter in French. Although a “band”, BON IVER is really Justin Vernon and members of the audience helping fill out the harmonies he recorded!

For Emma, Forever Ago is from 2007, but it’s a new find for me.  I know BON IVER have a new album out this year — a self-titled one — and I fancy getting a hold of a copy even though it is supposed to be more “electric”, and has “members” playing saxophones and other unexpected instruments.  I’ll check it out when i can and keep you posted!

As you would reasonably expect, they have their own site: boniver.org/ and a myspace area too (myspace.com/boniver), if you want to check them out that way.

I prefer checking out customers’ reviews on sites like Amazon, check out the reviews for For Emma, Forever Ago, and listen to some of the tracks too.

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