Tag: Art

By Annieli

                    Artwork in Iraq gets destroyed by Daesh/ISIS-ISIL (Video)

Polytheistic idolatry is the only thing that gets destroyed, says Daesh, which somehow rationalizes the destruction of historical antiquities, as though there can only be one history, apparently a Sunni and/or Ba’athist one. Only statues that are deemed idolatrous would get destroyed or apparently as originals resold with copies destroyed for social media documentation. But what counts as idolatrous in a modern commodity economy.

Daesh is only controlling the mythology reproduced by the media in order to further not the goals of actual religious beliefs, as they are simply looters maximizing accumulatable wealth. One can say that they are even projecting a pre-modern accumulation of dominance and subjugation returning West Asia and North Africa to some pre-capitalist mode of production. Of course the ideological contradictions will flourish as Daesh elites will keep their modern networked social media and slick magazines as well as their modern weapons in an attempt to reduce all other variants of Islam to their hegemony. Daesh are not the Sentinelese or the Auvergnats – they are common crooks, the lowest form of banditry tarted up when they refer to their genocidal barbarism as a “management of savagery“.

ISIS’ efforts to erase pre-Islamic pictorial art successfully communicates their brand image. What ISIS fails to mention is that they are destroying fakes. Blouin Art Info reports that upon the release of the Mosul Museum video, experts determined that “most, if not all’ of the statuary on view were plaster fakes. The officials at the Mosul Museum had previously transported the originals to the Baghdad Museum. The New York Times reported that many of these sculptures were replicas of ancient objects and a portion of the sculptures on display were reconstructed from fragments which included original shards of ancient sculptures.

Fox News’ misreading is that this is something more immoral than the actual activity of the market in art forgery, made complicit often in human history by an entire discipline of art history and archaeology so that Fox’s headline “How ISIS created a terrorist art market“, is simply that they are following practices of pillaging going back even before the period to which Daesh wishes to return if only symbolically.

Of course the killing of suspected homosexuals will deprive Daesh of many of the population from which the making of such artwork come. These are the premodern warlord-despots of an imagination-free fundamentalist world of gender, class, and ethnic subjugation. They predictably lack the civility of the Greeks upon losing their (Elgin) Marbles.

Footage released by the Islamic State of Iraq and Syria (ISIS) showed the ruins of Syria’s Palmyra untouched as the militant group claimed it only destroy statues which it deems polytheistic, the Guardian newspaper reported on Wednesday.

Palmyra is home to a massive Roman theatre where ISIS reportedly executed 20 foreign fighters earlier this week who had been fighting alongside forces loyal to Syrian President Bashar al-Assad.

ISIS militants have reportedly executed at least 400 people in Palmyra since capturing the ancient Syrian city, Syrian state media said earlier this week.

ISIS captured Palmyra – and Iraq’s Ramadi – earlier this month despite months of U.S.-led airstrikes.

A YouTube account believed to be affiliated with ISIS posted a video on May 26 showing parts of the city’s ancient ruins and colonnades. It was not clear when the video was shot.

An activist with an anti-regime group in Palmyra said the ruins have not been damaged adding that ISIS said they would only destroy statues they deem idolatrous.

“They haven’t been damaged and members of the organization [ISIS] told residents that they will not damage the city’s antiquities, but will destroy the idols,” the activist with the anti-regime Local Coordination Committee for Tadmur, was quoted by the Guardian as saying.

“Perhaps it’s because the Palmyra antiquities are mostly columns and large buildings and not statues of people, which they consider idols that must be destroyed, and they have no problem with the other antiquities.”

The ideologically-driven destruction of priceless Iraqi artifacts by Islamic State may be a ruse that actually hides a much more cynical operation, in which fakes are smashed to pieces while real treasures are smuggled out of the country and sold on the black market to fund the terrorist army…

Whether worthless or priceless the verdict for destruction is the same. The current terrorist art and antiquities market is dictated by two factors: (1) can an item be transported to a location where a buyer exists for it, and (2) can the artwork be passed off as legitimate once it arrives.  

Here is a study in juxtaposition for your consideration:

“The science of government it is my duty to study, more than all other sciences; the arts of legislation and administration and negotiation ought to take the place of, indeed exclude, in a manner, all other arts. I must study politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain.”

— John Adams

Obama takes a shot at a key part of his base – art history majors

During an event at a GE gas engine plant, the president emphasized that Americans would be better off if more of them could work in the manufacturing industry.

“Manufacturing jobs typically pay well,” he said. “We want to encourage more of them.”

And while some young people might not think of the skilled trades as a lucrative career, Obama added, they can probably earn more “than they might than [with] an art history degree.”

Like other issues, the issue of money in politics is what will speak to what is or is not done in the next Congress more than the Presidential election of 2012. Unfortunately we didn’t hear about that in any of the debates thus far and it is the most important issue, because it spans to all issues and speaks to what hope legislation has of affecting the lives of real people.

Because of the daunting nature of this problem given how little money in relation to corporations real people have, it can feel rather hopeless. However, there are times when the creativity of certain individuals can make a difference as it has in the past.(PDF) That is where I am trying to make a difference using whatever talents I have because I have no money and very little voice or say in our real political process which is real pernicious hence the issue at hand.

The good people at GOOD Maker have set up a design contest to call attention to this dire and most important issue.

art > MONEY: Design to Define a Movement

You can vote for my piece here featured below, and if you like all my contributions in both writing and artwork over the years I ask that you please do because the competition is fierce and there are a lot of good pieces. You can vote using facebook which is probably the easiest way(don’t worry, I won’t know anything about your personal info and neither will anyone else) but if you don’t want to use facebook to vote, you can sign up to Good Maker which is probably a good idea because this organization uses creativity as an outlet for good things which made me want to get involved in this contest to hopefully do some good.

This is an extremely difficult piece to write, because the only living soul who understands it is Peter Townshend, and he still has a bit of difficulty articulating the concept in terms that we mere mortals can understand.  This is not in any way a criticism of Mr. Townshend, but more of a comment of my own poor understanding of his high goals.

In a nutshell, perhaps a cracked one, the concept for Lifehouse was sort of like A Brave New World, or 1984, in that society has been overtaken by a monied elite and thought suppression was the norm.  Does that sound timely?  I think that Townshend has presaged the ideas that the “modern” Republican Party is trying to impress on us all, but perhaps I give him too much credit.  I think not.

The concept that I finally came with was that individuality was suppressed, and group think was being imposed by the technocrats that ruled.  I ask for everyone’s thoughts on this, because it is so hard to decipher.

Happy Jack was the second album released by The Who and their second studio album. It was released in the UK with the title A Quick One.  That was a little suggestive for Decca Records, the US label and the single Happy Jack has charted in the US, so that title was used.  The song lineup is a little different betwixt the two records as well, Happy Jack not being on the UK version.

Released in the UK 19661209, it was delayed in the US for almost six months, finally being released in 196705 (I am not sure of the exact day).  This record was truly transformative, and is one of my personal favorites.  It was this album where Townshend really showed that the was a writing force with which to be reckoned, and he took some risks that he would not have taken previously for a large reason:  the brilliant Kit Lambert had replaced the hack Shel Talmy as the producer of the band.

This is the first part of a comprehensive treatment of the albums released by The Who.  This promises to be an extremely long series, but I shall intersperse it with other topics from time to time, to keep it from being too monotonous.

I know, but still can not understand why, some folks are not fans of The Who.  LOL!  This was their first album, and was quite good in some respects, and weak in others.  They had already had some hit singles, but nothing astounding as of yet.  Note that I am using the U.S. discography by default, since I am in the United States.  Where possible, I shall cross reference it to the U.K. one.  Note that we shall take the studio albums first, then the live ones, and then attempt the very long list of compilations.

I have written about The Who many times before, but have never started at the beginning of their album career to cover it from then to now.  I hope that you like the effort, and some of the excellent music that I shall embed.