enigmatic purples have long been symbolic of counterculture, unconventionality, and artistic brilliance. musical icons prince, david bowie, and jimi hendrix brought shades of ultra violet to the forefront of western pop culture as personal expressions of individuality. nuanced and full of emotion, the depth of pantone 18-3838 ultra violet symbolizes experimentation and non-conformity, spurring individuals to imagine their unique mark on the world, and push boundaries through creative outlets.
prince, bowie, and hendrix.
we do like the color – enjoyed finding examples for this gallery – but ultra violet has very limited applications. not a quintessential first choice for durable goods such as furniture. in an interior, more likely to be an accent and not a dominant color. and maybe not a very long shelf life, typically a year from collection to collection.
but then again this year, a homage to prince. and bowie. and hendrix…
while visiting the 2014 bowie installation at the chicago museum of contemporary art i bought mugshot coaster sets as gifts. though sometimes curious about each backstory this is an inaugural google of the prince mugshot.
his temporary arrest in jackson, mississippi on 29 march 29 1980. prince and keyboardist dr. fink were detained for stealing a megaphone from an airplane
while on tour in 1980 opening up for rick james, fink had suggested to prince that they should get a police megaphone as a stage prop. the next day, the band boarded a plane and coincidently, fink noticed the plane had an emergency bullhorn in an overhead bin. he pointed it out to prince, who then convinced him to put it in his bag since he didn’t have a carry on. a lady sitting behind prince notified the flight attendant of the theft while the plane was still on the tarmac. fink explained,
“the next thing we know, the pilot comes out and announces, ‘it has come to our attention someone has removed some emergency equipment from the airplane, which is a federal offense ”
sky marshals conducted a search and found it on fink and in a stand up move, prince voluntarily went to jail with him. they were arrested and sent to a local joint, but it turned into a big meet and greet and prince ended up posing for pictures and signing autographs in jail.
a pop/funk/rock artist who showed remarkable stylistic growth and musical diversity.
he could negotiate god and sex ~ angela davis
salute.
new yorker cover added to this post 22 april, 2016, and at this moment all over the internet.
Designers and artists in New York have only a few days left (until July 6) to see a landmark construction just north of the Williamsburg Bridge shoreline.
Kara Walker’s giant sculpture at the Domino factory ruin in Brooklyn is the art work of the summer. It is formally titled “A Subtlety or the Marvelous Sugar Baby an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant”.
The “Marvelous Sugar Baby” is a 35-foot-tall figure suggesting a black woman as sphinx that evokes racial and sexual stereotypes. Think Mammy or Aunt Jemima conjoined with primitive Venus figures or other sexual cartoons.
It suggests the Great Sphinx of Giza and other sphinxes of art, pondering questions and prophecies. The figure appears to show a sense of erosion by wear and time. As a oversized figure inside a huge structure it can also read as sacred statuary in a temple: Athena in the Parthenon or Lincoln in white inside his memorial in Washington.
It is about the process by which dark sugar becomes white refined sugar at the hands of dark people working for white people. In the Caribbean during slavery the process meant literally working slaves to death.
But it also touches on many other meanings of sugar and race. A sphinx with the head of Aunt Jemima, the piece teams with plays on racist clichés. The face is “mammy” in all her complex cultural roles. (Aunt Jemima, one of the oldest American household trademarks, goes back to 1893 but continues to exist–refined and almost undetectably racist—at least by comparison with Washington Redskins or Cleveland Indians team garb.
The back of the Walker figure also possesses dramatically animal haunches and genitalia. I thought of David Bowie in man/dog guise on the Diamond Dogs album cover. The figure could be sibyl as well as sphinx, one of Walker’s sketches suggests.
It recalls a classic overscale American roadside attraction, notably Mammy’s Cupboard near Vicksburg, Mississippi, photographed by Edward Weston in the 1930s. After a while, so much white sugar also suggests so much granulated salt. The salt of tears and sweat by the workers, a woman of salt like Lot’s wife, or the desert salt flats.
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