salt lick during performance of Divine Horsemen: Canaan to Cane
Halloween Outlet in Worcester, MA
The Curtain & Tabu by Neo Rauch
"I refrain both from any hierarchization and from a conscious evaluation of my pictorial inventory. This means that elements like Balthus, Vermeer, Tintin, Donald Judd, Donald Duck, agitprop, and cheap advertising garbage can flow together in a furrow of my childhood landscape and generate an intermingled conglomerate of surprising plausibility."
Harvester of Sorrow: You Reap What You Sow
post-colonial photoshop intervention
remembering the xmas era 1989 invasion of Panamá by the George Bush, and the infamous Rock ‘N’ Roll strategy to overwhelm the psychological state of military dictator Manuel Noriega (who had been trained by the terror-breeding U.S. military academy: The School of the Americas)
image details: photograph of a U.S. tank crashing through a laundromat; a painted advertisement for a beverage labeled “Panama”; a sign above the tank reads “sovereign”; and a hole blasted into the building at the left edge looks curiously like the shape of South America.
I’ve added the stylized text, turning the name Operation Just Cause into “just ‘cause” (pronounced: “just cuz”); the butterfly logo of Panamá; and a xmas hat-wearing George Bush superimposed over the classic stereo scene from Say Anything.
Click here to see a video promo for an upcoming project based on these events.
and Brando in Mutiny on the Bounty:
Fletcher Christian: “I was just thinking, sir, that our little errand for groceries might wind up in a page of naval history if we succeed in negotiating The Horn in the dead of winter.”
and Adam Smith from The Wealth of Nations:
"To found a great empire for the sole purpose of raising up a people of customers, may at first sight appear a project fit only for a nation of shopkeepers. It is, however, a project altogether unfit for a nation of shopkeepers; but extremely fit for a nation whose government is influenced by shopkeepers."
Puerto Rican sociologist Ángel Quintero discussing the U.S. interventionist government’s attempts to purify Caribbean culture in the post-“Spanish-American” war era, especially popular forms of dancing, which were often seen as “a clear expression of the lasciviousness and sexual promiscuity ‘characteristic’ of African culture”.
from Salsa, Sabor, y Control and A Cultural History of Cuba During the U.S. Occupation: 1898-1902