After yesterday’s Renaissance GIFs post, which featured the work of James Kerr, our readers alerted us to two other curious projects that remix Old Master paintings.
One is a sketch by the Jungleboys for Australia’s ABC1 television channel, while the other is a surreal and demented walk through Hieronymus Bosch’s Garden of Earthly Delights for Odonis Odonis’s song “Order in the Court” (Buzz Records), directed by Lee Stringle.
While the Odonis Odonis video is mesmerizing (I suggest you turn down the volume, unless you’re into loud industrial punk), the Jungleboys sketch gets to the core of our fascination with Old and Modern Masters.
Comedy is about overturning power structures and hierarchies, irreverence in the face of authority, and nothing is more sacred or authoritative in Western art history as the work of the Masters. Imagining the dark and comedic impulses of the figures in these paintings momentarily robs them of their power, only to reassert their role as powerful objects in our collective imagination once the joke is done. Effective comedy comes from the outside looking in, the trickster usurping the throne. Contrasts and surprises are staples of comedy, but so is timing. A joke dissected is no longer funny. To dismantle a joke all you have to do is explain it.
Writing in On Humour, Simon Critchley observes that humor “reveals the depths of what we share,” and returns us to common sense after it exposes us to a paradox whether in the form of speech or action. Humor, he says, “is practically enacted theory. I think this is why Wittgenstein once said that he could imagine a book of philosophy that would be written entirely in the form of jokes.” Now, that would be funny.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.