Ray Bradbury, RIP

2d6ce202945x1000.jpg Ray Bradbury, RIP words school ray bradbury pink people peace night moon film family country comic college chinese

An excerpt from Bradbury’s finest novel, Fahrenheit 451. The author died yesterday, June 5.

“When did it all start, you ask, this job of ours, how did it come about, where, when? Well, I’d say it really got started around about a thing called the Civil War. Even though our rule-book claims it was founded earlier. The fact is we didn’t get along well until photography came into its own. Then — motion pictures in the early twentieth century. Radio. Television. Things began to have mass.”
Montag sat in bed, not moving.
“And because they had mass, they became simpler,” said Beatty. “Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple population. Films and radios, magazines, books levelled down to a sort of paste pudding norm, do you follow me?”
“I think so.”
Beatty peered at the smoke pattern he had put out on the air. “Picture it. Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations. Digests. Tabloids. Everything boils down to the gag, the snap ending.”
“Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of course. The dictionaries were for reference. But many were those whose sole knowledge of Hamlet (you know the title certainly, Montag; it is probably only a faint rumour of a title to you, Mrs. Montag) whose sole knowledge, as I say, of Hamlet was a one-page digest in a book that claimed: ‘now at least you can read all the classics; keep up with your neighbours.’ Do you see? Out of the nursery into the college and back to the nursery; there’s your intellectual pattern for the past five centuries or more.”
“Speed up the film, Montag, quick. Click? Pic? Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline! Then, in mid-air, all vanishes! Whirl man’s mind around about so fast under the pumping hands of publishers, exploiters, broadcasters, that the centrifuge flings off all unnecessary, time-wasting thought!”
“School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts?”
“The zipper displaces the button and a man lacks just that much time to think while dressing at dawn, a philosophical hour, and thus a melancholy hour.”
“Life becomes one big pratfall, Montag; everything bang, boff, and wow!”
“Empty the theatres save for clowns and furnish the rooms with glass walls and pretty colours running up and down the walls like confetti or blood or sherry or sauterne. You like baseball, don’t you, Montag?”
“Baseball’s a fine game.”
Beatty went on, “You like bowling, don’t you, Montag?”
“Bowling, yes.”
“And golf?”
“Golf is a fine game.”
“Basketball?”
“A fine game.”
“Billiards, pool? Football?”
“Fine games, all of them.”
“More sports for everyone, group spirit, fun, and you don’t have to think, eh? Organize and organize and superorganize super-super sports. More cartoons in books. More pictures. The mind drinks less and less. Impatience. Highways full of crowds going somewhere, somewhere, somewhere, nowhere. The gasoline refugee. Towns turn into motels, people in nomadic surges from place to place, following the moon tides, living tonight in the room where you slept this noon and I the night before.”
“Now let’s take up the minorities in our civilization, shall we? Bigger the population, the more minorities. Don’t step on the toes of the dog-lovers, the cat-lovers, doctors, lawyers, merchants, chiefs, Mormons, Baptists, Unitarians, second-generation Chinese, Swedes, Italians, Germans, Texans, Brooklynites, Irishmen, people from Oregon or Mexico. The people in this book, this play, this TV serial are not meant to represent any actual painters, cartographers, mechanics anywhere. The bigger your market, Montag, the less you handle controversy, remember that! All the minor minor minorities with their navels to be kept clean. Authors, full of evil thoughts, lock up your typewriters. They did. Magazines became a nice blend of vanilla tapioca. Books, so the damned snobbish critics said, were dishwater. No wonder books stopped selling, the critics said. But the public, knowing what it wanted, spinning happily, let the comic books survive. And the three-dimensional sex-magazines, of course. There you have it, Montag. It didn’t come from the Government down. There was no dictum, no declaration, no censorship, to start with, no! Technology, mass exploitation, and minority pressure carried the trick, thank God. Today, thanks to them, you can stay happy all the time, you are allowed to read comics, the good old confessions, or trade journals.”
“Yes, but what about the firemen, then?” asked Montag.
“Ah.” Beatty leaned forward in the faint mist of smoke from his pipe. “What more easily explained and natural? With school turning out more runners, jumpers, racers, tinkerers, grabbers, snatchers, fliers, and swimmers instead of examiners, critics, knowers, and imaginative creators, the word ‘intellectual,’ of course, became the swear word it deserved to be. You always dread the unfamiliar. Surely you remember the boy in your own school class who was exceptionally ‘bright,’ did most of the reciting and answering while the others sat like so many leaden idols, hating him. And wasn’t it this bright boy you selected for beatings and tortures after hours? Of course it was. We must all be alike. Not everyone born free and equal, as the Constitution says, but everyone made equal. Each man the image of every other; then all are happy, for there are no mountains to make them cower, to judge themselves against. So! A book is a loaded gun in the house next door. Burn it. Take the shot from the weapon. Breach man’s mind. Who knows who might be the target of the well-read man? Me? I won’t stomach them for a minute. And so when houses were finally fireproofed completely, all over the world (you were correct in your assumption the other night) there was no longer need of firemen for the old purposes. They were given the new job, as custodians of our peace of mind, the focus of our understandable and rightful dread of being inferior; official censors, judges, and executors. That’s you, Montag, and that’s me.”
Beatty knocked his pipe into the palm of his pink hand, studied the ashes as if they were a symbol to be diagnosed and searched for meaning.
“You must understand that our civilization is so vast that we can’t have our minorities upset and stirred. Ask yourself, What do we want in this country, above all? People want to be happy, isn’t that right? Haven’t you heard it all your life? I want to be happy, people say. Well, aren’t they? Don’t we keep them moving, don’t we give them fun? That’s all we live for, isn’t it? For pleasure, for titillation? And you must admit our culture provides plenty of these.”
“Yes.”
“Coloured people don’t like Little Black Sambo. Burn it. White people don’t feel good about Uncle Tom’s Cabin. Burn it. Someone’s written a book on tobacco and cancer of the lungs? The cigarette people are weeping? Burn the book. Serenity, Montag. Peace, Montag. Take your fight outside. Better yet, into the incinerator. Funerals are unhappy and pagan? Eliminate them, too. Five minutes after a person is dead he’s on his way to the Big Flue, the Incinerators serviced by helicopters all over the country. Ten minutes after death a man’s a speck of black dust. Let’s not quibble over individuals with memoriams. Forget them. Burn them all, burn everything. Fire is bright and fire is clean.”
“There was a girl next door,” he said, slowly. “She’s gone now, I think, dead. I can’t even remember her face. But she was different. How — how did she happen?”
Beatty smiled. “Here or there, that’s bound to occur. Clarisse McClellan? We’ve a record on her family. We’ve watched them carefully. Heredity and environment are funny things. You can’t rid yourselves of all the odd ducks in just a few years. The home environment can undo a lot you try to do at school. That’s why we’ve lowered the kindergarten age year after year until now we’re almost snatching them from the cradle. We had some false alarms on the McClellans, when they lived in Chicago. Never found a book. Uncle had a mixed record; anti-social. The girl? She was a time bomb. The family had been feeding her subconscious, I’m sure, from what I saw of her school record. She didn’t want to know how a thing was done, but why. That can be embarrassing. You ask Why to a lot of things and you wind up very unhappy indeed, if you keep at it. The poor girl’s better off dead.”
“Luckily, queer ones like her don’t happen, often. We know how to nip most of them in the bud, early. You can’t build a house without nails and wood. If you don’t want a house built, hide the nails and wood. If you don’t want a man unhappy politically, don’t give him two sides to a question to worry him; give him one. Better yet, give him none. Let him forget there is such a thing as war. If the Government is inefficient, top-heavy, and tax-mad, better it be all those than that people worry over it. Peace, Montag. Give the people contests they win by remembering the words to more popular songs or the names of state capitals or how much corn Iowa grew last year. Cram them full of non-combustible data, chock them so damned full of ‘facts’ they feel stuffed, but absolutely ‘brilliant’ with information. Then they’ll feel they’re thinking, they’ll get a sense of motion without moving. And they’ll be happy, because facts of that sort don’t change. Don’t give them any slippery stuff like philosophy or sociology to tie things up with. That way lies melancholy. Any man who can take a TV wall apart and put it back together again, and most men can nowadays, is happier than any man who tries to slide-rule, measure, and equate the universe, which just won’t be measured or equated without making man feel bestial and lonely. I know, I’ve tried it; to hell with it. So bring on your clubs and parties, your acrobats and magicians, your dare-devils, jet cars, motor-cycle helicopters, your sex and heroin, more of everything to do with automatic reflex. If the drama is bad, if the film says nothing, if the play is hollow, sting me with the theremin, loudly. I’ll think I’m responding to the play, when it’s only a tactile reaction to vibration. But I don’t care. I just like solid entertainment.”

From The Citrus Report

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Mr T: The Posters of Jerzy Treutler

5 easy pieces 0 Mr T: The Posters of Jerzy Treutler warsaw fine various central twarda sztuka treutler The Citrus Report school polish participation News jerzy treutler jerzy Gallery from the warsaw flash create powerful

Kemistry Gallery and Twarda Sztuka Foundation are proud to present Mr T: The Posters of Jerzy Treutler – a celebration of Treutler’s work from the 60s & 70s , and classic Polish poster design

Treutler is recognised internationally for his participation in the School of Polish Posters. From his graduation from the Warsaw Fine Art Academy in 1955 to the 1990s, Treutler designed film, exhibition, sport and national information posters for various central agencies; creating over 150 posters, several book covers and numerous corporate logos and illustrations.

Treutler was able to create powerful imagery, inspired by movies and events without actually detailing them: no head shots and movie stills, no specifically direct connection to the title. His work utilises bold colour, simple imagery and vivid lines to underline the strength of the message, and is distinguished by an abstract style typical of the Polish poster artist. Treutler’s posters are as fresh and engaging today as when they were first produced.

the lost man 1969 poster 1971 0 Mr T: The Posters of Jerzy Treutler warsaw fine various central twarda sztuka treutler The Citrus Report school polish participation News jerzy treutler jerzy Gallery from the warsaw flash create powerful

textile 0 Mr T: The Posters of Jerzy Treutler warsaw fine various central twarda sztuka treutler The Citrus Report school polish participation News jerzy treutler jerzy Gallery from the warsaw flash create powerful

Matthew Craven

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One of a visual artist’s greatest talents is the ability to elicit a strong emotional response from their viewer.  With his combination of masked, covered and abstracted figures, Matthew Craven creates images that raise questions and evoke reactions.  His work is able to communicate through people’s own premonitions and connections to these images.  Some of his completely abstract work is repetitions, with seemingly familiar patterns displayed in completely new ways.  But whether he is using manipulated imagery or creating completely abstract work, this aptitude for making a connection with the viewer is what makes his work so unique.  —Ronnie Wrest / The Citrus Report

If I had a free one-way airline ticket to give you, where would you go?
Oh man that’s tough,  I have traveled very little in my life so far….  I really want to visit Asia, Africa and South America.  I want to travel to places that are very different from the American/European way of life.
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You work out of a studio in Brooklyn right now?
Yeah I have had a studio in Bushwick for just over a year and a half.  I share it with an amazing sculpture  and dear friend, Matt Stone.  He is preparing for a show at Kathy Grayson’s Gallery the Hole in November.  right now out studio is full of giant sculpture! It is inspiring to share a studio with such a great artist.  We met in grad school , and kinda formed a bond due to our tireless work ethics and flair for elaborate labor intensive pieces.  Now well are each others filter, we typically don’t show pieces with out each other approval. Ha…  its a pretty funny and wonderful relationship.

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What does a typical day look like for you?
Its always different and changing.  Being a young artist means balancing studio time and a day job.  right now I’m assisting artist Rob Pruitt.  Its been a thrill working for such an successful artist.  truly inspiring.  Im working for Rob during the week, and always trying to find some time to work on my own stuff… as well as eating tacos with my girlfriend.  every day is crazy busy for me.

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>I read that you lived in Detroit for a while.  Any stories to tell from that experience?
I met a lot of great people in Detroit, and it really gave me perspective on the real condition of this country. The city needs a lot of help but it is unlike any other place i ve ever lived.  Its got an amazing DIY community of young people doing interesting things. I had a lot of fun there, riding bikes and making art.  I’ll always treasure my time there. Ive been in New York for 3 years now, and Detroit already feels like a lifetime ago.

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You recently completed an MFA from the School of Visual Arts.  How important was this to the place that your work is today?

It was very important, I needed to come to New York to challenge myself.  SVA gave me an excuse to dive right in.  It was at an open studio where i got my first show in New York at Marvelli Gallery in Chelsea.  That show gave me a lot of credibility in the art world.

A lot of the imagery you use seems to be a sort of visual commentary on Native Americans contact with settlers.  Is this a goal of your work?

I kinda stumbled into that imagery by accident.  but after doing some research I started to link patterns between native American, early American masonic leaders and the imagery with in civil war era military medals and uniforms.  At this point I also got serious and sometimes volatile reaction when displaying this imagery.  I felt compelled at that point to use very loaded imagery from our country’s historical past into my work. I would rather confront people with elements from history than to just bury them away.  As a creator,Its exciting for me to amp up this loaded narrative.

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You have had shows up and down the east coast in the past couple years.  Is it nice to get out New York an travel for these shows?
Yes its been really great, I have travelled to Philadelphia, Baltimore, and Miami in the last year or so, It always been a dream of mine to travel with my work.  I’m hoping It continues to take me all over the world.

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Tell me who two important influences have been on your work or your life.
Artistically its simple,  When I was younger i fell in love with Trenton Doyle Hancock’s work,  he is still my favorite living artist, I think history will remember him as one of the most important artist of the last 100 years! no Joke he is phenomenal!  Another artist that changed my work is Ray Johnson.  Many years ago I saw the documentary , How to draw a bunny.  That film opened my eyes to contemporary collage.  The way he mixed drawing and found images really inspired me.  It was years later where i finally had the courage to incorporate that into my own work.

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What are you working on lately?

I have a new body of work  i am developing right now.  It really opens up the imagery i have been working with the last couple years. Its less figurative, more abstract and veers away from the american iconography i have been using. I’m really excited to see where it goes, you can see some of it at my website, matthewcraven.com

Are there any plans for the rest of this year and 2012?
I’m showing at one of my  favorite galleries Nudashank out of  Baltimore in November for a show called PaperChasers.  Nudashank has believed in me for a long time, and I’m always thrilled to work with them.  Also thrilled to be working with DCKT in outta NYC for an upcoming fair in Toronto as well as much more in 2012!

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Nine on 9: Sesper

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A quick nine questions with one of our favorite artists, and not to mention one of our favorite people, Sao Paulo-based, Sesper. Music, art, collage, video, skateboarding… this guy does it all!

1) Lunchbox or paper bag?
Sesper: I think paper bags, because I can save and use in my art later, and also I don’t remember using a lunchbox when I was at the school. Paper bags or plastic bags are more traditional in Brazil.

2) Best coffee in Sao Paulo?
Sesper: Hard to answer, I don’t like these fancy new coffee shop places serving the best taste… I like espressos that I make at my house or with the Baglione’s and their coffee activities.

3) Did you ever use the Morse Code feature on walkie-talkies as a kid?
Sesper: I don’t remember the Morse Code on walkie-talkies… but my father used to be a fisherman for his whole life so we did some real radio transmissions to talk with him when the ship was far away for like two weeks at least. Sailin.

4) Miller or Budweiser?
Sesper: Buds with Budweiser, gang green “another wasted night style” for sure… but I’m not into drinking anymore, just in really special occasions.

5) Da Vinci or Michelangelo?
Sesper: Pettibon and Pushead no doubt, but i think da Vinci maybe…

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6) Paloma Picasso or Mark Bode?
Sesper: Mark Bode for sure! His style is classic shit!

7) Eames or Antique furniture?
Sesper: Well I don’t pay much attention on the furniture I have at my home with my two kids, ready to destroy everything. I think we go for the cheap shit, a sale season from Eames.

cfb5fcb4c3n cool.gif Nine on 9: Sesper thomas spicolli sesper school nine questions News morse code house furniture firestarters Features artwork Mosques or Cathedrals? What does a better job architecturally?
Sesper: Cathedrals I think does better architecture… but I think my artwork is more into the firestarters burning churches.

9) Tell us about one artist we should all know about?
Sesper: Alot to mention but by the way he combines his artwork with different medias I will say it’s Thomas Spicolli from Sarate, Buenos Aires, Argentina. He also used to live a long time in Sao Paulo… his music project Tilda Flipers and artwork is really amazing using collages, audio and video projections—he deserves a check!

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Urban Beekeeping in NYC

Urban Beekeeping: NYC from Adrian Bautista on Vimeo.

We wish we could say something witty about this, but something with a title of Urban Beekeeping NYC is just fine enough. “This short documentary explores the growing urban beekeeping movement in New York City and focuses on the stories of Tim O’Neal, creator of the Borough Bees blog, and Kazumi Terada, a novice beekeeper.

Adrian Bautista, Martha Glenn, and Brooke Tascona made this documentary for the Design and Technology: Sound and Vision course at Parsons New School for Art and Design during the summer semester 2011.”

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The Art of Ina Jang

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We really like the work of Korean artist, Ina Jang. We don’t know how new or relevant this news is, but currently, “She’s competing with 9 other photographers for a one-year scholarship to the Photo Global programme of the School of Visual Arts in New York. Via SmileInYourFace.

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Boxing school under the highways in Sao Paulo

5864cd693f30991.jpg Boxing school under the highways in Sao Paulo series sao school under school photography people nilson garrido headlines flash video flash citrus report boxing

This is a cool series that Reuters just posted, a photographer’s trips to Sao Paulo where he found people at a boxing school underneath a highway overpass. He took great photos and tells a great story:

Under the bridge I met former pro boxer Nilson Garrido, the founder and owner of the school. Six years ago Garrido started a project in which he created several boxing academies under the viaducts of Sao Paulo. His goal was to take the sport to the poor and marginalized population. In the meantime the project attracted other people who started to contribute a small monthly fee for the use of the gym.

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