From the Annals of Creationism

The Atlantic Wire has a nice write-up on Answers In Genesis and their plans to include both dragons and unicorns in their new “Ark Encounter” theme park:

The group says “yes,” to both, which implies that their creationist theme park will include dinosaurs and unicorns on the Ark. Here’s Answers In Genesis explaining why dinosaurs were on the Ark, although the group prefers to call them “dragons”:

Being land animals, dinosaurs (or dragons of the land) were created on Day Six (Genesis 1:24–31), went aboard Noah’s

Ark (Genesis 6:20), and then came off the Ark into the post-Flood world (Genesis 8:16–19). It makes sense that many cultures would have seen these creatures from time to time before they died out.

And here’s their position on Biblical unicorns:

The biblical unicorn was a real animal, not an imaginary creature. … The absence of a unicorn in the modern world should not cause us to doubt its past existence. (Think of the dodo bird. It does not exist today, but we do not doubt that it existed in the past.). … To think of the biblical unicorn as a fantasy animal is to demean God’s Word, which is true in every detail.

Frankly, I was a little confused as to their choice of words (i.e., why using the word “dinosaurs” is any less ridiculous than “dragons”), but I’m sure they’ve thought through that semantic argument pretty thoroughly.

Did they just put in their credit card info and voila?

Jason interviewed Jonathan Hoefler about four of his fonts being acquired for MoMA’s Architecture and Design collection.

Hoefler: I should start by stating that you can never actually “buy fonts” online: what one can buy are licenses, and the End-User License that surrounds a typeface does not extend the kinds of rights that are necessary to enshrine a typeface in a museum’s permanent collection. The good news is that H&FJ has become as good at crafting licenses as we have at creating typefaces, an unavoidable reality in a world where fonts can be deployed in unimaginable ways. This was a fun project for our legal department.

From the Glasgow School of Art Archives & Library

Set of costume and stage designs for theatrical productions of Macbeth, Salome and Parsifal, 1933. Pen, pencil and paint with metalic paint touches. Various dimensions around 405×270 mm.

(via @wilfreeborn)

the thought that counts

Mr. Landis — often under his own name, though more recently as Father Scott or as a collector named Steven Gardiner — has indeed done a lot of traveling over the past two decades, but not for the church. He has been one of the most prolific forgers American museums have encountered in years, writing, calling and presenting himself at their doors, where he tells well-concocted stories about his family’s collection and donates small, expertly faked works, sometimes in honor of nonexistent relatives.

Unlike most forgers, he does not seem to be in it for the money, but for a kind of satisfaction at seeing his works accepted as authentic. He takes nothing more in return for them than an occasional lunch or a few tchotchkes from the gift shop.

I think there’s a movie here. I picture Michael Stipe as Landis. Or shit, I guess the obvious choice is John Malkovich.

Bath in 100 Objects

A serendipitous notice (in light of Phil’s recent post) from one of my archives/museum conduits.

Found In the Archives: Claud Thornton’s Traveling Crime Museum

Jack Delano/Library of Congress

In March 1941, Jack Delano was working for the federal government’s Farm Security Administration (FSA), photographing the relocation of area farmers during the construction of Ft. Bragg, North Carolina.

In addition to the farmers and the housing conditions of the construction workers, Delano found interest in the roadside culture of camp followers that catered to the construction workers: “gas stations, barbecue stands, and amusement centers.”

Among these was a traveling sideshow “crime museum” that Delano, according to the Library of Congress, described as, “consisting of dilapidated effigies of famous criminals run by an old shell-shocked World War veteran.”

(via Found in the Archives, NPR’s Picture Show miniseries featuring archival films and found images selected by Rich Remsberg)

photo out of context

Fire in My Belly (1987) | David Wojnarowicz (Music: Diamanda Galas)

You’ve got to sign in via YouTube or Google to view Fire in My Belly, the 1987 video by David Wojnarowicz that was yanked from a show at the Smithsonian Institution’s National Portrait Gallery this week. I urge you to do so.

On December 1 the National Portrait Gallery celebrated World AIDS Day by capitulating to the demands of the Catholic League and of conservative Republicans and removing Fire in My Belly from an important exhibition about art and sexual difference, Hide/Seek.

Happy Birthday, QZAP!

So long as it is still November, I say it is still the seventh anniversary of the Queer Zine Archive Project.

QZAP has been online for seven years. What started as a way of sharing information from zines with radical queers at Queeruption has grown into a real living archive accessed by hundreds of people a day.

A wonderful living labor of love.

High Society

With the illicit drug trade estimated by the UN at $320 billion (£200bn) a year and new drugs constantly appearing on the streets and the internet, it can seem as if we are in the grip of an unprecedented level of addiction. Yet the use of psychoactive drugs is nothing new, and indeed our most familiar ones – alcohol, coffee and tobacco – have all been illegal in the past.

From ancient Egyptian poppy tinctures to Victorian cocaine eye drops, Native American peyote rites to the salons of the French Romantics, mind-altering drugs have a rich history. ‘High Society’ will explore the paths by which these drugs were first discovered – from apothecaries’ workshops to state-of-the-art laboratories – and how they came to be simultaneously fetishised and demonised in today’s culture.

High Society exhibition. 11 November 2010 – 27 February 2011 at the Wellcome Collection, London.


me and Ricky Cameron (Neece) looked at 1,345 stoneware cups.

quote out of context

Everyone wants to know why I’m not in my cube. Everyone seems to think I spend all my time in the glass cube, but I live in the entire museum.

Read more

The Homeless Museum

HoMu BKLYN is the headquarters of the Homeless Museum (HoMu), a conceptual art project by Filip Noterdaeme, located in Brooklyn, NY. From March 2005 to March 2007, HoMu BKLYN held monthly open houses. In April 2007, pressured by the forces of landlordism, HoMu BKLYN was privatized.

Miniatures (II)

The Leo S. Singer Miniature Room Collection at the Palm Springs Art Museum consists of 12 miniature interiors that depict the theme of laundry, a subject with special significance for Mr. Singer.

Half in love with easeful death

Over on Facebook, I just glanced at a gallery of photos taken at the fortieth reunion of an LA friend’s Beverly Hills High School class.

One photo was tagged “Front Lawn.” I swear that when I first glanced at the tag, I read “Forest Lawn.”

good morning, II

The (Texas) Hall of State

That’s me posing before what my father noted as the “TEXAS HALL OF STATE. FAIR GROUNDS. SPRING 1965.”

The Hall of State (originally the State of Texas Building) is a building in Dallas’s Fair Park that commemorates the history of the U.S. state of Texas and is considered one of the best examples of Art Deco architecture in the state.

Dang! One of the best in the whole durn state!

Take a look-see. See what you think.

The Wonder Horse: Pride of Pocahontas, Arkansas

Rick is right. The toddler-horse-on-springs-riding-thing known to the world as the Wonder Horse did indeed spring into being in Pocahontas, Arkansas.

You can read about the Wonder Horse and its creator, William Baltz of Pocahontas, here, courtesy of the Randolph County (Arkansas) Heritage Museum.

Next time Rick and Danny visit Pokey, I want to meet them at the museum.

from the comments

Rick Neece:

I once went to a “dada” art exhibit at the Walker, with our friend Kent who was visiting Minneapolis back in the early nineties. In the exhibit there was a room, or more like a series of small rooms, where in each you had to figure out how to get to the next room. There was one room I remember in particular. There was, at the base of the floor on the far wall, a door not more than six inches high. Ala Alice in Wonderland. We pushed at the wall on different sides to no avail. And being there were no bottles scattered about reading, “Drink me,” I did the only thing i could think of. I got on my knees, opened the tiny door, reached in, at first my hand, feeling the surface of the wall on the other side of where we were. I nearly had my whole arm in feeling up the wall, before I felt a handle dangling on a piece of rope. I pulled it. The wall swang (swung?) on a center pivot, top and bottom allowing us entry to the room beyond, then it swung (swang?) closed behind us. We were like, “Oh, Wow!”

I don’t remember, off hand, the other challenges we were presented with, but we managed to find our way out.

That day.

Locomotive Restoration — Wil Freeborn

Flocker Wil Freeborn was recently commissioned to do a series of illustrations documenting a two-month project underway to restore an old locomotive. The Glasgow Museum of Transport is moving from its old location to a new building designed by Zaha Hadid, and the locomotive will be one of its centerpieces. Wil’s illustrations will appear as part of an interactive panel.

Take a look at the full Flickr set, which includes Moleskine sketches, finished illustrations, and photographs — including this one featuring Our Wil, far left.

Merced River, Yosemite National Park, California, August 13, 1979 by Stephen Shore

Blake Andrews said:

My friend Bruce has this photo in his study.

The print is roughly 10 x 12, matted and framed out to something like 16 x 20. It’s a vintage C-print, presumably by Shore himself. Aside from the fact that it’s a wonderful image, what interests me most about this photo is how it presents itself:

I forget how I stumbled on this, maybe Blake made a comment here? And the post is a few years old, but I thought Blake did a good job of talking through some of the shifts in photographic presentation.

The feud boiled over when Frank Frazetta Jr. used a backhoe to try to break into the artist’s museum in the Pocono Mountains

A 1971 painting by fantasy artist Frank Frazetta has sold for $1.5 million, two months after the Pennsylvania artist’s death.

Pasadena Museum of California Art’s Design Biennial

From a Brooke Hodge post at The New York Times Style Magazine:

In the past two years, most news out of California has been dire, from the state’s tanking economy to rising unemployment and drastic cuts to education. The Golden State has long been recognized as a locus of creativity and innovation and, as the Pasadena Museum of California Art’s Design Biennial shows, it takes more than a little recession to dampen designers’ spirits. In fact, innovation and experimentation often thrive in hard times.

Apple Donates MacPaint Source Code To Computer History Museum

Released in 1984 with the Mac, it is fondly remembered not only by those who used it, but also by computer scientists for numerous first-of-a-kind innovations. Those who spend a lot of time using Adobe Photoshop constantly use such features as the lasso tool for selecting non-rectangular shapes, and the paint bucket for filling closed areas with a pattern, and later, color. Both first appeared in MacPaint. The program was unique at the time for its ability to create graphics that could then be used in other applications.

Quote Out of Context

In July 2009 a man living near Blanco, Texas, found a strange dead animal. It weighed about 80 pounds, had four legs and a tail, and resembled a coyote except for its dark chocolate color and the fact that it was mostly hairless. It, too, was thought to be a chupacabra, and even exhibited as one in a creationist museum.

« Previous PageNext Page »