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ASSEMBLAGE: Meet Queer Hip-Hop Artist And Sports Icon Will Sheridan

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“ASSEMBLAGE“ is an inquiry into the different ways artists utilize performance and technology to explore and express different notions of identity. An effort to push forward marginalized artists with a focus on people of color, non-western nationalities and those along the queer/trans spectrum, “ASSEMBLAGE” provides a platform for analysis of how art and performance intersect with the lives of these individuals who are visibly and openly existing in the digital age. This is the third installment.

Will Sheridan is a groundbreaking hip-hop artist and performer whose work is heavily informed by both his time in the sports world and global work as an activist.

Sheridan was the second former Division I basketball player to come out of the closet at the age of 26 in an interview on ESPN.com following his retirement from the sports world. He is also well-known for the non-profit he founded with his ex-partner, Ruiru Rising, that funds and supports orphans and impoverished youth aging out of government assistance in Kenya.

Over the last five years, Sheridan has expanded his journey into the realm of hip-hop and queer performance, navigating many nuanced layers of identity as a queer person of color, artist, musician, activist and sports icon.

"I was tired of artists telling the same story that everyone is telling in this whole circle of hip-hop and underground rap," Sheridan told The Huffington Post.



Sheridan's work as a queer artist found its roots in a frustration with the kinds of bodies, stories and identities receiving visibility and recognition within the hip-hop realm. His first album, "GIANT," straddled the art and hip-hop worlds, aiming to provide a point of entry for the spectrum of queer identity to hold a footing at the intersection of these two communities.

"'GIANT' is an acronym for 'Going In And Never Timid,” Sheridan explained. "You’re big enough to be who you are -- you’re a giant too. It’s an all-inclusive brand and storyline... As far as my identity, I’m 6 feet 8 inches, 240 pounds, I am literally GIANT myself. But if I can empower other people to become comfortable with who they are and what they do and encourage them to be a better version of themselves -- then that, itself, really is GIANT."

The dynamic nature of Sheridan's music and brand, at its heart, is grounded in empowering those who experience it and instilling passion for queers to reach their full potential. From his early days playing college basketball in front of 80,000 people to late nights performing in packed New York City clubs, Sheridan has become become a fully-realized and driven performer who is serious about the impact he, as a visible, queer "GIANT," has on those around him.

will sheridan

When Sheridan came out on ESPN long before Michael Sam kissed his boyfriend live on air, he made a statement about queerness in a way that had largely never happened before within the historically heteronormative sports world. He told The Huffington Post that he chose to come out in such a visible way in an attempt to share his story and break down assumptions surrounding the way queer identity intersects with the sports world.

"I think of my time playing sports as a form performance as well," Sheridan continued. "As far as the opportunity to come out on ESPN... there was this kind of radical queerness about it in a way, because I didn’t even know really what I was doing -- I was just being normal… How noticeable and visible I am now kind of stems from that, and that’s interesting because even in queer sports or the gay community now I’m still a radical. They challenge me to cut my hair and cut my beard and look more conservative. But really, I’m an artist in a sports world. I’m part of this spectrum and I don’t think there’s anyone else like that."



Perhaps the most compelling component to Sheridan's work is the activist framework through which so much of his career has operated and how his time in Kenya has influenced his identity as both a sports icon and artist. Sheridan's nonprofit Ruiru Rising is a response to the needs of young Kenyans who are afforded minimal life opportunities and age out of the system at only 16. The organization provides not only safe housing for these teens, but access to secondary education in order to develop a trade and enhance their quality of life.

"We stay in the orphanage, we live with the kids, we visit the kids, we visit their schools, we talk to their professors and that’s just a part of me," Sherdian said. "They’ve influenced me so much. When I walk around Kenya these kids scream, “Giant! Giant!” but they don’t even know that they're calling me by my performer name and that I’m a queer radical hip hop artist. But they know that I’m doing good in the world and that I’m there because I want to support them... everything from my haircut to who I am as an artist now is influenced by Kenyan culture and the Ruiru tribe."

In this way, Sheridan's identity as a performer is largely shaped and understood through his work as a global activist. While the hyper-political nature of his work isn't necessarily blatant, his work typically contains elements of social commentary -- whether it relates to navigating the world as a queer person of color or global social injustice.



"I think that I’ve learned to have a lot of fun with my music and sneak in substance," Sheridan explained. "My activism and my message is also in my story. I’m progressive enough and political enough that I am a political statement every time that I walk down the street or get on the train."

Sheridan is currently working on his next album "#GIANT II: Journey" and is engaged in a Kickstarter campaign to fund the project. Through this new endeavor he hopes to elevate culturally relevant conversations surrounding identity politics and queer identity.

"My album will have some material on it about the current situations with race, sexuality and where we are as a people," Sheridan told The Huffington Post. "I belong to so many communities -- I’m black, I’m queer, I’m a sports person, I’m a hip hop artist, I work in fashion. I’m a part of all these communities and my message represents all of that... finding that identity and performing it has really given me a voice."

Want to see more from Sheridan? Head here to check out the artist's Soundcloud or here to visit his Kickstarter campaign. Missed the first two features in "ASSEMBLAGE?" Head here to learn about queer musician NEOCAMP or here for trans South Asian trans performance artist duo Dark Matter.

'SNL' Spoofed Church Of Scientology With A Scathing Fake Ad

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Alex Gibney's Scientology documentary "Going Clear" premiered on HBO last week, unveiling a slew of shocking allegations against the Church and previously unknown stories about the celebrities at its center. But just in case you missed the film, "Saturday Night Live" mocked the Church with a scathing fake ad.

"SNL" ran an old music video for the obviously made-up Church of Neurotology, in which members sing about Diametrics, clearly a spoof on L. Ron Hubbard's Dianetics. As they sing, the updated advertisement reveals what has happened to the members since the fake 1990 music video, alluding to the allegations of abuse and missing members referenced in Gibney's doc.

The Church of Scientology has spoken out against "Going Clear" in an official statement you can read here.

CLARIFICATION: The headline of this story has been updated to clarify that the "SNL" ad spoofed the Church of Scientology, not the "Going Clear" documentary.

Think You Have Good Eyesight? Take This Vision Test

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If you questioned your vision during the infamous dress fiasco, this video may bring some of those feelings back.

ASAP Science, a YouTube channel that delivers "your weekly dose of fun and interesting science," created a hybrid image of Marilyn Monroe and Albert Einstein. One photo has low spatial frequency (Monroe) and the other has high spatial frequency (Einstein).

From far away, the image looks like a photo of Monroe, while up close it looks like Einstein. "Depending on how well you’re able to focus or pick up contrast," the video explains, Einstein at some point starts looking like Monroe as the image is moved farther and farther away.

So if you're having a hard time seeing Einstein, it may be time for a trip to the eye doctor.

Inside The Mind Of The World's Naughtiest Children's Book Illustrator

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tomi


Tomi Ungerer was, for a brief reign, the king of children's illustration.

After moving to New York in 1956, the French artist and writer published a succession of unusual yet wildly successful children's books, including "The Three Robbers," about a trio of winsome burglars, and "Crictor," about a rather unlikely protagonist -- a lovable snake. From the start, Ungerer held a special place in his heart for the outsider, the underdog, the weirdo, the trickster. This unusual vantage point, along a ravenous imagination and wicked dark side, set Ungerer apart from the traditional "happily ever after" children's book originator.

Much of Ungerer's unorthodox style stemmed from his upbringing under Nazi occupation in Alsace, France, where he was constantly straddling French and German languages and identities, ultimately feeling as though he belonged nowhere. Faced with constant fear and a looming sense of abnormality, Ungerer developed a particularly macabre manner of storytelling, treating children with the respect and responsibility he so firmly believes they deserve.

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Aside from his children's book career, Ungerer was known for his punchy protest posters, encapsulating issues related to the Vietnam War and segregation in the South with hard-hitting imagery that didn't easily fade from memory. He also had a penchant for NSFW artworks, crafting sadomasochistic erotica that would make many an adult, let alone a youngin, blush. These sexually fantastic renderings were eventually what got Ungerer blacklisted by some corners of the kids lit world. While other artists like Maurice Sendak, a friend and disciple of Ungerer's, continued to gain notoriety in America, Ungerer's books were later banned in libraries across the country, casualties of cultural wars. He eventually left the United States in a state of quasi professional exile, moving to Nova Scotia with his wife before settling permanently in Cork, Ireland in the 1970s.

Although many were shocked and turned off by Ungerer's simultaneous pursuits in the realms of both childish and very adult fantasy, his ideology throughout has remained constant. Constantly devoted to exploring fanciful visions of all kinds, from treasure diving pigs to fornicating frogs, Ungerer fully embraces the joyful cluster of ups and downs that constitute life. No matter his subject matter or his audience, Ungerer creates fearlessly, always asking in the process, why not?

Over the past twenty years, Ungerer has finally received the recognition he's so long deserved. In 1998, he was awarded the Hans Christian Andersen Award, the highest honor of the children's literature realm. In 2013, a documentary titled "Far Out Isn’t Far Enough" was released, presenting a complex and compassionate view of Ungerer's turbulent life and jubilant spirit. In 2015, an exhibition of his work, called "Tomi Ungerer: All in One" went on view at New York's Drawing Center, hanging his erotic depictions alongside his children's images for the first time.

In honor of Ungerer's doc going live on SundanceNow Doc Club as part of their "Masters of Their Craft" programming, we reached out to the 83-year-old legend to learn more about his rousing life and intrepid imagination. Ungerer speckled the conversation with anecdotes and jokes, combining the generous wisdom of an elder with the giddiness of a child. "I'm in France and I'm the youngest person here, you can't imagine," he said in his introductions. "It's absolutely hilarious. A lady told me 'I lost my husband in the war.' I asked her which war and she couldn't remember!'"

It's not hard to see why he remains one of the most indefatigable lights in the worlds of art and literature.

tomi

Is it difficult at all for you to get to a place where you can identify with the imagination of a child?

Look here, generally speaking, I have been pretty childish myself. I sometimes wander in a state of delayed development, in a way. I think it is very important to keep your innocence. Just to try to remember how it was when you were a child, when everything you learned was perfectly new to you. Each time I take an airplane, I feel like a child taking his first flight, wondering how all these tons of metal go up into the air. Here is a piece of advice: one should be very careful to keep some kind of innocence in oneself. It keeps your life really fresh and blooming. Because the more we accumulate in knowledge we get bogged in it.

A bit of naivety doesn't hurt from time to time. I think it keeps me going. Everything feels to be always new again. It's refreshing. This may be why I feel so comfortable with children. I never talk down to children. I always talk to children as equals. I can learn as much from children, sometimes even more, than I can from adults. Children have a way of looking at things.

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What was your own childhood like?

My father died when I was three and a half years old. My brother was eight years older than I am and he basically replaced my father. It was very difficult for him psychologically. He had some good tricks with me; he would always put signs above my bed saying things like "be tenacious." These messages stuck with me for the rest of my life.

I was very lucky to have older brothers and sisters. They taught me to eat, they taught me to draw. They took me camping. I was really spoiled because everybody took it upon themselves to bring me up. We had a very tight family life. Everything was shared: the love of nature, hiking, gardening. We had no money so we just lived by what we grew. The only drawback was that they teased me a lot. The enjoyed driving me crazy. They would scream at me, like a choir, going, "You're not me! You're not me!" and I would just lose it. But I think that was good too. It's good to dive into life knowing things are not that easy. Now, in terms of teasing, I can really take it. I'm quite devilish when it comes to that.

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And before he passed away, your father was an artist, correct? Did that shape your desire to create art?

My father was everything. My father was a wonderful writer, published in French, German and even Alsatian. And then he took over the family business of making astronomical clocks, so he was an astronomer. And he was quite a remarkable artist. I discovered it all much later on, in boxes, all his sketchbooks, drawings and paintings. He had just about every possible talent that one could imagine.

However, he was something of a tyrant, and I don't know how well I would have gotten along with him if he had stayed alive. Every morning my brother and sister had to line up for inspection. But, would you like to know something beautiful? Before he finally died, his last words to my mother, who was called Alice, were: "Alice, come walk with me in this beautiful garden."

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What was your mother like?

My mother too had a great talent for writing in a very outrageous way. Both she and father wrote poetry fluently, absolutely fluently. She was a great fan of President Nixon and wrote a lot of fan letters to him. They started: "proud and gallant knight." She used to write hate letters to the Pope. She considered the Pope the antichrist.

My grandmother, though, was a really mean person. Whenever I was in the garden, she would look out through the window, and she would press her face against the glass just to terrify me.

tomi

In your documentary you use a lot of sexualized language to talk about art making, saying you "raped" the white paper and that a masterpiece "impregnated" you. Do you see art making in itself as an erotic act?

I think eroticism is the life of the brain. Eroticism is doing an animal act. It is shaping things up and putting them on a stage, in a way. In the olden days, I would always ask: What are your sexual fantasies? And then, Let's play them out! Why be embarrassed about it?

I think people should be allowed to do anything they want as long as they don't hurt anyone. As long as they're doing it with mutual consent. It's a form of freedom and I think freedom should be available to everyone. I'm very open minded when it comes to that. One has to respect other people's fantasies, or phantasms.

tomi

Do you see a connection between your children's stories and erotic stories, seeing as both cater to fantasy?


No. I've always been very careful about that. My one problem with doing erotic books was I would not have wanted them to fall into children's hands. It comes back to the subject of innocence. You have to wait for the right time for the right subject. You may call me puritanical, I've been brought up by the Bible and I am Protestant and all that. I do respect it. Everything in its time.

If a child were to know everything, it would become run of the mill. There would be no discovery. It would be the end of discovery. It would be the end of eroticism! Eroticism is a safari, you know what I mean? Children should find out later in life and have their own adventure.

I do believe children should be taught what sex is and how children come about. Of course, if a child grows up on the farm and they see the horses and the pigs doing it, they'll know someday they'll grow up and do the same thing. But it is something that can be talked about in a very simple and direct way. When a child asks a question one should never evade an answer and never lie. Children have the right to truthful answers to their questions. This is a very basic right.

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With your Protestant upbringing, was the sexual revolution somewhat of a shock to you?

When I was in America in the '60s there were all those books about sex, about how to do it. So I made fun of it. I made a book that was the Kama Sutra with frogs. I put them in every possible situation and position, believe me! I used frogs because I always thought that frogs have beautiful legs. My mother loved practical jokes and you know what she did one day? She sent me to the grocery shop and sent me over to the lady who worked there to ask if she had frog legs. She thought I was talking about her and she nearly slapped me! I came home crying.

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Let's talk about your protest posters. You've attributed their style to Hitler's aesthetic. Is it ever difficult to separate form from content in situations like this?

I have done political posters all my life. I've done posters for AIDS, for cancer, against the war, for everything. For four years we were under the Nazi rule as a child, and I remember when I saw the first Nazi poster I was struck by the strength of it. I used fascism as a recipe, in a way. This is the best way to fight your enemy. If your enemy has a better propaganda than you have, use his way of doing propaganda. Some things like fascism, like violence, like injustice, must be fought. It's my duty.

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Do your dreams ever contribute to your artworks?

I have a lot of nightmares, I really suffer from that. It goes back to the war and fear of being arrested. My dreams are mostly paranoid about persecution. I don't think you can get rid of them. But I use my dreams in my work. And I have my tricks too. When I wake up in the morning I tell myself -- you just went through a horror movie! And who was the main actor in this horror movie? You! So, there are always tricks for everything.

tomi

How have you seen the field of illustration change throughout your life?

Well, there is no market for illustration anymore. I came to America in the glorious '60s. All the magazines were publishing stories and using illustrators and then what happened? Television came. And the advertising money went to television and didn't go to the magazines anymore. Nowadays photography has taken over. It is, in a way, regrettable, because really illustration has an outlet in books. At least we still have children's books.

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Do you make an effort to reach out to or mentor younger artists?

A lot of young artists come to me and I always treat them very well. The hardest most difficult thing in the world is when a young person comes to me and there is no talent. How am I to tell them? But what joy when I meet somebody with talent! And I must say, I've been very helpful with great results. It feels good, it is so important to give and share in life.

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Regarding the January attack on Charlie Hebdo, you told the Paris Review: "What happened in Paris was absolutely to be expected, sooner or later." Can you expand on that?

I know what it feels like to be ostracized because of your actions. After the war, everybody would treat me as a dirty German and all that. We have to respect people for whatever they are. We don't need to respect terrorists. But if you have terrorism or anything like this, it's because there is a great deal of anger. And anger calls for revenge. But to reach that stage of anger there must be so much frustration. That's why we must analyze and recognize that we wouldn't have that if we had treated them more respectfully.

Another thing that really hurt me, that I never could understand -- the Americans came to Europe to liberate us from fascism and racism. And when I went to America, there was segregation in the South. I've never digested that. I'm surprised there is not more anger there; I could understand that anger. The thing with Charlie Hebdo, is I must say, the French have their own way of being racist. And the only way to stop that is to educate children. I'm talking about respect. When you have respect, you can envision world peace.

tomi

Is it true you don't have a phone?

I don't have a portable telephone. I think it would destroy some of my freedom. I'm dyslexic also. If I do numbers I get them all mixed up, so there are many reasons.

Are you weary of our growing dependence on technology?

With most inventions, in the beginning it's great and in the end... Well, listen. I'm happy I have a refrigerator so I can't put it down. But it's all very dangerous to handle. It's like a coin, it has two faces. Everything is double faced.

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You've said in the past you believe in despair, not hope. What do you mean by this?

I mean, I believe in doubt. For me, my kind of doubt is an opening of my mind. My doubt means... why not? I'm ready to accept everything. Everything is possible. Every religion can be right, every point of view can be right. So I always say, why not? Even towards the unexplainable. I'm not trying to sell my idea; I'm just talking about myself, my recipe in life. I like to take things the way they are. I think to just hope can even be a form of arrogance. I think, there is a thing in French, "help yourself and God will help you." But you better do it first.





Why One Designer Built An Online Refuge For 30 Endangered Animals

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"Thirty species. Thirty pieces. One fragmented survival." So begins Bryan James' interactive exhibition "Species in Pieces," a CSS-based survey of evolutionary distinction that showcases the beauty of endangered animals across the world.

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From the moment you enter his website, the digital home of his virtual art, you are confronted by a dazzling array of polygons that morph and flex into a forest owlet one moment and a pygmy three-toed sloth the next. An ethereal soundtrack, minimalist tunes from audiojungle, calmly beckon the viewer to scroll from one struggling species to the next, exploring creatures on the verge of disappearance. To see it is to understand it.

His stunning moving images are accompanied by summaries of the threats facing endangered species, as well as visualizations that document their presence on our planet. James did the research himself, from choosing the species to gathering the statistics. The grim information shows that the population of the three-banded armadillo of Brazil has declined by 30% in the last 10 years due in part to loss of habitat, while the long-beaked echidna population has declined by 80% in the last 35-40 years as a result of encroaching humans with a penchant for hunting.

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"The project was started by merely tinkering with a line of code which I was interested in experimenting with," James explained to HuffPost. He details his process of moving from "good old CSS" to dynamic illustrations on his site, describing his "unabashedly part-digital experiment" in jargon most tech amateurs can follow. In essence, he started with one polygon animal -- the Hawaiian Crow -- and began to manipulate the various triangles that leaned and wedged to create its body, eventually rendering a Vaquita from the very same pieces as the crow. Hence the name of the exhibition -- 30 species built from 30 pieces.



His art-meets-science project has a purpose beyond pushing the boundaries of webkit-browsers (he dives more into the tech nitty-gritty here). He also hopes his work will stir something in the individuals who visit his site, perhaps people who are vaguely aware of the threats facing unique animals, but have yet to build an emotional connection to the greater possibility of extinctions. "I believe firmly that if you have no mental pre-connection or knowledge with a species, then why would you 'feel' mentally if you heard that it became extinct?" he pondered. "I believe that by bringing lesser-known species into the limelight, we can create these relationships and thus hopefully raise the topic so more care and effort is taken to save them."

In the past, the 28-year-old UK-based designer has translated mundane vices and classic car collections into visually impressive projects. "Species in Pieces" is a personal experiment, not linked to anyone specific charity; however, James cites organizations like the WWF and Rainforest Trust as resources for fans looking to do more research. The sales of an art print related to the exhibition will also support the conservation initiative Evolutionarily Distinct and Globally Endangered.

Check out a preview of the exhibition below, and see the entire work here.

The Top 50 Most Expensive Chinese Artists Of 2014 At Auction

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This post originally appeared on artnet News.
by Elizabeth Manus

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With help from artnet's Analytics team and the artnet Fine Art & Design Price Database, we combed through auction results from 2014. (If you'd like to see our latest list of the Top 100 Most Collectible Living Artists, have a look at the March 2015 report.)

According to artnet's Fine Art & Design Price Database, artworks by fine art artists of Chinese descent totaled just over $4.4 billion at auction and contributed approximately 25 percent to the global fine art auction market in 2014. Of those, the artists on this list garnered over $2.5 billion in auction sales throughout the year—58 percent of the value of all Chinese fine art artists.

Sales at New York auction houses realized about $70 million, or 85 percent of the North American auction market.

Of the top 50 artists, 10 artists are still living—Cui Ruzhuo, Zeng Fanzhi, Zhon Chunya, Zhang Xiaogang, Fan Zeng, Lin Wei, Huang Yongyu, Luo Zhongli, He Jiaying, and Liu Xiaodong—and together they rang up $288 million (11 percent) of the top 50 in total sales value.

The top Chinese artist of 2014, Qi Baishi, who died in 1957 (the year Mao launched the "great leap forward"), ranked 6th among all fine art artists for the auction year.

Each artist's place on the list is perhaps a story in its own right. The market of Zhang Xiaogang, for example, is a tale one of the most rapid increases in an individual artist's market. As Eileen Kinsella reported in her September 8, 2014, artnet News report Who Are the Top 30 Chinese Artists at Auction?:

In early 2006, Zhang Xiaogang's family portraits first started drawing attention in the US, where his Chelsea dealer Max Protetch was offering the works at prices under $100,000. In March of that year, when Sotheby's established a dedicated department and held a special sale for Chinese contemporary art, the artist set a new auction record. His 1998 oil on canvas Bloodline Series: Comrade No. 120 soared past its presale estimate of $250,000–350,000, all the way to $979,200.

If you're interested in learning more about these artists, their top lots, and past sales records, dip into the artnet Fine Art & Design Price Database and conduct your own investigation.

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artnet News is the world’s first global, 24-hour art newswire, dedicated to informing, engaging, and connecting the most avid members of the art community with daily news and expert commentary.

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How Social Media Carved Out A Space For Queer Artists (NSFW)

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Working on the outskirts of the artistic establishment, queer New York artists of the late 1970s and early '80s took to the streets, plastering their work on subway platforms, crumbling bathroom walls, and other abject alternatives to white gallery walls. Fast forward thirty years later and LGBTQ artists have taken their outsider status to the virtual realm, turning to the internet and its various social media vessels as alternative artistic networks.

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Macy Rodman by Alexia Exum


An exhibition entitled "Interface: Queer Artists Forming Communities Through Social Media," gathers 30 young New York-based artists who have transformed Twitter, Facebook, Tumblr and various blogs as alternatives to the traditional (and traditionally exclusive) art scene.

The show is curated by writer, photographer and former fashion designer Walt Cessna, who enlisted artists of diverse media ranging from painting to sculpture to installation. "What I hope the viewer sees is how wide-ranging, diverse, truly unique, and heartfelt the current art scene actually is," Cessna explained in a statement from the museum. "It seems like the mainstream art world has become inundated with too many large, pointless, grossly extravagant, or just plain old ugly living room wall pieces created for people with the resources to buy them who often lack any kind of original taste or true appreciation of art."

"Interface" offers a new wave of outsider art, combining the detachment from the artistic mainstream with the technological savviness of the digital present. Photographer Benjamin Fredrickson captures a leather-clad stranger in black-and-white film, his erection serving as the only visual flesh. Gio Black Peter cuts and pastes a New York subway map until the cartographical paper becomes the meat of a muscular nude man flexing for the viewer.

The images, as relevant as they are raunchy, offer an alternative art tour to a Chelsea walk, one far more gritty, risky and indicative of emerging artists who aren't catering to millionaires' mantles. The best part is, you don't have to go far to access this mystical community of experimental queer artists. They're floating in the ether just waiting for you to go searching.

"Interface" runs from May 15 until August 2, 2015 at the Leslie-Lohman Museum of Gay and Lesbian Art.And, because a show like this needs a hashtag, it's #QueerArtInterface.

Wiz Khalifa's 'See You Again' Video Makes A Touching Tribute To Paul Walker

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Wiz Khalifa's "See You Again" has become the anthem for a tribute to Paul Walker in "Furious 7," and the track's music video, which debuted Sunday, further pays homage to the late star. The film ends with a montage of Walker set to "See You Again," featuring Charlie Puth. The video is similar, additionally splicing together clips of Khalifa and Puth's performances.

"To have a song that's earnest and sincere and could underscore a celebration of Paul's life. To be an anthem for that. We worked really hard to dial that in," Mike Knobloch, president of film music and publishing at Universal Pictures, told The Huffington Post in a recent interview.


The NYPD Is Investigating This Giant Bust Of Edward Snowden Erected In A Brooklyn Park

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The New York City police department says its Intelligence Division is investigating a giant sculpture of National Security Agency whistleblower Edward Snowden that was installed in a Brooklyn park early Monday morning.

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(Photo via The Peace Factory.)


A group of unidentified artists wearing yellow construction vests erected the 100-pound, bronze patina bust atop a stone column at the Prison Ship Martyrs Monument in Fort Greene Park before dawn Monday. On the bottom of the column, capital letters spell out Snowden’s name in a font similar to one often used on war memorials.

The artists, with the condition that they wouldn’t be identified, allowed Animal New York to tag along and film the covert installation of what they call “Prison Ship Martyrs Monument 2.0.”



“Fort Greene’s Prison Ship Martyrs Monument is a memorial to American POWs who lost their lives during the Revolutionary War,” the group told Animal in a statement. “We have updated this monument to highlight those who sacrifice their safety in the fight against modern-day tyrannies. It would be a dishonor to those memorialized here to not laud those who protect the ideals they fought for, as Edward Snowden has by bringing the NSA’s 4th-Amendment-violating surveillance programs to light. All too often, figures who strive to uphold these ideals have been cast as criminals rather than in bronze.”

(For more on the artists that erected the statue, head over to Animal New York.)

Mashable reports that as of 11:55 a.m. Monday morning, the “Snowden” part of the monument had been removed by the Parks Department, and a video posted to Vine at 12:12 p.m. shows unidentified officials placing a tarp over the sculpture.




A Parks department spokeswoman told The Huffington Post only that “the erection of any unapproved structure or artwork in a city park is illegal” and that the department is “looking into” removing the monument. An NYPD spokesperson told HuffPost that the department is aware of the situation and an investigation by the Intelligence Division is under way.

It’s been nearly two years since Snowden, a contractor working in NSA facilities, leaked classified documents showing the United States’ widespread government surveillance programs. He then fled to Russia, where he's been living in exile ever since.

On Sunday, HBO aired an interview with Snowden by comedian John Oliver. The pair talked about the NSA’s ability to intercept “dick pics,” and what it’s like for Snowden to be unable to return to the United States, where he could be prosecuted for treason.

"I do miss my country,” he told Oliver. “I do miss my home. I do miss my family.”

From Working With Rihanna To Playing God, Jim Parsons Is Having A Divine Moment

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For a few days in May, Jim Parsons will be three distinct things at once: a lovable physics nerd, a lovable alien and a lovable God. The eighth season of "The Big Bang Theory" comes to a close on May 7. Two days before that, Parsons will step onto the Broadway stage to play the Almighty in "An Act of God," which runs for 13 weeks. If you're feeling extra ambitious, make that a triple-header with "Home." Currently in theaters, DreamWorks' animated movie, in which a teenager (voiced by Rihanna) helps Parsons' lonely extraterrestrial, named Oh, adjust to life on Earth, debuted at No. 1 after opening on March 27. That doesn't leave the 42-year-old actor with much blank space on his calendar, but somewhere in there he'll need to squeeze in an Emmy campaign, in hopes of collecting his fifth statue for portraying Sheldon Cooper. HuffPost Entertainment caught up with Parsons in between the avalanche to ask how he balances it all.

Memorizing all the science jargon Sheldon says on "The Big Bang Theory" can't be easy, and now you have all this biblical talk to learn, too. Does it become overwhelming?
It’s a funny thing. I have a couple more episodes to shoot and then in the past month two months I’ve been doing all this press for the animated movie “Home.” Every moment I have a chance to drink coffee in the morning or a moment to read, I’m like, “You should probably run some lines. You should run, you know, the ninth commandment or whatever.” So these weird quotes and these weird phrasings just run through my head -- “thou art” and “thou shalt” and things like that. It’s a weird place where one might need therapy afterwards. It can be tough to deal with the Sheldon stuff, some more than others. I will say the blessing of the television show is that you only have to know it once and you can take a few takes to do it. The frightening part, and the invigorating part, but frightening-before-you-do-it part, of theater is that it’s one night and one night only as far as that crowd witnessing the story that night. But certainly a television show and doing 24 episodes in nine months, you have five days with each one and you’re just never, ever gong to know it at that level that you can know something you’re doing at the theater.

You can probably get by without fully understanding everything Sheldon is saying, but is reading the Bible part of your God preparations?
Well, with the Sheldon stuff -- the science stuff -- the strongest part of my research would be just learning to pronounce things, and secondarily I do always make a passing effort at trying to figure out what the hell this might represent. But there are times that it is literally gibberish to me and I just hope I’m putting my inflection in a place that makes it sound sort of like I know what I’m talking about. The God stuff is actually a lot easier to understand. You may not want to always, but it really seems to be easier. Party because I took a lot more God, if you will, than I took science in my lifetime because I was raised going to church every Sunday. So we don’t touch on anything in this play that is unfamiliar to me. In fact, I think it’s been more about touching on things where I go, “My, I haven’t thought about that in a long time.” Old stories from the Bible come up. So in that way, no. The biggest thing I’ve done so far is make sure I have really strict in my head the precise definitions of “omnipotent,” “omniscient” and “omnipresent” because they come up several times and every once in a while, when I’m running through all these lines, I’m like, “Wait wait wait, which one of the O’s is this?” And it helps to remember exactly what each of those is. I mean, I know what they are, but every once in a while you’re like, “Shit, is it 'omnipresent' or 'omniscient' right now? Hmm.” Context is everything.

On top of that, there are a couple of minor characters, but this is pretty much a one-man show.
Yeah, these angels, frankly, should be talking a lot more than they are. So there.

Do you have a favorite fictional God?
The heavyweight God for me is Morgan Freeman, having a lot to do with that voice. That being said, emotionally the first one I always think of is George Burns. Those movies were playing on TV and on HBO when I was young, so he was really my first God to encounter from Hollywood. And he was such a dear old man, or at least I felt that way when I was watching as a child. I thought, “Thank you, what a lovely God.”

Had you and Rihanna met before working on "Home"?
God, no. We never would have had that chance. I guess I could have gone to a concert, but I don’t know. I don’t know if I even could have worked my way backstage, but no. That didn’t happen, so we didn’t meet until we did the movie.

jim parsons rihanna

Jennifer Lopez has a role in "Home," too, so you were essentially living in pop-star land. Were all three of you in the studio at the same time?
No, it would have exploded. We really weren’t though. Most of the time we had to record alone. I think it’s a lot easier for them to get our recordings alone. I also think, scheduling-wise, they do it that way. But no, we never worked together.

Being your first animated movie, did you find yourself still concocting mannerisms and facial expressions for the character? And do they factor into the actual movie?
They do factor in, but they really were concocted accidentally. It was a very interesting experience to be robbed of certain storytelling abilities like your body and your face. There was a certain point where the animation got more and more precise and particular, and at that point sometimes the character would make eye movements or even when his mouth would open sometimes, I’ve seen myself enough on camera to know, “That’s really, completely me,” and it would be. And I have to tell you, too, that part didn’t freak me out. In fact, I found it very joyful because the hard part was when I was watching preliminary sketches and drawings with my voice. Even actors who hear themselves a lot of the time, I think even for us there’s still the little seed of that first time you hear yourself on the tape recorder and go, “No, that’s not how I sound,” because your voice just doesn’t sound the same. So there was this double whammy of this disembodied voice but embodied through this alien that I really wasn’t comfortable with at first. They would even take lines that I remember recording and not being thrilled with, and they’d say, "Sure, it’s fine." Animators are the best excuse-makers in the world. They take all the rough edges off of everything that I’ve done. It was really delightful. I would jump to do another animated movie. They take a long time and you feel like you’re never going to see the full fruits of the labor, and that is a test of patience, but the process is joyful and the result of kind of heavenly.

There's a cute scene where your character, Oh, starts involuntarily dancing and can't stop. What's a song that you just have to dance to if it comes on?
I don’t really have one because I have enough self-control about these issues. I keep thinking that I should dance more often. Because of the movie, it keeps coming up, but I guess I just don’t dance enough.

What about karaoke?
I’d rather be shot in the heart. My God, it’s one of my least favorite activities on earth. I’d run away.

What’s the last Rihanna song you had stuck in your head?
“Please Don’t Stop the Music.” It’s such a good song.

What’s the last J. Lo song you had stuck in your head?
The one from the movie because I keep hearing it, “Feel the Light.” It’s the song that kind of travels through the whole movie.

jim parsons emmy

Amid all of this, you still have another Emmy season to gear up for. Have you kept up with the category changes, which will affect some of what "The Big Bang Theory" competes against this year?
I heard about it happening. I will say that I think the attempt to -- I don’t even know what you call it -- the attempt to shuffle things around and try to think about what is the best place for certain work to be showcased is a good and necessary thing to put energy into. And I really do speak in that part from personal experience, both in the acting category and in the show category. I felt it very vividly last year when, and it’s been a while now, but in the actor category was me and then William H. Macy from “Shameless” and then Don Cheadle and Louis C.K. If you watch an episode of each of those shows right in a row, you really are going, “Are you kidding me? We’re asking people to compare and contrast these? What?” There will always be a bit of that, though, even in its most infantile stages, back when there were only three channels or whatever. When you’re comparing entertainment things like that, it’s always apples and oranges and carrots and celery. There are so many opportunities for writers and actors on TV right now that it is a cornucopia. It’s like being in a Thanksgiving feast as far as opportunities and choices on television, and that is 100 percent good. But when you’re talking about how to divide up an award show, it is 100 percent tricky. It’s only gotten trickier. So I guess we’ll see with the decisions they’ve already made. I don’t think you know till you do it. It is, though, a very, very good quote-unquote problem to be having.

Right, I think we're on our way to figuring out how to modernize the Emmys, but I wonder if it doesn't make more sense just to split shows by half-hour and hourlong programs?
Oh, that’s interesting. Absolutely. Well, and then do they decide further between cable and network? I don’t know. I hesitate to call it Pandora’s box because it’s an award show -- it’s not war. But it is the messier part of it. Again, it’s a good thing to be in. It’s just not a clean breakdown of what’s going on on the small screen anymore. So I guess if you’re going to continue to have categories, you have to figure out some sort of regulations or dividing lines.

Art Historians Explain Why A Medieval Man Is Getting Rolled Into A Joint, Among Other Things

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snail fights a knight 3
A snail fights a knight. No one really knows why.




Once upon a time in the Middle Ages, some artist spent a surprising amount of time painting a face on the butt of a horse. Fast forward to 2015, and social media users centuries later are gleefully adding modern captions to the medieval handiwork for their Tumblr and Twitter audiences. Because lol!





And yet these illustrations would surprise no expert historian. Books were intentionally filled with this kind of strange artwork, and took a long time to make, even as a team effort by skilled artisans concentrated in cities like Paris. A book didn't used to be a thing you could buy as a joke at an Urban Outfitters store -- mainly just the rich and leaders of the church could afford to own books. Their pages were made from vellum or parchment -- animal skin soaked in lime water, scraped and stretched thin, then cut into groups of pages. Pages were ruled to ensure text was handwritten in straight, even lines. And unlike the doodles in the margins of your geometry notebook, the manuscript's illustrations, called "illuminations," were first outlined onto the pages, then filled in carefully with vegetable dyes and often gold leaf.

The end product, though, was sometimes bizarrely hilarious. Since we're all about the pursuit of knowledge and understanding of art, The Huffington Post asked a couple experts what's going on in some of the Internet's favorite medieval manuscripts.

The answer: Some drawings are educational, some are historical and some are just simply weird jokes. But it can also be hard to tell from the snippets circulating Facebook and such. According to Jeffrey Hamburger, German art professor at Harvard University, the horse above is a 15th century French manuscript illustration that may have been satirical. It certainly wasn't illustrating any moral -- we can't imagine the life lesson a horse butt might teach, anyway -- but grotesque figures that blended man and beast were pretty typical, Hamburger explained.

Below we try to figure out a few more mysterious drawings.



1.




The tightly rolled individual is actually Saint Vitalis of Milan, Hamburger explained to HuffPost. And the two men beside Vitalis are not his friends -- or else they're really horrible ones, because they are burying him alive after having tortured and restrained him. Elizabeth Sears, professor of art history at The University of Michigan, explained how the drawing was part of a truly fun and educational book on saints' lives. Another expert on medieval art history, Beate Fricke at the University of California at Berkeley, noted that Vitalis' open eyes are an indication he's still alive at this point in the murdering process. The margins of medieval manuscripts, Fricke told HuffPost in an email, were actually one of the few spaces artists could exercise creative freedom.



2.





Here's an image taken from an 11th century medical textbook called "Canon Medicinae," showing a scrotal swelling problem, Sears told HuffPost. Medical drawings would often exaggerate the relevant part of the body -- clothing the rest -- for educational purposes. And this was the book, Fricke said, for teaching students about medicine at medieval universities. Originally written in Arabic, it covered all types of disease and was translated into Latin for Europeans.



3.




Getting stabbed in the head is pretty much never a happy occasion, but it could be if you knew you were going to heaven. Hamburger explained that this guy appears "to be welcoming death" with a smile for that reason -- he believes he'll be rewarded. BONUS: You can own this illustration, part of a 14th century German manuscript, as a T-shirt.



4.





Hamburger theorized that this was not, in fact, a baguette with a face, but an attempt at representing a real human child who's about to get snatched by a soldier of King Herod. In the Bible, when Herod heard about the birth of a king who could usurp him -- the wee baby Jesus -- he had all the youngest male children killed. Hence the horrified look on both baby and mother. Fricke pointed out to HuffPost that the entire scene includes an angel standing at the gates of heaven to receive the poor souls. Pretty grim.



5.





Here's a picture we're supposed to laugh at, a little. It's part of a copy of Saint Augustine's "City of God," which defends Christianity from people who thought it might have been to blame for the fall of Rome in the 5th century -- a time when everyone thought Rome was forever. A millennium later, the 15th century illuminators had to figure out how to represent the pagans who attacked Christianity, Sears explained to HuffPost. So they barbarized them by painting them nude, men and women together, and all in a circle reminiscent of old Roman theaters. The man in the center is probably narrating the story.


As for some of the even more scandalous drawings, Sears explained how we shouldn't make judgements about medieval people under our own modern-day lens.

"You know, the middle ages was very bawdy! It was before the Puritans, before the Protestant reformation. We're just projecting Sunday school onto earlier periods," Sears told HuffPost.

Many who owned these manuscripts were secularists, she explained, and illuminators began including more R-rated embellishments as the years went on. Like any cartoonist or comedian, being a medieval illuminator was "almost like you're getting paid for your imagination," Sears said.

None of the art historians HuffPost spoke to, however, seemed particularly offended by the Internet's caption game.

"If this particular trend gets people more interested in the art of the Middle Ages, which is endlessly fascinating, then I think that's great," Hamburger said.




Young New Yorkers Gives Teens Chance To Choose Art Over Jail

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When Daniel Aguilar was just 16 years old, he was already faced with a misdemeanor and the looming fear of jail time. Then he was presented with a choice.

Aguilar could either carry out his sentence and do community service, or join an arts program. He took the better option.

"At first I was scared, just like all of us, we were just troubled teenagers at the time," Aguilar told HuffPost Live. "I’m not really an artistic person, but through it I started drawing, and that really helped me open up my mind at the time."

Young New Yorkers helps 16 and 17-year-olds -- who can be prosecuted as adults in the state of New York -- expunge their criminal records and avoid jail time by instead putting youthful offenders into an arts program.

"The curriculum is uniquely tailored to develop the emotional and behavioral skills of the young participants while facilitating responsible and creative self-expression," their website says.

Last Wednesday, a silent auction was held to continue funding the program. A total of 123 well-known artists donated pieces to the cause, while others had to be turned away due to the sheer number of artists looking to help.

Rachel Barnard, executive director of Young New Yorkers, said silent auctions and donations on their website help keep the program going.

“I think what we often forget is that people in the system are human beings," Barnard said. "I’ve had a judge that referred to it as a ‘grind’ and that’s really exhausting, and when [the teens] come and visit our program, it gives them some space to re-think what’s possible."



Three years later, Aguilar said the program has helped him stay off a path of crime.

"Through the program, I learned I had a voice," he said. "As the Spanish young man that I am, I never really felt I had a voice. But now through Rachel and the program, I can go out into society and say ‘look where I’ve been, and where I’m coming right now, and how far I’ve gotten,' and maybe I can stand up for young people like me."



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Salman Rushdie's Goodreads Ratings Of Classic Books Go Viral

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With so many digital ratings systems organizing our modern lives, it was only a matter of time before someone as prominent as Salman Rushdie confused Netflix’s recommendation algorithm with Goodreads’ public book ratings. On Sunday, Rushdie’s starred reviews of several classic books went viral -- including a few shockingly unflattering ones. Harper Lee’s To Kill a Mockingbird, for example, received only three stars, while Kingsley Amis’ Lucky Jim got just one.

Apparently Rushdie felt no need to leave the one-star rating in reserve for total duds.

“I thought these rankings were a private thing designed to tell the site what sort of book to recommend to me, or not recommend,” he reportedly explained when Goodreads users questioned his blunt ratings. Understandable, given Netflix and Pandora’s use of similar algorithms to select well-crafted playlists for each individual user.

This confusion was also, very likely, relevant to his ratings strategy: We may give five stars to a cheesy rom-com on Netflix hoping to see more of the same, while realizing that it’s hardly the finest film on offer; or two stars to a drama that proved too slow-moving and dark for our tastes despite excellent overall quality.

That Rushdie’s not-always-glowing rankings have actually attracted media attention seems absurd, and he agrees. "Really? That's sort of ridiculous,” he tweeted in response to an Independent journalist's query stating she was writing about his Goodreads account.

The newsworthiness of such honest opinions speaks to a problem in the literary world: the tyranny of politeness.






Fans of the scathing literary takedown have found dwindling supplies in recent years. As Laura Miller recently wrote, after a harsh Tournament of Books review by Magnetic Fields frontman Stephin Merritt received massive backlash, the literary in-crowd has become a conciliatory, collegial crew. Authors review the books of fellow scribblers they’ll see at Brooklyn parties or writing retreats, or the novels of their best friends' newest flings. The social circles are too intertwined for most writers to risk snipping away at their network with sharp-edged critiques.

Besides, we all know art is hard. What reviewer wants to crush the spirit of a writer who sweated over a book for months, even years, with a harsh evaluation?

Yet many reacted with applause and even glee at the reports of Rushdie’s merciless ratings of classics. In the Independent, Katy Guest playfully cheered on his bravery at admitting to his unpopular literary tastes. Readers thirst for those moments of unvarnished opinion, not the ones cloaked in qualifiers and forced half-compliments.












Rushdie’s honesty, albeit accidental, feels deeply refreshing not just because frankness always is, but because public flattery and mutual back-scratching undermine the entire artistic community. When books are held up as exemplars of literary achievement because of the author’s personal connections to other writers, editors and reviewers, books from less-connected talents risk being crowded out. Even worse, the entire culture’s understanding of and appreciation for the revolutionary and the truly exquisite art suffers. Honest and rigorous criticism finds value in the new, profound, even the seemingly inaccessible, introducing the greatest literature to a broader audience. But good criticism should also deflate the polished but empty, separating the timeless from the flashes in the pan.

A sweeping policy of "if you can't say something nice, don't say nothing at all" means that every book is deemed an instant classic by some, and an artistic failure by none.

Plenty of people love To Kill a Mockingbird; it routinely tops polls tracking what people consider the most inspirational books, the most influential books by women, or the books everyone should read before they die. Rushdie’s tepid reaction won’t hurt it. Charlotte Brontë numbered among many high-profile critics of Jane Austen who’ve put in their two cents without dislodging the quiet social satirist from her place in the canon. Truly great books won't be harmed by the open dislike or disapprobation of a few, even if those few include Salman Rushdie.

Authors have been critiquing and even insulting each other’s work for generations, and aside from gracing us with some jaw-dropping zingers, they’ve helped us evaluate what the aims of literature should be, and what standards we should uphold. Not all of their brutal critiques have been validated by general consensus, but they've added to and advanced the critical conversation around even the most universally beloved texts.

Of course, as Rushdie’s own highly arguable ratings support, there’s no accounting for personal taste. Even a well-established masterpiece may not work for you, and whether you're a controversial figure in the literary world like Rushdie, an established genius like Virginia Woolf, or any reader, there’s nothing wrong with that at all. We shouldn't be afraid to admit it.

How Burlesque Helped Me Love My Body -- And All Bodies

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"We are on the edge of a brave new world of body love and acceptance."

That's the good news burlesque performer Lillian Bustle shared in her TEDxJersey City talk about body image.

Bustle explains that "fat" has become synonymous with "ugly," and shares how she reclaimed the word to describe herself.

"I'm 5'3", so I call myself short," she said. "I'm married, so I call myself a wife. I weigh 240lbs, so I call myself fat. And I am beautiful, so I call myself beautiful. And I am all of those things at once."

Bustle also spoke about her experiences as a burlesque performer, explaining how the genre embraces performers of "all sizes, all colors, all ages... Masculine bodies, feminine bodies [and] trans bodies."

lillian bustle

Not only has Bustle found the burlesque community to be inviting to people of all shapes, but she's also learned to love the audience, empower herself through performing and heal her relationship with her body.

You get to decide that you're gorgeous," she said. "You get to decide that you're powerful. You get to decide that you're amazing. And you get to decide that you're worth looking at."

Watch the full video above.

Jamaican Photographer's Series Shows What Kids Can Teach Us All About Life

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Photographer Adrian McDonald lives next door to a large extended family in a the rural Jamaican parish of Westmoreland. About five months ago, he was photographing plants and animals outside his house when he heard his neighbors' kids laughing as they played on a swing in their backyard.

"They were completely oblivious to my existence, just in their own little world living as if life is nothing but utter bliss," the photographer told The Huffington Post. "There was something about it that filled my soul with an everlasting joy."

With the parents' permission, McDonald started photographing his neighbors' kids as they played games like tag and hopscotch, swung from trees, and even sat huddled together, discussing "random topics" on their front lawn. He told The Huffington Post that though a couple of the shots were conceptualized ahead of time, almost all of them are completely candid.

childhood

"The kids were used to me being outside photographing other things before I turned my attention to them, so most times they thought I was still focusing on photographing plants and animals," McDonald said, adding that his professional-grade camera also allowed him to capture great photos from hundreds of feet away.

When the photographer first showed the kids a photo he'd taken of them on a swing, "they went crazy with excitement!" McDonald recalled. "The little guy who is seen in most of the photos pranced about for about three minutes before he ran out of breath." The parents reacted just as enthusiastically, he added.

McDonald says he hopes that people who see his photos step away with "the same thing that children get out of life -- love and happiness." He added, "I hope it warms the heart of those who see them and know that beauty still exists in life we just sometimes choose not to see it. Children live a life worth living and that's what we ought to do: live, love, laugh."

Keep scrolling and visit Adrian McDonald's website, Facebook page, or Instagram account to see his inspiring photos of kids being kids.



H/T BoredPanda



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Maggie Siff On Returning To Haunt Don's Dreams In The 'Mad Men' Premiere

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Warning: This interview contains spoilers for “Severance,” the eighth episode of the final season of “Mad Men.”

"I'm glad it’s out there in the world," Maggie Siff told HuffPost Entertainment on Monday afternoon. "I feel like I’ve been sitting on my demise for a long time."

The demise she's kept under wraps is actually that of Rachel Katz (née Menken), the department-store owner who became one of Don Draper's first -- and most significant -- affairs on "Mad Men." Siff hadn't appeared on the show since Season 2, when Don spotted Rachel, dining with her with new husband, months after she'd declined an invitation to run away with him to Los Angeles. Sunday's season premiere conjured up the literal ghost of Rachel, who appeared in a dream sequence and was later revealed to have recently died of leukemia. We had a lot of questions about the elusive fan favorite's return, so we went straight to the source. Siff, who has since starred on "Sons of Anarchy," spoke about returning to creator Matthew Weiner's iconic world and the strange way she discovered Rachel's fate.

When did you first find out you'd return to the show?
It was about a year ago. Maybe it was last March because when they contacted me about the episode I was very pregnant. The day they had scheduled to shoot it was pretty close to my due date, so I called Matt and Scott Hornbacher, who was directing the episode, and I said, “Guys, I’m really pregnant and I hope you know that. I would love to do it -- I just don’t know what’s going to happen.” Matt said, “It’s okay that you’re pregnant, we still want to shoot it.” He hadn’t told me what it was, so I was like, “Okay.” And then he said, “Production is going until June, so should you not be able to do it, we can do it anytime before June.” I said, “Great.” I thought it would be interesting to make an appearance very pregnant -- whatever it was -- but it didn’t work out that way because the production then got pushed another couple of weeks and I went into labor. I think we ended up shooting it in June actually, a couple of months after I gave birth.

Was he planning to cover up the pregnancy in the shot?
You know, that’s probably a question for him. I got the impression that it would be part of it. I mean, it’s a dream sequence, so it’s sort of surreal to begin with, and I think he thought that could potentially have been interesting.

Your scene is very visual, without much dialogue. What sort of direction were you given?
I knew it was a dream sequence, so I think the reason why Matt didn’t want me to walk in there knowing the character had died was he didn’t want that to be telegraphed in any way. And I don’t think I would have, but I understood the concern. Scott Hornbacher showed me the clip of what the woman had done at the very beginning of the episode, so I got a sense of what we were talking about. And then we just played around with it. She was very come-hither, and I think Rachel in that scene was a little bit more playful and powerful and really taking in herself in the mirror, in a weird way. It was really just playing with different emphases and looking for the right tone, which was sort of mysterious and sort of sexy and sort of playful and a little bit confusing, and then walking out the door.

Have you kept up with the show since you last appeared?
Oh, yes, I’m a big, big fan. I watch it religiously.

Did you spend that time hoping Rachel would make another appearance?
Oh, sure. I think that one of the brilliant aspects of the show is the way people float in and float out. There’s great potency in that, just in terms of how people imprint themselves on the show and on the psychic life of all these characters. I didn’t know I would come back and it certainly wasn’t a certainty in my mind, but I loved the character so much and I loved all those guys, and I felt like part of the family because I was there from the beginning.

Matt Weiner is notoriously tight-lipped about spoilers. Did you have to sign a non-disclosure agreement or anything like that?
I did not have to sign an NDA. It’s just a given with Matt that you don’t say anything. I think he trusted me. Had I shot it originally, I would have gone to the cast read-through and I would have read the script when they were shooting the episode. But as it worked out with me not shooting it till much later, I actually didn’t get the script until after I’d already shot the scene. I got my pages. Or, I should say, my page. And I was like, “What the hell?” I talked to Matt and I said, “What is this?” He said, “Well, it’s a dream. I don’t want to give you the script until after you’ve shot the episode.” I was like, “Really?” And he was like, “Trust me.” I said okay and shot the scene. I think about halfway through, Jon Hamm made a joke to the effect of, “Ya dead!” And that’s when I knew the character had died. I read the script afterward.

Have you heard that you were on a list of four things the press was not supposed to write about before the season premiere?
No, I didn’t know that. I didn’t know you got bullet lists of things you weren’t supposed to mention.

Only with "Mad Men."
So you can write a preview for the episode but you have to leave out certain details?

Right. We couldn't mention Ken's firing, Rachel's return, the year the episode takes place or anything about Don's romantic life.
Oh, that’s funny. I kind of admire that because it really does leave the viewership with a blank slate about the things that Matt wants them to be affected by.

After reading the full script and now having seen the episode, what's your take on Rachel's fate?
It’s conflicted. I think initially I was sort of shocked and saddened by it because I loved the character so much. As an actor, you really want the best for the character that you play. I once had a teacher say that you need to be an advocate for your character, so even the characters that you don’t necessarily love or the characters you wouldn’t necessarily spend your life with or have dinner with, you root for them. But Rachel is one of those characters that, in addition to rooting for her, I just loved her as a person. So you want her to thrive and succeed, and if you see her again, you want her to be beautiful and powerful and on top of the world. That said, it’s fiction. I thought the episode was really beautiful and I thought the way we got to see what her life had become was very artfully done and in some ways very satisfying. As for the character, the thing I thought about the most while working on it was about how much of an outsider she was. And then in that scene where you saw her family, her sister, her children, her husband and the community, you felt like she had found a home. That was very satisfying, and there’s also something very satisfying about having your character addressed and included instead of never appearing again and floating off into the “Mad Men” ether.

Some have said Rachel could be Don's true soulmate. With the advantage of hindsight, do you feel that may be true?
I guess in hindsight I feel they were true equals, in a way. I actually think she was a more grounded and synthesized human being than Don has been throughout the series, but I think she was a true equal in terms of her strength and her intellect. I don’t know that with the other people you’ve seen him with there’s been so much push and pull, and he’s had so much power in a lot of those relationships. So I think she would have been a real match for him and would have challenged his humanity in an interesting way. I don’t know about “soulmate.” I know it’s been said, and maybe I even said it at some point. I’m not sure. I feel like the show, and Matt’s worldview, might be just a little bit more cynical than that. I can’t speak for him, but there’s not a lot of true romance in the show. There was a glimpse of that in their relationship way back in the beginning of the show.

Had she entered his life earlier or had events transpired a little differently, could Rachel be the person who might actually be able to change Don?
In a way, I think that’s the question of the series. I think Matt is really interested in the question, “Do people change? Can people really, truly change and transform themselves?” And the question is posed in the figure of Don Draper, so in a way I think maybe we’ll see what the answer to that question is at the end of this season. I personally believe that people can change. I think one of the things that makes Don a fascinating and iconic character is that we have seen him begin to transform in all of these ways and in all of these relationships. You're like, "Maybe now he’s going to quit drinking and go to the Y every day and dig himself out of this existential hole. Or maybe he’s going to leave the firm and strike off in another direction, or maybe Megan is the answer because she is young and vibrant and she can bring him back to his youth." Then you see these things fall away and you see him return to a darkness that he has to grapple with again. I don’t know that anybody can change him except for him.

We were unfamiliar with the show's gender politics when Rachel came around in the pilot, so her empowerment sort of set the stage for what Peggy and Joan would accomplish in later seasons. Were you aware that she was carrying that torch?
Well, first of all, I don’t think anyone imagined the show would run for seven or eight years. It was very hard to know what the show would evolve into. I was very aware of the fact that it was supposed to be 1960 when we started, and I was very aware of how forward-thinking she was as a character and how deeply unusual she was for that moment in history, and also for what was being represented on the show. She walks into that office and she takes control, and Don says, “I’m not going to let a woman talk to me like that.” She puts her cigarette out in a shrimp cocktail and walks out the door. That was just incredibly fun to play. She’s somebody who used her outsider status both as a woman and as a Jew to push boundaries. She had made a decision that that wasn’t going to hold her back and she was going to do exactly what she wanted to do, and she was going to modernize her business in a way that felt right to her, in addition to being a beautiful, sexy, fashionable woman. She was way ahead of her time and I tried to honor that as best as I could.

When we see Don visit Rachel's shiva, I had a quick thought that perhaps one of her children is actually Don's. Do you think that's possible?
[Laughs] Hmmm. Honestly, that had never occurred to me. You should ask Matt Weiner that question. I’m not going to speculate. It’s not where my mind went. I’ve always imagined that when she broke with Don she made a clean break, and I also think she would be responsible in that way. She was a modern, liberated woman, and I imagine that she knew how to make sure she didn’t get pregnant. But that’s my two cents. Like I say, I have no idea in actuality if that’s something that Matt has even considered.

Do you want to see a hopeful ending for Don?
We root for Don, don’t we? I think we do. I think there’s the glimmer of somebody underneath who has the potential to be bigger and better than he’s been, and that’s kind of why we stick with him. In his own way, we see him struggle. I would like to see him drive off into the unknown toward a new and better future, but I don’t know what that looks like.

Cabaret Star Julie Wilson Dead At 90

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NEW YORK (AP) — Julie Wilson, a musical theater actress and cabaret star who earned a Tony Award nomination and was cheered for her ability to harness the songs of Stephen Sondheim and Cole Porter, has died. She was 90.

Christopher Denny, Wilson's friend, said she died Sunday in New York after having suffered two strokes over the last several days. Upon learning the news of her death, the Broadway icon Kristin Chenoweth tweeted: "Broadway's loss. Heaven's gain."

Wilson's most famous stage role was the 1988 Peter Allen musical "Legs Diamond," for which she earned a Tony Award nomination. Her other Broadway credits include "Park" in 1970, "The Girl in the Freudian Slip" in 1967 and was a replacement for the role of Babe Williams in the original run of "The Pajama Game."

But it was as a singer — known for her interpretations of such songwriters as Sondheim, Kurt Weill, Jerome Kern and Porter — that made the biggest impressions, from recordings like "Julie Wilson Sings the Cy Coleman Songbook" to her live sets at the Oak Room in the Algonquin Hotel.

Denny, who was a friend for 30 years, called her his "second mother" and praised her for being "one of my life's greatest teachers and an example of humility, compassion, kindness and generosity which I never expect to see equaled."

Wilson was born Oct 21, 1924, in Omaha, Nebraska, and recorded several albums, including "My Old Flame," ''Live From the Russian Tea Room" and "Julie Wilson at the St. Regis."

She is survived by her son, actor, writer, and producer Holt McAloney.

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Mark Kennedy is at http://twitter.com/KennedyTwits

A Grown Man Used Emojis. You Won't Believe What Happened Next

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H/T New York Times

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How Checkbook Art History Elevated Gustav Klimt To The $100 Million Club

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This article originally appeared on artnet News.
by Eileen Kinsella

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Gustav Klimt, Adele Bloch-Bauer I (1907) ©Neue Galerie New York.


Nine years ago, when cosmetics magnate and top collector Ronald Lauder, co-founder of the Neue Galerie, shelled out a reported $135 million for Gustav Klimt's Portrait of Adele Bloch-Bauer I (1907), many in the art world were stunned (see Why Ronald Lauder is Right About Nazi-Looted Art in Museums).

At that point, only one work had ever sold for more than $100 million at auction—according to public records—and that was Picasso's undeniable Rose-period masterpiece Boy With a Pipe (1905) sold at Sotheby's New York in May 2004. No one cast any doubt on that landmark price. Not only was Picasso considered one of the best artists in the world—if not the best—that particular masterpiece also came with a sterling provenance. It had been tucked away in the blue chip collection of John Hay and Betsy Whitney for decades. The Whitneys had acquired the work for $30,000 in 1950.

Prior to that, the highest price for a work at auction was $82.5 million, paid in 1990 by a Japanese collector for Vincent Van Gogh's 1890 Portrait of Dr. Gachet at the then-peaking art market (see 10 Game Changing Auctions and Do Riches Await In The Van Gogh Market?).

How, market observers and art experts wondered aloud, had it been possible for Klimt—the Austrian Secessionist whose particular style was not exactly everyone's cup of tea—managed to vault to four times more than his previous record of $29.3 million and far outstrip both of the records for heavyweights like Picasso and Van Gogh.

In a New Yorker column in July 2006, critic Peter Schjeldahl said: "Is she worth the money? Not yet. Lauder's outlay predicts a level of cost that must either soon become common or be relegated in history as a bid too far. And the identity of the artist gives pause…. Until a few years ago, the artist ranked as a second-tier modern master."

In a phone interview with the late Robert Rosenblum at the time, he told me that looking at Klimt, whose work he personally liked, was "like going to a Viennese bakery."

Klimt's Portrait of Adele I was one of five paintings restituted to the heirs of Ferdinand Bloch-Bauer, a wealthy sugar magnate whose wife Adele was the subject of the portrait. Nazis stole the works off the Bloch-Bauers' walls in 1938 after Germany annexed Austria. Bloch-Bauer eventually fled the country. And the Belvedere Gallery eventually came to hold the works, citing a 1923 will by Adele (who died in 1925) that she had bequeathed the paintings to the institution (see Weinstein's Nazi-Looted Klimt Restitution Film to Star Helen Mirren).

Maria Altmann, one of Bloch-Bauer's heirs, fought for the return of the paintings for eight years and was ultimately successful in her efforts. She passed away in Los Angeles at age 94, in 2011. The story is now the subject of a major Hollywood film, Woman in Gold, that opened April 1 and stars Helen Mirren as Altmann, and Ryan Reynolds as her lawyer E. Randol Schoenberg. The Neue Galerie has just opened an exhibit devoted to the history of the painting, timed to coincide with the movie, including archival material, sketches, jewelry, and other Klimt paintings (see Gustav Klimt's Real Woman in Gold Goes on View at the Neue Galerie).

In 2006, I interviewed Lauder and others about the acquisition and reported on the process for a story that appeared in ARTnews magazine in 2007. Lauder talked about his particular passion for the work of Gustav Klimt and Egon Schiele. Of the price for Adele I, Lauder told me in a phone interview "I didn't even think of that. I knew there was nobody who wanted the painting more than me." He called Adele I, "a once in a lifetime opportunity," and has described it as the Neue Galerie's Mona Lisa.

Lauder said he first saw Klimt's at age 14 on a trip to Austria. After traveling with his family in France, he said he went on his own specifically to see the Klimt paintings that were hanging in the Belvedere. He described it as "like finding the holy grail. I was actually blown away by it. I had never seen such powerful images as The Kiss and Adele I."

At a time when the art world seemed obsessed with Claude Monet and French Impressionism, Lauder said there was "an excitement of discovery," about Schiele and Klimt, because no one else he knew seemed to know about them.

Some market observers said it was wrong to view the $135 million price as a battle of sorts between Klimt and Picasso. They said that the legendary backstory of the Adele portrait put the work on another plane altogether.

Members of the $100 Million Club


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Artworks that have sold for more than $100 million each at auction.


Of course, in the years since Lauder made his purchase—which was transacted privately with the help of Christie's and does not appear in the artnet price database—several other world-class artists have joined the so-called $100 million auction club, including Francis Bacon, Edvard Munch, Andy Warhol, Alberto Giacometti (twice), and Picasso hit that mark a second time again in 2010.

There have also been some private sales that exceeded the $100 million mark, including Paul Cezanne's Card Players to the nation of Qatar for $250 million in early 2012. More recently, a painting by Paul Gauguin of a Tahitian scene, Nafea Faa Ipoipo (When Will You Marry?), sold to a museum in Qatar, for a whopping $300 million. (See Paul Gauguin Painting Sells for $300 Million to Qatar Museums In Private Sale.)

Early on, most Americans gave Klimt and Schiele the cold shoulder. As I reported in my 2007 story, following a 1956 show of works by Klimt and Schiele at the Guggenheim Museum, one critic, Anthony West writing in the Washington Post, called the exhibition "an attempt to float two Viennese second-raters." He described some of Klimt's later works as "dottily erotic." He said The Kiss and other Klimt works showed "the essence of the vulgar fraud that his 'art' truly was."

So where does the art world currently stand on Klimt?

Schjeldahl has turned even more negative on Klimt as evidenced by a 2012 column in The New Yorker, titled "Changing My Mind About Gustav Klimt's Adele." Said Schjeldahl: "It's not a painting at all, but a largish, flattish bauble: a thing. It is classic less of its time than of ours, by sole dint of the money sunk in it." Schjeldahl said the painting "makes no formal sense," adding: "The size feels arbitrary, without integral scale in relation to the viewer: bigger or smaller would make no difference."

Nevertheless the hype surrounding the 2006 sale of Adele I, clearly had a buoyant effect on the Klimt market. The four other paintings that were returned to Maria Altmann from the Belvedere, were sent to auction at Christie's New York in November 2006 and all sold well over estimate.

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Gustav Klimt, Adele Bloch-Bauer II (1912). Private collection. © 2014 The Museum of Modern Art, New York. Photo: Jonathan Muzikar


Adele Bloch-Bauer II, painted in 1912 (and the only instance in which Klimt painted the same subject twice), soared to $87.9 million at the 2006 sale, on an estimate of $40-60 million, again outstripping the Van Gogh record of $82.5 million set in 1990. The private collector who acquired it has loaned the work to the Museum of Modern Art (see Nazi-Looted Gustav Klimt Portrait Debuts at MoMA).

The remaining three works all sold well: Birch Forest (1903), sold for $40.3 million; Apple Tree I (circa 1912), sold for $33 million; and Houses at Unterach on the Attersee (circa 1916) sold for $31.4 million.

In all, the restituted works, including Adele I, achieved $327 million. Los Angeles Times critic Christopher Knight said at the time: "The whole brouhaha over the sale of Adele I did nothing but enhance the market value of the remaining works."



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Striking Graphic Novel Tells The Story Of Brazilian Slavery Through The Eyes Of The Oppressed

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Not all slave rebellions made it into the history books. This is one of the main messages communicated by artist Marcelo d’Salete in his historical graphic novel, Cumbe.



"The scars caused by slavery are still poorly understood and discussed," the artist explained in an email to The Huffington Post. "Brazil is an extremely unequal, racist country, and this is closely related to its past. We can't continue to consider slavery as something soft in our history."

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Today, Afro-Brazilians make up approximately 53 percent of the Brazilian population, with around 106 million individuals, according to a recent article in The New York Times. In fact, Brazil has the largest black population outside of Africa. However, the country still faces rampant racism, leading to disturbing statistics including the fact that black Brazilian teenagers are almost three times more likely to be the victims of murder than their white counterparts, and almost 70 percent of people living in extreme poverty in Brazil are black.

Much of today's racism stems back to the 16th century and the 300 years that followed, in which five million slaves were shipped to Brazil from Africa. (That's around 11 times more people than were sent to to North America.) Slavery was abolished in 1888, yet black Brazilians are still forced to live on the outskirts of society in a country that many argue is in denial regarding its racial prejudice.

To address Brazil's dark and hushed history, d'Salete crafted a searing and personal account of enslaved Bantu peoples, revealed in vivid black-and-white illustrations. Even more radical than the novel's subject matter is the fact that the story is told through the perspective of the victims, most likely for the very first time.

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D'Salete is an illustrator, professor and historical author whose previous works include 2008's Night Light and 2011's Crossroads, which explore the stereotypes projected upon and endured by black Brazilians. For Cumbe, d'Salete digs deeper into the past struggles of the black Brazilian people, using an unconventional format to access the most devastating of stories.

"More than quantitative data, my intention was to speak from the perspective of enslaved Africans in the period and address the modes of resistance of these people. From the most individual way to the forms of collective struggle. There are few such stories in comic format that tried to address this in a very personal way."

The project began in 2006, as d'Salete culled primary and secondary sources that brought the issues of colonial Brazil to life, namely those of Bantu Africans. For the next three years, the artist created a written and visual fictional narrative from the perspective of one such Bantu individual, providing a first person account of a time primarily documented by white men. As d'Salete explained: "We need fiction to try to overcome these limits and create new reading possibilities."

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The book is divided into five parts, each telling a story of a slave rebelling against his or her master. Factual elements are juxtaposed with fantastical imagery and hallucinatory details, depicting the powers of the mind to prevail even as the body suffers.

As Hyperallergic explains: "In 'Calunga,' a mistreated slave drowns while attempting to escape a sugar plantation; as he sinks to the ocean floor, he has a stirring romantic vision of his lover. In 'Sumidouro,' a female slave experiences a similarly moving hallucination of her dead baby, killed by the master’s mad wife." The stories paint a nightmarish portrait of Bantu life, in which reality becomes more horrific than a dream ever could.

D'Salete's bold and graphic journey reveals that even if artistic expression can't change the past, it can certainly convey it in a new, more accurate and generative light. "My intention in Cumbe is to generate new ways of understanding the past of African slaves in Brazil."

See excerpts from the book below:





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