Follow Him (2010) by Wang Qingsong
“Around the time I shot “The History of Monuments” in 2009 (120x4200cm, c-print), I started to prepare for shooting “Follow Him”. During the whole year until 2010, I collected and bought a lot of used books, magazines, dictionaries and etc of literature, poetry, law, college preparatory materials and put them onto stacks of shelves. Then let all these books got rotten and dirty. Like a real scholar who reads so many books, “I” still fail to write any decent paper even if loads of blank papers were trashed all over the ground.
I am talking about the education problem in China. Knowledge is taught but not learnt by many people who fail to understand the real meanings. They don’t know the meaning of studies. They study for their parents, for their grandparents, but never for themselves, for the love of knowledge itself. Therefore we see so many students trash their books after examinations.” (WQ)
One the right: Paul Cezanne, “Apples, Peaches, Pears, And Grapes” (1879). On the left: A Copycat.
THE SURREALIST (and superior) CINDY SHERMAN OF THE 1930’S - Claude Cahun, Self-Portrait, Don’t Kiss Me. 1930’s. (1894-1954). French.
Cahun photographed herself in both masculine and feminine guises, and both are striking.
Obviously, she was also a major influence on the late, great Francesca Woodman, some of whose 1970s-early 80’s self-portraits directly echo the above.
She was a fascinating person, as you can likely tell from this small sampling of her work. See this article. Her work is shockingly underknown, which makes me want to say some caustic things about why amazing female artists consistently get forgotten. Instead, though, I’ll just say get on this. She’s astonishing.
Nimbus II by Berndnaut Smilde
Ann Binlot for ArtInfo.com:
Part of a series Cindy Sherman produced called “Cover Girls,” the triptych shows the original Jerry Hall [Vogue] cover in black-and-white, one Sherman mock-up posed exactly like the model, and another of Sherman giving a playful wink. Sherman also created fake covers for Redbook, Family Circle, Mademoiselle, and Cosmopolitan.
M.K. Milk, or Maa ka Doodh, by Shreyas Karle (Cinema City).
The label actually has a fierce Dharmendra, whose mug you can’t see because of the angle. I wanted to take another shot with Dharam paaji but, the damn guards at NGMA are not photo enthusiasts so this is the best I could do.
The bottle is part of a set of exhibits that belong to a series titled Museum of Fetish Objects. Good fun.
From The Valley of Bloody Lal by Appupen.
(Source: Gallery Ske’s The Flaneur of the City.)