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dubya thinks its a good idea to autograph american flags for austrians.


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burn baby burn

The following year, Osterhout put together his first-ever band, Purple Geezus, and enlisted the Workdogs as his rhythm section. Williams joined up soon after. Not long after the group's debut, Osterhout, along with writer/scenester Carlo McCormick, conceived their own religious sect, which they named the Church of the Little Green Man. With Osterhout at the pulpit, the Dogs became his musical henchmen and Williams the church organist. "Choir rehearsal is something the public will never know about," says Williams. "It was an event that only the inner circle of the church and the Workdogs will ever know about -- the creation of the rhythm and the state of mind that had to be archived by the participants before the rites could take place."

The Weekly Sunday night services quickly drew a large congregation, who burned a buck for admission. Fervent worshipers also turned out for Purple Geezus and Workdogs shows on other nights of the week. Their reputations grew, and though Purple Geezus eventually fizzled, Osterhout remained a Workdogs admirer. "I really like their whole concept of the rhythm section being the front people, having the traditional 'front people' being expendable, that the Workdogs are a rhythm section for hire, approaching it as a conceptual art piece, rather than a typical band with 'Let's get a record out, go on tour and get famous, those kind of things, they don't have any of that. They continue to play and stay at the same conceptual level -- it's amazing to me that those guys still do it with such consistency."
as much of an american flag enthusiast as i am, i also withhold the right to use it for artistic purpose. the above post describes the admittance ritual of burning a dollar bill to get into the church of the little green man services. i recall one occasion that small fabric american flags were substituted. i believe that was during the bush 1 administrations first attempt at getting a constitutional amendment which would have made such practice illegal.

read more on COTLGM
read more about our freedom of speech and flags from here
related gifs
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hencam

via fatty jubbo
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bob vila on shipping container housing


from the fab prefab message board
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american fine arts - if culture means anything

curated by james fuentes, essay by jackie mcallister

zingmagazine issue 19
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drunkgirls

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drunk1
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genesis / suppers ready / shepperton 1973 from 16mm / 23:00 min. classic spooky gabriel!


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paint it black with killer cans

via zars
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vz sent this one in for dr aw. ash pencils


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deck demo / filmed and posted by ed t. staring bill and joe and the doomed deck


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MMW GAD


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k bighair from dallas has a DIY shipping container project going on down in kerrville texas and has photo documented it here. she has been posting frequently on the fab-prefab container-bay message board. asking smart questions and offering good answers to other's questions. on this recent thread fellow board participant and admitted architect gregory la vardera chases her off with this hot new new topic :

Why do Containers attract DIY?

Why, like rats to a meat truck, do containers attract DIYs? Really there is nothing different about this than any kind of construction, heavy or light. Yet people seem to have some sort of regard for regular construction which keeps most people away and hiring contractors, some sort of regard that they don't have for working with a container.

Honestly, having looked at them very closely there is nothing different about building a house from a container than there is from steel. Yet I don't see anybody asking "how many bolts do I need on that beam to create a moment connection to that column.." Its like nobody would ever ask that - like its considered the domain of some kind of mystical expert, yet containers are wide open to anybody with a blow torch and some balls. Frankly you are in much deeper sh-t if you think you are going to mess with a container than you are with structural steel. There are lots of resources out there for working with structural steel. Books, industry standards, classes at universities and community colleges. Of course there are no resources on building with containers because its all "brand new". But that does not mean that working with them is any simpler or easier than any other type of construction.

All that means is you have to make it up yourself as you go along, which answers my question I suppose. A DIYer would really love doing that! But at least hire yourself an engineer if you are not sure its going to stand up.

All I can say is go for it, and don't screw up so badly that you make tough for others that may follow being a little bit more methodical and thorough.

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this family snap shot scan just in from my brother. we are trailer folks. left to right. uncle al's trailer, aunt juanita, cousin paul, me, cousin steve, uncle al, brother john and i dont know what hes driving. visiting us in dallas '62ish enroute to his management level assignment with the park service at death valley national park in nevada..
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revamped wtc memorial design


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ck berryman / originator of the teddy bear. this drawing made gift to my grandmother as a child on a visit to her aunt in washington dc in 1912. berryman and the aunt both worked in the us patent office at the time.


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glenn gould you tube proformances :

Lois Marshall sings strauss's cancillie w/ glenn gould in accompaniment.

plays aria from the goldberg variations

A short segment from "Glenn Gould's Toronto," a long-unavailable film from the late 1970s produced for the CBC. He talks about the new CN Tower, about how Toro ... (more)

Leonard Rose and Glenn Gould play the 3rd movement (Adagio cantabile — Allegro vivace) of Ludwig van Beethoven's Cello Sonata No 3 in A major, Op. 69.


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88
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four 1920's or 1930's initiation photographs


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I've been writing love songs all my life, never rocking the boat. There were years that I paid no attention to the political process, times I never voted. The closest I came to writing music with any social and political connotation was "What the World Needs Now is Love." When that song was written 40 years ago, it was an important song.

And, now, it is a thousand times more so.

But starting with the 2000 election, things for me began to change. I watched as Bush basically stole the election, and other terrible situations occurred; and by the time 9/11 hit, I didn't feel like writing love songs.

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dukesfest '06


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buddah


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Earlier in my life there seemed to be unlimited possibilities, but my mind was closed. Now, years later and with an open mind, possibilities no longer interest me. I seem content to be continually rearranging the same furniture in the same room. My concern at times is nothing more than establishing a series of practical conditions that will enable me to work. For years I said if I could only find a comfortable chair I would rival Mozart.

My teacher Stefan Wolpe was a Marxist and he felt my music was too esoteric at the time. And he had his studio on a proletarian street, on Fourteenth Street and Sixth Avenue. . . . He was on the second floor and we were looking out the window, and he said, “What about the man on the street?” At that moment . . . Jackson Pollock was crossing the street. The crazy artist of my generation was crossing the street at that moment.

If a man teaches composition in a university, how can he not be a composer? He has worked hard, learned his craft. Ergo, he is a composer. A professional. Like a doctor. But there is that doctor who opens you up, does exactly the right thing, closes you up—and you die. He failed to take the chance that might have saved you. Art is a crucial, dangerous operation we perform on ourselves. Unless we take a chance, we die in art.

Polyphony sucks.

Because I’m Jewish, I do not identify with, say, Western civilization music. In other words, when Bach gives us a diminished fourth, I cannot respond that the diminished fourth means, O God. . . . What are our morals in music? Our moral in music is nineteenth-century German music, isn’t it? I do think about that, and I do think about the fact that I want to be the first great composer that is Jewish.

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That means a bigger picture,” she says. “When somebody comes to somebody and says, ‘Do this project,’ if there’s been a study of that area, they know what kind of envelope they should have. But there doesn’t seem to be much study at all here. On one hand, it’s kind of refreshing in New York that every plan is autonomous and just goes up; on the other hand, you have a lot of ad hoc stuff that isn’t perfect.”

“People have tremendously emotional feelings about cities like Paris because it never changes,” I say. “I know Paris probably needs as many things as anywhere else, but a city like that, a completely beautiful place for centuries, why do anything there?”

“I think it’s a problem if we don’t change,” she says. “It’s beautiful, but it has no energy. Like Venice—it’s beautiful when you have the film festival or the Biennale, and it’s beautiful in winter. But it can’t grow. Paris is very even. But otherwise it’s quite dull.”

As I can’t agree, I drop it. I would rather live in a dull, beautiful place than a place where things “happen.” My own utopian ideas involve population control and scaling down the human presence on the planet. Architects think in terms of endless capitalist expansion, endless growth, endless everything; yet I feel certain we are coming to the end of endlessness. Still, Zaha Hadid is probably the only architect I’ve met who seems conscious of this, without necessarily acknowledging it. She has to build, so she needs to be positive. I have to write and have the luxury of skepticism.

We discuss the recent fracases over air rights and plot mergers, particularly in the West Village. “One could say it’s terrible,” she says. “But in Hong Kong they used to do illegal extensions, and sometimes they were nice. But I understand the problem, if you have something and it disappears. I used to come to New York a lot; my brother had a flat in midtown with the most fantastic view. And he thought he had the air rights to the next-door building. Then they decided to make a tower, and it wasn’t illegal, and suddenly it was like a blank wall in front of our faces. It’s a tragedy, but it was part of life in New York, I guess.”

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vinalhaven maine in the times

IT takes a certain determination to visit the island of Vinalhaven, Me. Once you've made it to Rockland, halfway up the Maine coast along slow, winding Route 1, you're still a 75-minute ferry ride away. The ferry fits only 16 cars, and reservations are limited, so it's not unusual for motorists on a busy summer day to wait in line for two or even three of the six daily ferries to depart before securing a place on board.
i hope no one read it
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John Strausbaugh examines the history of race relations in American popular culture, from vaudeville to hip-hop, in Black Like You. (listen)


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neptune crossing images


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arthur lee and love on you tube


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uuuuuuuummm kitchens


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Quietly but systematically, the Bush Administration is advancing the plan to build a huge NAFTA Super Highway, four football-fields-wide, through the heart of the U.S. along Interstate 35, from the Mexican border at Laredo, Tex., to the Canadian border north of Duluth, Minn.

Once complete, the new road will allow containers from the Far East to enter the United States through the Mexican port of Lazaro Cardenas, bypassing the Longshoreman’s Union in the process. The Mexican trucks, without the involvement of the Teamsters Union, will drive on what will be the nation’s most modern highway straight into the heart of America. The Mexican trucks will cross border in FAST lanes, checked only electronically by the new “SENTRI” system. The first customs stop will be a Mexican customs office in Kansas City, their new Smart Port complex, a facility being built for Mexico at a cost of $3 million to the U.S. taxpayers in Kansas City.
hufcoms


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you know like its not the real hood here. its more like the edge and then theres the deep hood. about a month or two ago i noticed a brand new form of sound pollution. a repeating loud beep with a little eco beep afterwards. its a younger set using them. cell phones with walky-talky action. man they can go on forever with that shit. deep into the night. beebeep, beebeep... yak yak yak beebeep...


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the semiotics of fsbo


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The Texas-Mexican Conjunto

. . . "conjunto" continues to represent an alternative musical ideology, and in this way it helps to preserve a Mexican, working-class culture wherever it takes root on American soil. Endowed with this kind of symbolic power, conjunto has more than held its own against other types of music that appear from time to time to challenge its dominance among a vast audience of working-class people.

--Manuel Pena


One of the most enduring musical traditions among Mexicans and Mexican Americans is the accordion-based ensemble known as "conjunto" (and as "musica nortena" outside of Texas). Popular for more than one hundred years, especially since its commercialization in the 1920s, this folk ensemble remains to this day the everyday music of working-class Texas Mexicans and Mexican "nortenos" (northerners). During the course of its long history, the conjunto evolved into a tightly organized style that speaks musically for the aesthetic and ideological sentiments of its adherents. In the process, this music of humble beginnings along the Texas-Mexico border has spread far beyond its original base, gaining a vast audience in both Mexico and the United States.

The diatonic, button accordion that anchors the conjunto made its first appearance in northern Mexico and South Texas sometime in the 1860s or '70s. The first accordions were simple one- or two-row models, quite suitable for the musical capabilities of the first norteno and Texas/Mexican musicians who experimented with the instrument. A strong regional style developed by the turn of the century, as the accordion became increasingly associated with a unique Mexican guitar known as an "oajo sexto." Another local folk instrument, the tambora de rancho (ranch drum), also enjoyed prominence as a back-up to the accordion. In combination with one or both of these instruments, the accordion had become by the 1890s the instrument of preference for working-class celebrations on both sides of the Texas-Mexico border.

In Texas, these celebrations were organized frequently--too frequently for some Anglos, who voiced their disapproval of fandangos, or "low-class" dances, in the newspapers. For example, the Corpus Christi Caller and the San Antonio Express on more than one occasion expressed Anglos' negative attitudes toward tejano music and dance. In one report, the Express equated music and dancing with idleness and concluded that "these fandangos have become so frequent they are a great curse to the country" (August 20, 1881). This typical attitude developed early on and persisted well into the twentieth century.

Despite Anglo disapproval, the conjunto and its dances thrived among tejano workers, eventually eclipsing all other forms of music for dancing. Yet, popular as it was, the conjunto remained an ad hoc ensemble until the 1930s. No permanent combination of instruments had been established prior to that time, perhaps because creative and material forces had not yet crystallized to spur radical stylistic development. To be sure, some changes had been wrought by the 1920s, as the button accordion and the bajo sexto by now formed the core of the emerging style, while such common European dances as the redowa had been regionalized and renamed. The redowa itself had been transformed into the vals bajito, in contrast to the waltz, which was known as a "vals alto." Indeed, most of the repertory for the dance, or fandango, was of European origin and included the polka, mazurka, and schottishe, in addition to the waltz and redowa. One regional genre from Tamaulipas, Mexico, the huapango, rounded out the usual repertory of conjuntos until World War II.

Beginning in the 1930s, an innovative surge rippled through the emerging conjunto tradition, as performers like Narciso Martinez (known as "the father" of the modern conjunto), Santiago Jimenez, Lolo Cavazos, and others began to strike out in new stylistic directions. This new surge of innovation must be attributed, at least in part, to the active commercial involvement of the major recording labels in the music of the Hispanic Southwest. From the 1920s, companies such as RCA Victor (Bluebird), Decca, Brunswick, and Columbia (Okeh) began exploiting the musical traditions in the Hispanic Southwest, hoping to repeat the success they had experienced with African American music since the early '20s. Under the commercial impetus of the big labels, which encouraged record and phonograph sales, radio programming, and especially public dancing (much of it in cantinas, to the dismay of Anglos and "respectable" Texas Mexicans), musicians like Narciso Martinez began to experiment. By the end of the 1930s, the conjunto had begun to evolve into the stylistic form the ensemble reached during its mature phase in the post-World War II years.

Without a doubt, the most important change came in the 1930s, when Narciso Martinez began his recording career. Searching for a way to stamp his personal style on the accordion, Martinez abandoned the old, Germanic technique by virtually avoiding the bass-chord buttons on his two-row accordion, concentrating instead on the right hand, treble melody buttons. His sound was instantly distinctive and recognizable. Its brighter, snappier, and cleaner tone contrasted with the older sound, in which bajo sexto and the accordionist's left hand both played bass-and accompaniment, creating a "thicker," drone-like effect. Martinez left bassing and chordal accompaniment to the bajo sexto of his most capable partner, Santiago Almeida.

Narciso Martinez's new style became the hallmark of the surging conjunto, just as Almeida's brisk execution on the bajo sexto created the standard for future bajistas. Together, the two had given birth to the modern conjunto, a musical style that would challenge even the formidable mariachi in cultural breadth and depth of public acceptance. Indeed, by the 1970s it could be said that the conjunto, known in the larger market as musica nortena, was the most powerful musical symbol of working-class culture. Martinez, however, remained an absolutely modest folk musician until his death. He never laid claim to anything but a desire to please his public. Yet, as Pedro Ayala, another of the early accordion leaders, acknowledged, "after Narciso, what could the rest of us do except follow his lead?"

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3c1b
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rufus loves judy


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Magic cities and other planes of there, all disguised as jazz - From sideman to mesmerizer to evangelical to interstellar space - Its as if Sun Ra planned the hopelessness of the task from the beginning. Pick the best of what might be an infinite number of recordings? Nobody has them all or knows how many exist. Find the recording dates of music made by people for whom time meant nothing, who often mixed together recordings from different years? Even the album titles are dicey, sometimes with a word or two wrong, or with the same title used on more than one recording, or with no title given at all. Sometimes there was no cover. It's all part of the Sun Ra mystique and also, incidentally, the force that drives all collecting: not just that you want to own them all, but that you'll never be sure if you have them all.

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who killed the electric car


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I might be movin' to Montana soon

Just to raise me up a crop of

Dental Floss



Raisin' it up

Waxen it down

In a little white box

That I can sell uptown



By myself I wouldn't

Have no boss,

But I'd be raisin' my lonely

Dental Floss



Raisin' my lonely

Dental Floss



Well I just might grow me some bees

But I'd leave the sweet stuff

To somebody else . . . but then, on the other hand I would



Keep the wax

'N melt it down

Pluck some Floss

'N swish it aroun'



I'd have me a crop

An' it'd be on top (that's why I'm movin' to Montana)



Movin' to Montana soon

Gonna be a Dental Floss tycoon (yes I am)

Movin' to Montana soon

Gonna be a mennil-toss flykune



I'm pluckin' the ol'

Dennil Floss

That's growin' on the prairie

Pluckin' the floss!

I plucked all day an' all nite an' all

Afternoon . . .



I'm ridin' a small tiny hoss

(His name is MIGHTY LITTLE)

He's a good hoss

Even though

He's a bit dinky to strap a big saddle or

Blanket on anyway

He's a bit dinky to strap a big saddle or

Blanket on anyway

Any way



I'm pluckin' the ol'

Dennil Floss

Even if you think it is a little silly, folks

I don't care if you think it's silly, folks

I don't care if you think it's silly, folks



I'm gonna find me a horse

Just about this big,

An' ride him all along the border line



With a

Pair of heavy-duty

Zircon-encrusted tweezers in my hand

Every other wrangler would say

I was mighty grand



By myself I wouldn't

Have no boss,

But I'd be raisin' my lonely

Dental Floss



Raisin' my lonely

Dental Floss

Raisin' my lonely

Dental Floss



Well I might

Ride along the border

With my tweezers gleamin'

In the moon-lighty night



And then I'd

Get a cuppa cawfee

'N give my foot a push . . .

Just me 'n the pygmy pony

Over by the Dennil Floss Bush



'N then I might just

Jump back on

An' ride

Like a cowboy

Into the dawn to Montana



Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

Movin' to Montana soon

(Yippy-Ty-O-Ty-Ay)

zappa and the mothers w/ backing vocals Tina Turner & The Ikettes

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pictures

Q. Can you help me find an unfinished Parsons table before I lose the will to live?


A. Now considered the Gap pocket T of American interior design, the Parsons table used to be a deluxe decorating item, available only to decorators and architects who had it custom-made by cabinetmakers. Even so it seems to have somewhat egalitarian roots.

In the most likely version of the story the French decorator Jean-Michel Frank, the undisputed master of luxurious minimalism, was lecturing at the Paris branch of the Parsons School of Design in the 1930's. According to an oral history in the Parsons archives, Frank challenged students to design a table so basic that it would retain its integrity whether sheathed in gold leaf, mica, parchment, split straw or painted burlap, or even left robustly unvarnished.

What grew out of Frank's sketches and the students' participation was initially called the T-square table, rigorously plain but with stylistic distinction: whatever its length or width, its square legs were always the same thickness as its top.

Stanley Barrows, a Parsons student who became one of the school's most celebrated professors, recalled that the student creation was brought to 3-D life in New York by a handyman janitor at Parsons. Exhibited at a student show, the table, whose designer remains unknown, quickly became a favorite of tastemakers on both sides of the Atlantic.

In America the first Parsons tables were mass-produced in 1963 by two leading furniture companies, Mount Airy and Directional. And since then the design has been knocked off at every conceivable price in every possible material, including plastic. Ikea makes the tables, as does West Elm, whose 36-inch-square coffee table, above, is veneered fiberboard; $199 at westelm.com or (888) 922-4119.

Unfinished versions, however, are more difficult to find. Gothic Cabinet Craft, a New Jersey company with locations in New York City and elsewhere, recently added an authentic Parsons-style coffee table to its range of unfinished furniture. Measuring 48 inches long, 24 wide and 18 high, it has a 3-inch-thick top and square legs that fulfill the classic Parsons formula. It costs $169 in unfinished birch veneer. Add $63 if you want it finished in one of nine optional stains, including Ipswich pine and walnut; gothiccabinetcraft.com or (888) 801-3100

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Sixties architects wanted us to live like aliens. Our correspondent spies a parallel universe

Vision, vision, vision, it’s everywhere. Can’t move for it. Architects are living in one of those all-too-brief moments in which the world seems to be swimming with fat wallets — cities, Middle Eastern oil states, capitalist dictatorships — with the means and the egos to indulge in fantastical visions.Not in Britain, naturally. We prefer to get our visionary fantasies in the sale aisle at Matalan. No, it’s in China, of course, and Dubai, but also in culturally adventurous continental Europe, and even in the once architecturally cautious America, that experimentation is flourishing.
Next week a major exhibition, Future City: Experiment and Utopia in Architecture 1956-2006, opens at the Barbican. This vast survey of the avant-garde since the Second World War has been thrillingly designed by the modern-day experimentalists Foreign Office Architects as a labyrinthine city within what is the last old-school utopian complex built in Britain. Almost all the (living) architects in the show are building, and on a scale: FOA are co-designing the 2012 Olympic Park, if the shindig’s accountants allow them; Coop Himmelblau are realising their Sixties fantasy Cloud as a show complex for BMW in Munich; America’s king of crazy shapes Thom Mayne last year won architecture’s highest honour, the Pritzker Prize.

We can chuckle at the models’ fashions in the Smithsons’ House of the Future, the Austin Powers-style inflatable cells Haus-Rucker-Co thought of to expand Manhattan. But these dreams are coming true. There’s a market for Utopias these days. And yet they all began with one man.

Constant Niewenhuys died in August, at the age of 85. There were few obituaries beyond his home country, the Netherlands. True, the man hadn’t exactly been front-page news for a decade or three. But still, this was the intellectual leader of the Provos, those pot-smoking anarchists whose artsy pranks in the 1960s ushered in the stereotype of liberal, libertarian Netherlands.

Constant co-founded the Situationiste Internationale, too, Jean-Luc Godard’s “children of Marx and Coca-Cola”, inspiration for every sulky counter-cultural movement from Beatniks through May 1968 and punk to the anti-globalisation protestors. The man was also a leading light of CoBrA, whose paintings — great childlike scrawls designed to put a bat up the nightdress of bourgeois society — are today the kind more admired by art theoreticians than by anyone with eyes in their head. And he also happened to be the most influential architect since the war.

Of course you’ve never heard of him. The man didn’t lay a brick in his entire life. But his one great conceptual work, New Babylon, was so powerful a vision of the future, the true heir to great architectural fantasists on paper from Piranesi to Sant’Elia, that there are few architects since who don’t owe him an intellectual debt. New Babylon begat the swirling forms of Frank Gehry and Zaha Hadid, the technopop of Archigram and Cedric Price, the playful naivety of Will Alsop, even the pragmatic high-tech of Richard Rogers and Norman Foster, and certainly the provocations of Rem Koolhaas.

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joan jet


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Muayad Muhsin was both inspired and enraged by a photo of U.S. Defense Secretary Donald H. Rumsfeld slumped on a seat with his army boots up in front of him.

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thanks much to tom for jump-starting my artists page. basically, he used his main page as a template for mine. i will be filling in some older work with installation shots from shows. more recent work will follow too.


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glass blowhard

But now Mr. Chihuly is in the midst of a hard-edged legal fight in federal court here over the distinctiveness of his creations and, more fundamentally, who owns artistic expression in the glass art world.

Mr. Chihuly has sued two glass blowers, including a longtime collaborator, for copyright infringement, accusing them of imitating his signature lopsided creations, and other designs inspired by the sea.

"About 99 percent of the ocean would be wide open," Mr. Chihuly said in an interview. "Look, all I'm trying to do is to prevent somebody from copying me directly."

The glass blowers say that Mr. Chihuly is trying to control entire forms, shapes and colors and that his brand does not extend to ancient and evolving techniques derived from the natural world.

"Just because he was inspired by the sea does not mean that no one else can use the sea to make glass art," said Bryan Rubino, the former acolyte named in the suit who worked for Mr. Chihuly as a contractor or employee for 14 years. "If anything, Mother Nature should be suing Dale Chihuly."

The suit, rare in art circles, offers a sometimes unflattering glimpse at how high-powered commercial artists like Mr. Chihuly work. The two glass blowers say that he has very little to do with much of the art, and that he sometimes buys objects and puts the Chihuly name on them, a contention that Mr. Chihuly strongly denies.

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Marcel Duchamp has emerged as the most influential artist in the UK. The French conceptualist who famously placed a urinal in a New York gallery in 1917 and declared “this is art”, has come top of our survey of students from 11 of the leading art schools in the UK. We spoke to over 320 students and asked them which three artists, living or dead, had inspired them most and have had the greatest influence on their work. Using their responses we compiled a ranking of the artists who have had the most impact on the next generation of British practitioners (right). Duchamp is followed by other 20th-century giants Picasso, Bacon, and Matisse.



The British painter Lucian Freud, 83, who comes fifth, is the highest ranking living artist. The only other living artists to make it into the top ten are Tracey Emin, 42, in joint eighth place with Salvador Dalí (her contemporary, Damien Hirst, comes in at number 19), and Bruce Nauman, 64, at number nine, whose work is currently on show at Tate Liverpool (until 28 August).

The list

1 Marcel Duchamp
2 Pablo Picasso
3 Francis Bacon
4 Henri Matisse
5 Lucian Freud
6 Philip Guston
7 Egon Schiele
8= Salvador Dalí
Tracey Emin
9= Joseph Beuys
Bruce Nauman
10 Gustav Klimt
11 Alberto Giacometti
12 Andy Warhol
13 Paula Rego
14=Jenny Saville
Luc Tuymans
15=Martin Creed
16=Louise Bourgeois
David Hockney
17= Andy Goldsworthy
Claude Monet
Vincent Van Gogh
18= Frida Kahlo
Gerhard Richter
19= Jean-Michel Basquiat
Damien Hirst
Piet Mondrian
Charles Rennie Mackintosh
20= Eva Hesse
Mike Kelley
David Shrigley
21= Marlene Dumas
Paul McCarthy
22= Francis Alys
Caravaggio
Anselm Kiefer
Edvard Munch
23= Felix Gonzales-Torres
Donald Judd
Anish Kapoor
24=Matthew Barney
Patrick Caulfield
Cézanne
Chuck Close
Olafur Eliasson
Agnes Martin
Henry Moore
25=Joseph Cornell
Martin Parr
26= Banksy
Cornelia Parker
27= Goya
Rebecca Horn
Kathe Kollwitz
Leonardo Da Vinci
Edouard Manet
Laszlo Moholy-Nagy
Jackson Pollock
Robert Rauschenberg Pipilotti Rist
James Turrell
Gillian Wearing
Rachel Whiteread
Christopher Wool
28=Sybil Andrews
Vija Celmins
El Greco
Jeff Koons
Sol LeWitt
Michelangelo
Grayson Perry
Antoni Tàpies
Jack Vettriano
29= Alexander Calder
Caspar David Friedrich
Barbara Hepworth
Richard Long
Rembrandt
Cy Twombly
Velázquez
Bill Viola
30= David Batchelor
Sophie Calle
Lygia Clark
Peter Doig
Peter Fischli and
David Weiss
Max Ernst
Eric Fischl
Patrick Heron
William Hogarth
Wassily Kandinsky
Ian Kiaer
Georgia O’Keeffe
Tony Oursler
Fiona Rae
Mark Rothko
Gregor Schneider
Tino Sehgal
Robert Smithson
Wolfgang Tillmans
J.M.W. Turner
Keith Tyson
Jeff Wall
31= Diane Arbus
Umberto Boccioni
Peter Chang
Jake and Dinos Chapman
Willem De Kooning
William Eggleston
Ilya Kabakov
Kasimir Malevich
Man Ray
Mike Nelson
Jockum Nordström
Blinky Palermo
Cindy Sherman
Sir Stanley Spencer
Jessica Stockholder
Vermeer
Edouard Vuillard
Rebecca Warren
Richard Wentworth
Whistler
Richard Wright
32= Josef Albers
Helena Almeida
Craigie Aitchison
Bobby Baker
Luis Barragan
Bernini
Tony Bevan
William Blake
Ross Bleckner
David Bomberg
Martin Boyce
Boyle Family
Marcel Broodthaers
Fred Brown
Glenn Brown
Pedro Cabrita Reis
Maurizio Cattelan
Helen Chadwick
Marc Chagall
Hussein Chalayan
Christo and Jeanne-Claude
Victor Cirefice
Melanie Counsell
Raoul De Keyser
Jeremy Deller
Thomas Demand
Richard Diebenkorn
Stan Douglas
Albrecht Dürer
Joan Eardley
Denise Findlay
Urs Fischer
Hamish Fulton
Isa Genzken
Laura Godfrey-Isaacs
Michel Gondry
Patrick Gould
Angela Grossman Giovanni Antonio
Guardi
Frans Hals
John Hilliard
Robert Hodgins
Howard
Hodgkin
Dan Holdsworth
Carsten Holler
Roni Horn
Robert Irwin
Arne Jacobsen
Thomas Joshua
Cooper
William Kentridge
Sophie Kerr
Jim Lambie
Michael Landy
Wyndham Lewis
Magritte
Christian Marclay
Roberto Matta
Gordon Matta-Clark
Ana Mendieta
Michael Elmgreen and Ingar Dragset
Jeremy Millar
Alexandra Mir
Joan Miró
Shigeru Miyamoto
William Morris
Yoshimoto Nara
David Nash
Nolde, Emil
Nurminen, Maria
Opie, Julian
Oppenheim, Meret
Orozco, Gabriel
Packer, Jayne
Patterson, Richard
Paxton, Adam
Perryman, Jane
Piper, Adrian
Pomar, Julio
Portinari, Candido
Rayson, David
Rhodes, Zandra
Rodin, Auguste
Roversi, Paolo
Ruscha, Ed
Ryman, Robert
Santiago, Sierra
Scarpa, Carla
Schiaparelli, Elsa
Schorr, Collier
Serrano, Andres
Steadman, Ralph
Tanada, Koji
Tao, Shi
Tiravanija, Rirkrit
Uglow, Ewan
Van Dyck
Venelman, Tom
Vionnet, Madeleine
von Hausswollf, Annika
Wenders, Wim
West, Franz
Woodman, Francesca
33= Abts, Tomma
Acconci, Vito
Adams, Ansel
Allington, Edward
Almond, Darren
Alto, Alva
Amer, Ghada
Anderson, Wes
Applebroog, Ida
Augustine Ingres, Jean
Ayres, Gillian
Baek, Nam-Jun
Bailey, Christopher
Balla, Giacomo
Barlow, Phyllida
Battista Alberti, Leon
Bausch, Pina
Beardsley, Aubrey
Benner, Guy
Blahnik, Manolo
Bock, John
Bosch, Hieronymus
Boucher, Francois
Brancusi, Constantin
Braque, Georges
Broadhead, Caroline
Broumas, Olga
Brownjohn, Robert
Bruegel, Pieter
Burri, Alberto
Burroughs, William
Cage, John
Cage, Johne
Cardiff, Janet
Carrington, Leonora
Catling, Brian
Chain, Kai
Charlton, Alan
Christ, Jesus
Clemente, Franceco
Cocteau, Jean
Coldstream, William
Cole, Nathan
Coleman, James
Condo, George
Cook, Nigel
Cooper Clarke, John
Copley, Singleton
Cran, Chris
Crewdson, Gregory
Csorgo, Attila
Currin, John
Dalwood, Dexter
Davenport, Ian
David, Jacques-Louis
Davis, Tom
de Chirico, Giorgio
de la Rocha, Zack
Deakin, John
Dean, Tacita
Degas, Edgar
Dibbets, Jan
Dot Zero, One
Duncan, Isidora
Durham, Jimmie
E. Kano, Francis
Ellis, Francis
Ende, Edgar
Ernst, Max
Evju, Kristian
Flavin, Dan
Flemming, Peter
Fletcher, Alan
Franks, Tony
Friedman, Tom L
Frink, Elisabeth
Gabo, Naum
Gehry, Frank
Gober, Robert
Gormley, Anthony
Gould, Glenn
Graham, Rodney
Gross, Katarina
Gursky, Andreas
Hamilton, Anna
Hamilton, Richard
Hardstaff, Johnny
Hart, Tony
Hatoum, Mona
Havrv, Mankiei
Hawkinson, Tim
Heron, Susanna
Herzog & De Meuron
Hiller, Susan
Hoch, Hannah
Hogg, Dorothy
Holzer, Jenny
Hongtu, Zhang
Hopper, Edward
Horowitz, Jonathan
Hoyland, Francis
Jacir, Emily
James, Gillray
John, Gwen
Johns, Jasper
Jones, Zebedee
Jonze, Spike
Joyce, James
Judd, Donald
Junepiak, Nam
Junger, Herman
Kankerua, Marso
Kaprow, Allan
Katchadourian, Nina
Kawakubo, Rei
Kawamata, Tadashi
Keats, Ezra Jack
Kelly, Ellsworth
Kelly, Mary
Kelly, Patrick
Kilimnik, Karen
Kippenberger, Martin
Kirkeby, Per
Klaus, Jack
Klein, Frans
Knapp, Stefan
Kokosalaki, Sophia
Kosuth, Joseph
Kripe, Tony
Krystufek, Elke
Larbalestier, Simon
Larner, Liz
Lasker, Jonathan
Latham, John
Leapman, Edwina
Lee, Helen
Leibowitz, Annie
Lewis, Anna
Lichenstein, Roy
Livick, Steven
London, Jack
Lopez, Antonio
Lorrain, Claude
Lynch, Bronagh
MacLau, Jackson
Majerus, Michel
Mallarme, Stephane
Manovich, Lev
Marcks, Gerhard
Marden, Brice
Martins, Karel
McCullin, Don
McCurry, Steve
McLean, Bruce
Merz, Mario
Metzger, Gustav
Mies van der Rohe, Lugwig
Milhazes, Beatriz
Milroy, Lisa
Morandi, Giorgio
Morris, Sarah
Morrissey, Dean
Mueck, Ron
Nedjar, Michael
Neudecker, Mariele
Newman, Randy
Nimki, Jacques
Oehlen, Albert
Ofili, Chris
Ohlen, Albert
Oiustraa, Rineke
Ortega, Damien
Otto Jorgensen, Hans
Pacovska, Kveta
Pane, Gina
Paolozzi, Eduardo
Parr, Martin
Part, Arvo
Pasmore, Victor
Paul Rubens, Peter
Pernice, Manfred
Pettibon, Raymond
Phillips, Tom
Piper, John
Poiret, Paul
Polke, Sigmar
Prince, Richard
Ramans, Mircha
Rauch, Neo
Rauschenberg, Robert
Redon, Odilon
Reinhardt, Ad
Rhodia, Simon
Richter, Daniel
Richter, Michael
Ritchie, Matthew
Rosler, Martha
Sacks, Shelley
Salcedo, Doris
Sandback, Fred
Sasaki, Kanako
Saunders, Nina
Schwitters, Kurt
Scully, Sean
Self, Colin
Sendak, Maurice
Serra, Richard
Service, Valium
Sheath, Christine
Sierra, Santiago
Sigismondi, Floria
Simmonds, Paul
Sinclair, Ross
Smith, Kiki
Spira, Rupert
Starling, Simon
Steen Hansen, Thorgei
Sternfeld, Joel
Stezaker, John
Taylor-Wood, Sam
Tilson, Joe
Tohaku, Hasegawa
Toulouse Lautrec, Henri
Turk, Gavin
Turriani, Michele
Turtle, Richard
Verhoeven, Julie
Voita, Bernard
von Trier, Lars
Watteau, Jean-Antonie
Weischer, Matthias
Williamson, Hazel
Wilson, Dieger
Winstanley, John
Yorke, Thom



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