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this-world-of-beautiful-monsters · 3 years

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Some of my favorite TMNT fics on AO3

Note: these fics are not in any particular order, and there are plenty of others that I like which might not be on the list for whatever reasons. I might also add to this post later on.

The Chronicles of Karai Getting Her Shit Together by Crowdog - TMNT 2012. Post season 2-canon divergence where Karai shows up at the farmhouse instead of staying in the city. Her relationship with Leo blossoms as they’re both forced to face their inner demons. A beautiful, vicious, surprisingly funny story about coping with trauma while being a young monster in love. Tw for abuse, torture, PTSD, disabilities, noncon, alcoholism, molestation.

77 Things Michelangelo is Not Allowed to Do on a Mission by Winnychan - All versions. A cute, funny parody of “Skippy’s List” from a great writer who was taken too soon.

My R by cxlesstial - TMNT 2012. Pushed to the edge, Leo is forced to confront the sufferings of his loved ones along with his own. Inspired by Miss Chief’s beautiful, heartbreaking Youtube videos My R and Self-Inflicted Achromatic. Tw for depictions of depression and suicidal thoughts/actions.

superfight by persepoline - TMNT 2018. “You’d think Leo’s superiority complex and Donnie’s inferiority complex would be at least somewhat compatible. They’re not.” Humor and angst ensue; cw for discussions of disability.

Water, Contrast by Anonymous - TMNT 2012. A short, strange examination of the girl known as Oroku Karai and the ugly things that have shaped her.

sub!Leo prompts by GoblinCatKC - A collection of sexy stories, ranging from the sweet to the vicious, based on Tumblr prompts. Contains BDSM, explicit sexual content, and Turtlecest. Tw for various forms of dub-con and non-con.

Casting Stones at the River by GoblinCatKC - TMNT 2003. An immortality fic with plenty of angst and NSFW sex, including T-cest and polyamory. One of the first TMNT fics I ever read, and still one of the best.

By Arrangement by theherocomplex - An Arranged Marriage AU where the fate of a world-saving alliance between humans and mutants rests on a reluctant union between Donatello Hamato and warrior April O’Neil. A sweet, funny slow-burn fic.

Not Our Problem by Kyn - “Set in a future in which the Foot took over the East Coast for over a decade. The three surviving turtles have finally killed Shredder, but remain bitter, jaded, scarred, and more than a little distrusting of humanity. Lots of hurt/comfort/psychology/fraternal love/infighting. Involves a baby.” Warnings for discussions of infanticide and suicide, attempted rape/non-con, and coping with disability.

All the small things by taizi - TMNT 2012. When an accident leaves Donnie unusually smol, Mikey has to deal with being a big brother for the first time ever.

Antithesis by VenusTheMarvelTurtle - All versions. A Foot Leo AU with an Enemies to Unhealthy Lovers romance and heavy BDSM. Contains bad relationships, hateful speech, incest, references to abuse and rape, dubious consent, and graphic depictions of violence.

Hypnotised by squishyturtlefuckfics - TMNT 2018. A sexy, ugly ending to episode “Newsworthy.” Tw for rape.

Unraveled by ChickInRed and Ikara - TMNT 2012. “Donnie's hiding a secret, one he believes will destroy his family should they ever discover it. Little does he know his brothers have a secret as well, but unlike him they can't wait for him to find out.” A hot, sweet, occasionally heart wrenching fic with turtlecest and infant death.

jade green eyes turned white by subtlyfailing - TMNT 2012. A powerful and brutal exploration of the dark Raph storyline at its fullest potential.

Completely Casual by Werepirechick - TMNT 2012. Casey, Donnie, and eventually April stumble into a relationship. Winner of FIRST PLACE in the Universal TMNT Erotica Fanfic Competition 2016 for STEAMIEST SLASH/FEMSLASH. Warnings for self-loathing and bad guys being hateful.

Baby Diaries by the Peanut Gallery by moonie - TMNT 2003. The TMNT and their allies record their thoughts after one of Bishop’s schemes leaves them with a very small new member.

A Son For A Daughter by sleepseeker - TMNT 2012. When Splinter attempts to briefly trade Leo to the Foot in order to rescue Karai, he makes a grave miscalculation that will upend all their lives. Tw for intense non-con and mutilation.

Devil took your hand by moogsthewriter and taizi - TMNT 2012. The Hamato Clan races to save their youngest member after he’s brainwashed by the Foot; a beautiful and terrible story full of angst, violence, and survival.

in the bitter watches by impossiblewanderings - TMNT 2012. Raph speaks to Leo as he lies in a coma, spilling the broken and terrified pieces of his heart.

Past to Present by crabapplered - TMNT 2003. A sad, sexy tale of the SAINW TMNT bonding with each other and their newly returned Donnie through group intercouse, because why not?

Raphael/Donatello Mating Drabbles by Plastron - TMNT 2003. A steamy anthology with turtlecest and the occasional touch of dub con.

These Are Our Days by love_killed_the_superstar - All versions. An adorable description of Mikey and Woody’s relationship.

Ten Minutes by kay_cricketed - Mirage verse. Leo pushes himself to the edge in order to meet a seemingly inconsequential goal. A lyrical, angsty story from a spectacular writer.

Ronin by Lexifer - TMNT 2012. A Leorai story in the aftermath of a devastating final battle between two clans.

Laugh Till It Hurts by BrightLotusMoon -TMNT 2003. Love, angst, and peculiar coping methods in the aftermath of a battle.

Freeze, Starve, and Break Stuff by Abnormal_Cleric - Raph is cracking at the edges, and Donnie might be the only one who can pull him back. Tw for self-loathing and self-harm.

Together Again by InkyTurtle (Melodistic) - TMNT 2012. Donnie has finally gotten his beloved brothers back--sort of. Now the question is whether he’s the turtle they left behind.

can’t let a cold heart be free. by Chandrakantya - An angsty little Leorai story on a rooftop.

Gravid Problems by Gemi - The TMNT are in for a big change after Donnie gives Leo and Raph some very interesting news. A sweet, funny, adorable little work; warnings for mpreg and tcest.

Countdown to Clarity by LittleKy - 2007 movie and other versions. An angsty reverse-chronology fic discussing the cracks that might have spread through Leo and Raph’s relationship.

Big Brother by outrunningdismay - “AU where the brothers hatched at different times.” A adorable work full of smol turtles and Leo learning to be a big brother one step at a time.

Maelstrom by FicklePencil - Raph’s thoughts in the aftermath of “Broken Foot.” A lot of angst for a rather short fic.

Also, here’s a list of my favorite TMNT works from orphaned accounts.

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affatmntfan · 3 years

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AFFA-UPDATES

Time runs fast; very soon the nomination ballot will be open. Here everything you need to know.

What exactly is the AFFA? How it’s work?

The Tmnt Adult Fanfiction Awards is an event where readers and fans can reward their favorite fanfiction writers and art creators. The AFFA is the once-yearly Academy Awards for TMNT fan fiction writers. It matters - it means the world to the people who spend hours writing and then posting their creations for your enjoyment. This is a great opportunity to become acquainted with writers you haven’t yet explored. This is a great way to discover talented people whose works you might not have found on your own - simply by reading the nominee list.

The first two-week block of the Competition is the ‘Nominations Window’. During the nomination window, you will have to nominate your fave stories of the year, in the categories they are fitting the best.

Nominations may only be submitted using the *Nomination Form*, starting January 1st. The awards will be for fanfictions published or updated in 2020, but they don’t have to be complete. We need to be able to see when a story has been updated/published or it will be disqualified. The Art categories will also have date restrictions and will need to have been posted in 2020. Art has to been related to a story, except for the comic. At the end of the nomination period, a nominee list will be posted. Those would be the stories you can vote for.

Everything you want to know is here:

RULES

CALENDAR

CATEGORIES LIST

Questions and Answers about the TMNT Adult fanfiction Awards

The nomination period for the TMNT Adult fanfiction Awards starts January 1st. Here are some frequently asked questions along with the answers to help you fill out your nomination ballot.

Q – What do you mean by Adult fanfiction awards?

A-The AFFA is for the Mature/Erotica. So the AFFA is intended for people age 18 or older, with ratings from T – E (or M depending on web site).

Q – Can I nominate fan fiction or art that won in previous years?

A – No. Previous winners can’t be nominated, except for the BEST OF THE DECADE categories.

Q- Can I only nominate stories that were started or updated in 2020?

A – Yes. except for the BEST OF THE DECADE categories.

Q – Where do I start looking for stories or art to nominate?

A – A good starting place is in the Toot Your Own Horn posting. This is where writers and artists have listed their eligible works, to make it easier for you to find them.

Q – Am I limited to only nominating from the Toot Your Own Horn list? When the list will be posted? Where I can find that list?

A-Creators will be invited to post their Toot around December 15th. It will be posted on the AFFA blog and on Deviant Art.

A – No. You can nominate any eligible works, even those not listed. If you aren’t sure whether the work has won in the past, go ahead and leave a question about that here in the comments. We can look it up for you.

Q- What is Toot’s purpose?

A-It’s self-promotion. It helps those of us who are filling out our nomination ballots to remember the things we’ve consumed over the past year. It helps us to find the things we’ve loved. By listing your eligible works, we’ll know what can be nominated. Too often the awards administrators have to ‘void’ a nomination form because it included something that wasn’t eligible. Keep in mind you can nominate any eligible works, even those not listed. If you aren’t sure whether the work has won in the past, go ahead and leave a question about that here in the comments. We can look it up for you.

Q – Why do I have to include a link to a site where I have an account?

A – A link to your Tumblr, ff.net, AO3 or other site proves that you are a real person. It ensures that each person nominates/votes only once to keep things fair. Without a working link, your ballot will be disqualified.

Q – Can I nominate my own work?

A – No.

Q – In how many categories can I nominate a particular story?

A – You can nominate the same story in only 3 categories, no more.

Q – How many stories can I nominate in one category?

A – Only one.

Q – Who makes the final decision on whether a story is eligible or not?

A – The Awards staff makes that decision.

Q – If I nominate something that isn’t eligible, will my ballot be voided?

A – No, only that particular nomination will be voided. The remainder of your nominations, if they are eligible, will be accepted.

Q – Will my nominations and votes be kept secret?

A – Yes. The only people who will see these are official members of the Awards staff. NO ANTIS CAN HARASS YOU ABOUT IT.

Q – Can you explain the two different sections under the Mature Ballot?

A – The Mature Ballot is separated into two sections; the Mature Section and the Erotica Section.

The Mature Section is for adult themes such as violence, explicit language, sex, dark themes, gore, substance use/addiction, abuse, T-cest, sensitive subject-matter, and non-consensual sexual relations. Some T rated fics will qualify, depending on the content. Most fics will be rated M or E (explicit).

The Erotica Section is for adult-themed stories rated explicit/XXX where the primary focus is sex and erotica. This means that consensual sexual relations are the main focus of the story.

Q – Do I have to fill out the entire nomination ballot for it to be accepted?

A – No. Fill out as many or few categories as you would like.

If you still have questions, please drop them in the comment section and we’ll find the answers. If you’d rather keep it private, feel free to send us a note here.

We need MORE volunteers to make some badges for the 2020 AFFA winners-updates

Rules: Dimensions: Minimum of 800 x 800 pixels.

The logo must be included. You can change the color/shade and fill the letters. Here three examples.

Available categories:

ADULT FANFICTION AWARDS 2020 CATEGORIES

BEST MULTICHAPTER- WIP OR NOT-

MOST STUNNING ONE-SHOT

BEST PORTRAYAL OF A TURTLE

BEST PORTRAYAL OF A CANON ALLY/A VILLAIN

MOST EXCITING ACTION/ADVENTURE

FUNNIEST LEWD COMEDY

BEST ROMANCE

MOST COMPELLING AU/CROSSOVER

BEST DARK PSYCHOLOGICAL/HEARTBREAKING TRAGEDY

MOST DISTURBING HORROR/PARANORMAL

BEST EROTICA

SEXIEST LEONARDO

SEXIEST RAPHAEL

SEXIEST DONATELLO

SEXIEST MICHELANGELO

MOST TURTLE-TASTIC T-CEST

HOTTEST HETERO

STEAMIEAST SLASH

MOST TORRID TRIANGLE OR GROUP

SPICIEST KINK OR FETISH

BEST DUBIOUS CONSENT-NON CONSENTUAL

BEST FANFICTION COVER

BEST COMIC

And to close 2020:

BEST FANFICTION OF THE DECADE

BEST FANFICTION COVER OF THE DECADE

BEST COMIC OF THE DECADE

And as a goodbye to Rise:

BEST RISE FICTION

BEST RISE ART (Comic or fiction related art)

The deadline for submissions is March 4th 2021

You can send them here: [email protected]

Questions? Want to do a badge? Drop us a note to [email protected] :

#affa 2020 #adultfanfictionawards #tmnt fanfiction competition

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1derspark · 4 years

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The Old Guard Fic Recs

The discord made me do this but I am HAPPY to spread around the talent, the absolute wonder the fic writers of this fandom have given to us. Really these fics are so good, and only a taste of what’s still out there to read. Thank you to everyone for making them :)

So here are some of my favorite TOG fics! (Literally all of them are Joe/Nicky except for one)

The Two Sides of Forever by CypressSunn, 4.7k (Rated M)

One of the first TOG fics I read, a run through of Joe and Nicky’s relationship through history, it feels so visceral?? Like the history is *chef’s kiss*, the yearning, and some lovely post-canon too. So good.

If Pomegranates Are In Bloom by merle_p, 3.8k (Rated T)

AHH this is one of my favorites. Even the immortal husbands have to argue sometimes, and this is exactly how I’d imagine it go? And we have some lovely historicalness in this too. So good, angsty.

deo volente (lux aeterna) by qqueenofhades, 65k (Rated M)

(so many people have read this but i can’t not put it on here) THE BEST, I CRY, OH MY GOD. The author is a historian IRL and boy does it show. This is Joe and Nicky’s canon backstory no one can convince me otherwise. Historical love epic for the ages, so brilliantly crafted, I cry every time I come back to it.

these moving walls by GreyMichaela, 5.7k (Rated T)

So this takes place pretty close after Nicky and Joe meet? They’re walking away from the Crusades and dealing with what they mean to each other, so much pining, the language is beautiful. <3

the smell and taste of things remain by greedy_dancer, 2.3k (Rated E)

Nicky and Joe on a mission. Some absolutely wonderful, very very good smut (had to put some on here somewhere)

turn the world to gold by wordslinging, 6.8k (Rated E)

MALTA. Reunion fic in Malta with some sexy times. I’m a sucker for reunion fics and there is no couple better than Joe and Nicky. This one makes me all warm in the chest.

When The Cherries White With Blossom, Be Ready & Be Brave by chapstickaddict, 17k (Rated E)

Ohmygod I can’t even express how much i love this one. Post-Canon, Nicky and Joe deal with the aftereffects of Booker and how his grief impacts their relationship and their interactions with Nile. Lots of literary allusions and wonderful language <3 <3 <3

Ivy by Highsmith (quimtessence), 3.4k (Rated E)

Renaissance Italy! Joe gets jealous about Michelangelo (even though we all know he has nothing to worry about), very smutty.

There Are Many Names In History {But None Of Them Are Ours} by CypressSunn, 3k (Rated T)

This one makes me HOWL. Post-Canon, the gang goes around to museums and finds some of Joe’s old drawings that are maybe not safe for work. Nicky is a bit miffed (but it all works out, and in a very sweet way)

the battle ground between hearts and glances by maleyka, 7.4k (Rated E)

Arranged Marriage AU, Joe is the lord of an estate and Nicky is his husband who is VERY MUCH not happy to be there. It’s also kind of canon because they’re still immortal? A lot of great character navigation, and eventually some pining. Much love.

Gifted by The_Moon_When_I_Am_Lost, 4.5k (Rated M)

Nile/Booker fic Post-Canon. Never did I think this was a pairing I’d be into but omg this FIC. It’s so wonderfully crafted Nile and Booker’s relationship, the build up to their romance, I just loved the whole thing.

Old Olives by aeli_kindara, 21k (Rated M)

More Crusades! From Nicky’s POV, the research for historical stuff on this is SUBLIME and seeing Nicky’s mindset transform throughout the war and bloodshed and meeting Joe makes my heart pound. I cried like three times.

Where You Are by NamelesslyNightlock, 12k (Rated T)

Modern Prince AU, based on some wonderful art embedded in the fic. Prince Nicky and Joe are from rival countries and you follow their journey from kids to adults falling in LOVE TOGETHER. Very sweet, wholesome, lovely.

#the old guard #the old guard fic recs #fic recs #kaysanova #joenicky #joe x nicky #booker x nile #TOG #yusuf al kaysani #nicolo di genova #nile freeman #sebastien le livre #andromache the scythian

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leveragehunters · 7 years

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tagged by @albymangroves and oh god, no one should ever ask anything about my favourite author. It inevitably gets out of hand.

name: Sharron

mbti: Yeah, no. They tried to make us do this at work and refused to tell us why they wanted us to do it, so I started explaining why that was was completely non-compliant with the privacy principles in the IP Act (a whole bunch of them) and why and, after their eyes started to glaze over, they changed it to make it voluntary and then no one did it and I was super satisfied, because it’s fine if you WANT to do this stuff for fun or whatever, but your employer trying to force you and not telling you why, when it IS totally in violation of the IP Act? Again, yeah no.

languages I can speak: English, lawyer, bureaucrat, weasel.

star/moon/rising signs: Scorpio-sagittarius/only if my pants rip/I don’t know what this means.

average hours of sleep: Around 5-6 during the week on good days, but sometimes I manage to nap on the weekend and it’s so nice.

favourite scents: oranges, eucalyptus trees/gum trees, clean dog, clean horse, frying bacon, garlic.

lucky number: 4

favourite fictional creature: Aeslin mice

favourite writers: Seanan McGuire/Mira Grant, Tanya Huff, Courtney Milan, Robin McKinley, Tom Holt, Christopher Moore, Bradley Denton, Laurie R King, David Prill, Terry Pratchett, Lois McMaster Bujold, Charles DeLint, Max Brooks, David Weber (Honor Harrington series), Christopher Fowler, Alexandre Dumas, Mercedes Lackey (look, her new stuff isn’t great, her old stuff has issues, but it got me through a hell of a lot of bad times, so I’m gonna own it, in both senses of the word). (And now I’m gonna stop.)

favourite models: It no longer exists, but I love the idea that something of it might have survived, which is used in one my secret favourite movies, Hudson Hawk. It’s the clay model made by da Vinci of the horse statue commissioned by the Sforzas, which became the biggest horse of the the Renaissance, with 70 tons of bronze earmarked for the cast. Leonardo sat on it for several years (not the clay horse--he sat on the making of it), which was apparently a thing he did, but when it was finally done it was, indeed, the biggest equestrian statue of the Renaissance (at the time, at least), becoming known as the Gran Cavallo (look, that sounds all majestic, but it literally means ‘great horse’, so).

Unfortunately, Michelangelo decided to be the biggest horse’s ass of the Renaissance and give da Vinci shit about actually being able to cast something so large, and so da Vinci eventually gave over the bronze to be made into canons to defend the city instead of casting a magnificent giant horse. (This might not entirely be Michelangelo’s fault; Charles VIII was attempting to invade.) Unfortunately a gigantic clay horse, a Gran Cavallo, kind of screams ‘shoot me’ to invading dick soldiers, and they used it for target practice. Clay being no match for ammo, it no longer exists.

Except in Hudson Hawke da Vinci had made a small bronze maquette of the Sforza horse, which is, you know, a pretty awesome thing to contemplate. Also the movie is pure ridiculousness, which is also a pretty awesome thing to contemplate.

(Also also: it occurs to me this might be referring to like a human who models, but whatever I don’t even have one of those.)

favourite music artists: Boiled in Lead, Wolfstone, Dropkick Murphys, Yellowcard, Fallout Boy, Linkin Park, Concrete Blonde, Pink, Sonata Arctica, Nickel Creek, Flobots, Cyndi Lauper, Nightwish, Dark Moor, and I really like soundtracks and scores, but I’ll kind of listen to whatever comes on.

Uhh, tagging @kiriei, @onyourleftbooob, @gryphye, @theprinceofprinces, @cersei-the-truth-bombardier, @whtaft, @assbuttsthatfondue, @galwednesday and that’s 8 which is 2 x my lucky number, so I think that’s good!

#memes #stuff #personal #my vague wish is to maybe try and write a hudson hawke au sometime #disclaimer: my knowledge of the horse comes from wikipedia #so it could be wrong #but it's such a great story #and it would have been so beautiful #da Vinci's horses were so gorgeous #food mention

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kayjacquelinex-blog · 6 years

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The Renaissance

This essay will explore the idea that The Renaissance is a key moment in intellectual history, and discuss in detail the most influential artists during this time period – Giotto, Brunelleschi, Leonardo Di Vinci, Michelangelo, and Raphael. The word ‘Renaissance’ was used by French Historian Michelet to describe a whole period of history, and was not confined to the rebirth of Latin letters or a classically inspired style in the arts. (Murray and Murray, n.d.) Renaissance means ‘re-birth’ and refers to the rediscovery of Greco-Roman culture. The Renaissance is a period spanning from the 14th century to the 17th century, starting as a cultural movement in Italy in the late medieval period and later spreading to the rest of Europe. If the medieval period was built upon an understanding of Christianity, the Renaissance adopted a much more Humanist philosophy, which imagined men as the equal of all things. It emphasises the resurgence of science and culture through classical influences. Many people consider the Renaissance as a great time of beauty and Art; a fundamental assumption of the Renaissance movement is that the remains of classical antiquity constitutes an invaluable source of excellence to which debased and decadent modern times could turn in order to repair the damage brought about since the fall of the Roman Empire. (Youtube, 2015) There are many key thinkers/theorists associated with this time period. Pietro Pomponazzi (1462-1525) is considered one of the most influential and important philosophers of the Renaissance, as he had developed his views entirely within the framework of natural philosophy, maintaining the proof of intellects ability to survive death of the body. (Casini, 2017) During the early Renaissance in Central Italy, the artist who took the step away from the medieval style of spiritual representation in painting in the early 14th century is Florentine Giotto (1400-1495). Introducing a three dimensional look for the first time since the fall of Rome, portraying drama and expression into his paintings; the gestures and expressions on the faces of his subjects explore more theatrical approach to painting. He became the first artist to break away from Byzantine styles and move toward naturalism and a clear sense of space. Looking at Giotto’s work was like peering through a window to the real world (Scrovegni Chapel, Padua). The Renaissance style places emphasis on symmetry, proportion, geometry, and the regularity of parts as they are demonstrated in the architectural of classical antiquity and in particular ancient Roman architecture. Architecture became not only a question of practice, but also a matter of theoretical discussion. From the observation of architecture of Rome came a desire to have symmetry and careful proportion in which the form of composition of the building as a whole and its subsidiary details have fixed relationships, each section in proportion to the next, defining exactly what those rules of proportion are. Filippo Brunellschi (1377-1446) is widely considered as the first Renaissance architect, being the first to use classical orders. Stating ‘Therefore, since nature has designed the human body so that its members are duly proportioned to the frame as a whole, it appears that the ancient had good reason for their rule, that in perfect buildings the different members must be in the exact symmetrical relations to the whole general scheme’. In the Middle Ages the Renaissance works of art were commissioned; they were ordered by a patron and then made to order. A patron usually entered into a contract with an artist that specified how much he would be paid, what kinds of materials would be used, how long it would take to complete, and what the subject of the work would be. (The Virgin and Child with Canon van der Paele, oil on wood, 141x176.5cm) This portrait shows the donor kneeling on the right of Virgin Mary and Christ child. The patron was usually referred to the donor usually asked to be placed into their commissioned works. Paintings of the Renaissance demonstrate the application of humanistic ideals learned from the ancients. In works from the middle Ages, saints and Biblical figures are arranged in unnatural and geometric groups. The Renaissance painter depicted the human figure as realistically as possible, often with backgrounds of the natural world. Many artists had to guess before Brunelleschi (one of the greatest painters of the Early Renaissance) introduced the linear perspective. Without this system artists wouldn’t have had the vanishing point or horizon line into their work. Consequently, Giotto’s paintings seem to have a shallow depth of field. Although Michelangelo was highly influenced by Giotto, who was born nearly 140 years after Giotto died and who painted the Sistine Chapel in the early 1500’s (Ortolanstudio.com, 2016). There are a mass variety of artworks that were created during the Renaissance, with many successful artists such as Leonardo Di Vinci, Michelangelo, Raphael, Giotto and more. Around 1505, Leonardo produced one of the most famous paintings of all time: the portrait of Mona Lisa; an elusive smile on a woman’s face, which is why it is also known as ‘La Gioconda’ or ‘the laughing one’. For Di Vinci, this piece was always a work in progress, striving for perfection. He was also an artist, poet, engineer, architect, inventor and his image of the last supper was tromp. (Khan Academy, n.d.) One of the most distinctive intellectual movements was ‘humanism’, which was found to be the renewed belief of the value and power of the individuals. The main emphasis of humanism was secular education using Greek and Latin classics, this introduced a whole new level of knowledge and was the start of education and how wealthy families supported the lower community through education. ‘The humanists were amateurs in theology or medicine, but avid professionals in grammar, rhetoric, poetry, history, and the study of Latin’ (Murray and Murray, n.d.) Furthermore, medieval paintings were often presented as a reflection of wealth or expression of religious devotion and status of its patron. In today’s society it would take a successful artist centuries to gain the extremely high status that artists gained during the Renaissance. The value of Art has changed dramatically. Art is now an expression of the artist, and the value of a painting is often the result of something completely different. Yet we haven’t given up, these ideas that famous artists/philosophers/writers have created we have adapted increasingly, taking inspiration from their works and interpreting it into our society.

#artandideas

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brightlotusmoon · 2 years

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Thirty year old headcanon no matter what any canon tries to tell us: Mikey enjoys science experiments, is delighted when Donnie asks for his help, and often experiments with his art, media, and culture interests using the scientific method. Although it is in fact canon in various incarnations, the fandom has always had this annoying habit of claiming that Mikey is too dumb. Stop that, fandom.

#tmnt mikey is a force of nature #tmnt michelangelo is a very complex character and i love him #michelangelo is a great writer in canon #tmnt mikey is a sensitive #stop calling tmnt mikey stupid 2020 #donnie is a precious geek and he loves mikey #b team #donnie and mikey adore each other and their brains #2003 mikey deserved better #merging 1987 and 2007 mikey into therapy mikey #2012 tmnt needed better character growth #rise Mikey might be psychic #bayverse mikey

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addoration · 7 years

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tagged by the wonderful @jawnkeets! these were really wonderful questions, thank you so much!

how to play the game: - answer the 11 questions from the person who tagged you - compose 11 questions of your own & tag others!

1. what is your favourite poem and why? she walks in beauty by byron or a poison tree by blake! she walks in beauty is so soft and graceful and beautiful and a poison tree is super clever and witty

2. do you think that shakespeare is the greatest writer of all time? why/ why not? i cannot say greatest because there are a lot of writers who could be said to be the ‘greatest’ and i am unable to rank them, since they have all not only written wonderful things but also changed literary tradition and are relevant and important today, but shakespeare is definitely up with those ‘greats’

3. is the western canon overrated? a little bit? i wouldn’t say overrated, exactly, because the western canon is obviously important for a number or reasons, but it should not overshadow the works of africa or asia and the rest of the world in the way that it does. a lot of importance is placed on it and these other cultures are forgotten in favour of it which is super shitty. 4. do you prefer galleries or museums? galleries! 5. do you have a favourite period of literature/ art/ music? romanticism, by far 6. are the arts and the sciences in opposition? no, i dont like to think so. the arts and the sciences complement each other and to cancel either out in favour of the other is foolish and will result in bad science/bad art. the greeks created what we deem as wonderful masterpieces through use of mathematics, so it is totally wrong to suggest that they cannot work in harmony.

7. do you write in books? why/ why not? sometimes! i do because i study texts in english literature and in classics and i need to annotate them, but if im not studying the text then i would only write in it if i have a really important note or thought i want to make and remember. i have no qualms with annotated books though and i actually find it really interesting when i find other people’s annotations in my second hand books 8. what city would you most like to visit and why? id like to go to new york! i havent been to america ever and ive been to other artistically renowned cities like paris and rome so id like to see new york too 9. do you think that photography is art? yes! i think that if there is creative and artistic intent behind it, anything can be art 10. fav figure in greek mythology? apollo or athena! i also love icarus and cassandra tbh 11. are memes worthy of study? yeah?? everything is worth of study if there is something to be learnt from it, and memes would not only be entertaining to study but would reveal a lot in the area of psychology

my questions: 1. do you have a favourite word, and why that one? 2. do you agree with oscar wilde’s ‘all art is useless’ quote? 3. do you take your tea with sugar, honey, milk, lemon, or a combination? 4. how do you, personally, define beauty (in people and in art/literature/etc)? 5. michelangelo, raphael, or leonardo da vinci, and why? 6. do you think that since its creation, the female nude has absoluetly always been sexualised in art, or only in some instances? 7. do you own more than one copy of the same book? if so what is it? 8. do you prefer prose to poetry? 9. of the plays you are familiar with, which of shakespeare’s female characters is your favourite and why? 10. are you good at cryptic crosswords? 11. what’s the first fond memory you think of right now?

i tag @jawnkeets (just to answer the questions if youre interested!), @niklasmalikovs, @donnattartt, @athenafilia, @kvothes, @apollonic, @dust-asterisms, @crowsblackmarket, @smothcr, @nostlagiac and anyone else who’s interested! no pressure to do it though

#these were beautiful questions thank you sm frankie!#me

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vivalatoons · 7 years

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"When Worlds Collide" Review

We’re back from a long hiatus with a 1 hour special, When Worlds Collide. The Turtles would expect a special visit from old allies and enemies. Raphael has been in a funk, missing Mona Lisa. I told him it’ll be ok and just wait.

Spoilers

Part 1

Aww, it’s Sal and Mona; miss them

Look at Mona’s face, OH MY GOD STOP IT!

I watch TMNT with my grandmom, she asked me “When did we get a new theme song?”; smh, ok moving on

Awww, it’s the homeless dude and he has a teddy bear

Ok, this is the second time where Space Heroes is playing and I don’t see Leonardo; WHERE’S MY FANBOY AT?!?!

The shippers get a moment of their ships doing something; this is for all the Apritello, Leorai, and Miket shippers

Aye, Raphael on the drums

“Who needs love? Not this guy. I’m a lone wolf, a rebel, a loner.” Mona Lisa should be calling in 3, 2, 1

Chompy’s happy for his dada

The Utom High Council, YES

Haha, oh I missed Pawn so much

My Ramona heart is busting with joy, AHH SHE’S HERE AWWW, THEY’RE HUGGING

“He’s got weird taste.” Says the guy who likes his father’s daughter

My mom walked in and said “Who is that salamandor? Is that Fozzie?”

“Chilled? You mean the ice planet where we met?” Ha, I love Mona Lisa

Newtralizer is getting high on electricity

“But there’s so much for you here.” Aka “I don’t have to be the lone Turtle and I love you.”

Aww, Rook and Don are doing science stuff

QUEEN! ROOK! PAWN! NOO!!

April O'Neil is a waterbender, it’s canon. Mae Whitman voices Katara from ATLA, I’m counting it as a reference

MICHELANGELO! NO! Mikey vanishing was like when Donnie was destroyed by April but, this is 1000 times worst

Leo and Donnie are shocked; Raphael is more devastated and upset, he loves his little brother and he’s gone

You should have seen the look on my face when Raphael said Booyakasha

Lord Dregg is back

In part 2, the Turtles have to deal with the Newtralizer and Lord Dregg. Michelangelo was Static Shock today, and what he did made me proud.

Part 2

I love how citizens didn’t notice the explosions or electricity going in or out; now that this giant bugship is here, everyone is in full panic mood

Love the shot of Sal and Mona

OLD LADY NO!!!

Ok, who’s watching a monster movie when you’re living in one right now?

“So if you talk to my woman…” Hold up, he did not just

“I can take care of myself, Raphael, thank you.” You tell him, Mona

Haha, Raph’s plan isn’t bad, but it’s a bit impossible

Too soon, April, too soon

MIKEY!! HE’S BACK!! My electric Turtle is back

“Like anything we ever do is easy.” We’ve spent 5 seasons of stopping the most impossible things in the world, it’s never going to be easy

THE TURTLE MECH IS BACK!!!!

KFC reference

Rip to the Turtle Mech. Leo never even been on the Mech

“You’re alive.” Donnie, you seen him before

“It’s like an incest rave party.” Accurate

Mikey self sacrificing himself for the team

Awww, why do they have to take away his powers? He was so cool

“I request permission to stay on Earth.” Aka “I want to stay and be with my boyfriend.”

Awww, I think Sal sees Mona as his own daughter

AWWWWW, MY HEART RAMOMA FOREVER!!! YEESSSSS!!!!

“Awww, that’s so cute.” Same, April, same; April is me

My name is Olivia and I ship Ramona

Discussion Breakdown:

Ramona reuniting. I think at this point, you know that I’m a huge shipper of Ramona. I adore Raphael and Mona Lisa looking, hugging, protecting, and just being together. They’re no longer away from each other. I was gushing, fangirling, screaming into my pillow, just AHHH!! I SHIP THEM SO MUCH!! They’re together and I love every moment of it.

Raphael. I’m talking about enraged, mad as fuck Raphael. I haven’t seen Raphael this mad since The Invasion. When Mikey vanished from Newtralizer’s electric shock, you can see the look of devastation and anger in his face. Raphael would bug his brother at times and tease him, but deep down he wants nothing bad to happen to Mikey. Remember when Raphael was concerned about Mikey back in S1E14. He doesn’t care what happens to him in a situation, but he truly cares about his brothers and everything that happens to them will destroy him. That scene when Raphael blasted Newtralizer shows that you don’t want to mess with him and his family.

Mona Lisa. I’m glad that my Salamandian warrior is back. She was badass, a defender of her people, and has a soft spot for her boyfriend. I love the scene when she tells Raphael that she can take care of herself and told Bishop off. Mona didn’t let Raph defend her, she tells him politely that she can handle this. I was happy that the writers didn’t let Raphael defend her girlfriend or fall to the “a man has to defend and protect his woman” thing. Mona isn’t the damsel in distress, she can fight and defend herself. No man is going to degrade her. She continues to be awesome, and I love Zelda Williams voicing her.

Mikey. He had electrical powers, and sacrificed himself to save his family and friends. Season 5 has been showing Mikey at his awesomeness. I’m proud of my orange turtle, that’s all I have to say.

This special was good. I was mad at Nickelodeon for the schedule change. I think it’s because of marketing or they don’t care about TMNT 2012, since they’re working on the 2018 reboot. Anyway, I love the Ramona moments. Mikey was a boss in this special. Guest voice actors were great. Basic TMNT special that I enjoy seeing. From the next promo, the Turtles are samurais. So, I’m assuming that Nick is changing Season 5 episode order. It makes me mad, but I can’t be. As the Turtles are samurais, this means that Usagi is coming to the 2012 universe and I’m very excited about it. I’ll be back with a new TMNT review. See you guys next time. Toot da loo!

#tmnt review #when worlds collide #tmnt 2012

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all-things-tmnt · 7 years

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Thoughts on “The Tale of Tiger Claw”:

He’s been one of our fiercest enemies since season two, and after so many intense battles, it’s time to finally learn a little bit more about Tiger Claw. When a new and dangerous fox assassin arrives in town with a vendetta against TC, the turtles and their friends set out to uncover just who Tiger Claw is and where he came from. Throw in an ancient curse and an unlikely ally, and we’ve got us one crazy adventure. There’s a lot to look into, so let’s get started.

Warning: this review contains some pretty SHARP spoilers (like possibly that one), so if you’re not sure if you’re UP TO THE CUT, don’t keep reading. If you’re ready for a fast-paced fight, watch the episode by clicking here!

Alopex, Alopex, Alopex, ALOPEX.........

Interesting things: - Tiger Claw’s room is pretty sweet. And I’m pretty sure he’s using a brick to sharpen his sword. (I know it’s not a brick, but at first glance, that definitely looked like a brick. Hahaaa.) - Umm...I think it’s canon that Tiger Claw gets high. - But on a serious note, this scene with the hologram is pretty interesting and I saw we look at it later on. - “I asked to see Xever and Bradford.” Translation: we haven’t done anything notable in the plot in a while so the writers put us in this episode and Xever and Bradford weren’t in the budget. Lol let’s have fun. - HIS NAME IS NOW KITTY CAT MAN. DON’T EVER SAY TIGER CLAW TO ME AGAIN. IT’S ONLY KITTY CAT MAN. - Um.......I think it’s canon that Splinter just got drunk to train with his sons and their friends. - The fact that Leo just thought that openly running, yelling and trying to stab his dad would work is mind blowing. - The fact that Splinter spits on Leo is also mind blowing, but in a disgusting way. - I mean, all things considered, this training scene is hilarious and the boys can’t even beat their dad when he’s wasted. But at the same time, I’m sitting here wondering what in the hell I just watched. - “Leonardo and Michelangelo have the strongest ability to sharpen their intuition.” I’ve been waiting for this to be openly stated for so long now and I’m just crying because someone finally said it. - I’m literally just as offended as Casey is, TBH. How do we go from having Casey do great things in one episode to him sucking again in the next one? - Apritello Shippers – 1; Capril Shippers – 0. - Apparently Karai and the Mighty Mutanimals are a thing now? Okay? - “Karai’s not a kid anymore; she wants her independence. I get that.” I wonder what Leo meant by, I get that, because it can mean a lot of things. Like, does he understand her side because he gets what she’s saying or does he himself want independence as well? Either way, nice subtle way to remind us she has reasons for not staying with the boys, EVEN THOUGH SHE SHOULD BE. - THAT OLD LADY HOLDING ON TO THE LAMP POST FOR DEAR LIFE. BAHAHAHAAAA. - Super appreciation bullet for Casey still having his race car he made way back at the farm house because they took it with them when they left and I just appreciate that little bit of continuity so much more than I could ever tell you guys. - I would sell my soul to hear Bebop’s mixtape and for Rocksteady to keep beatboxing. - “Drop the blades, sweetheart.” Oh, Raphael...wait, how did you know she was a girl? - Welcome to 2012, Alopex! (I’m sure glad that I have in fact been saying your name correctly all these years!) - I don’t know you or know anything about you or why you’re here to stop me but let me monologue and tell you all about these two blades. (Kudos for the violent back story, though.) - ALOPEX JUST STOLE CASEY’S...SHE TOOK HIS...WHICH MEANS SHE GRABBED......ON THE.................OH MY GOD. - No, Raph, Casey doesn’t need you to help as he gets beaten up. - That extremely convenient moment when you run into the guy you were going to hunt down right after stealing the weapons you were going to hunt him with! - Did not notice she was wearing the tail. 10/10, would recommend. - That fox fast tho. - Casey actually thanking Raph for saving him instead of making some dumb or stuck up quip. 10/10, would recommend. - Look, there’s Chompy! Remember him, from last episode?! Remember how he’s important?! Yay Chompy! ........ - I like that little nod they just gave the IDW Raph and Alopex with that line. Hahaaa. - That awkward moment when there’s Timothy...just waiting for some resolution...... - That poster did not burn...at all. Nor did Casey’s shirt. - That awkward moment when we have to remember Karai and Casey kissed. - Does anyone else find it hilarious that the bad guys follow traffic laws? - Kitty Cat Man and Alopex’s backstory had me hooked until the part when they went from the circus to being total badass assassins happened. then I burst into laughter, because that shot of them in suits was just too much. - Wait...so if Alopex only took Tiger Claw’s tail...who took his eye? - Leo is apparently the only one who buckles up in the Shellraiser. - ......That’s why it’s important to buckle up. - This Mikey saying they’re okay thing kinda bothered me and I’ll give it a break down later. - Now how on earth did they know she’d run down there to meet them? This plot is full of conveniences. - Casey having to dodge death continuously is hilarious. - Nice guys finish last, Leonardo. - “The only way to lift the curse is to use them against me.....OR THIS SUPER SECRET OTHER OPTION THAT LEAVES NEITHER OF US CURSED! LOL GREAT RIGHT?!” - GUYS WE HAVE TO HURRY!!!!!! As they all slowly walk. Bahahahaaa. - A part of me will always wonder what Tiger Claw would have said to his sister had she let him speak to her...but there’s not enough time in the episode left so we gotta fight it out. - Omg. There’s more to their backstory. OMGGGGG. - “Back off, Tony!” DEAD. - This entire fight sequence is really cool and I loved every moment of it, but the absolute best part throughout the whole thing is Raph just screaming and carrying Bebop while he runs. I was choking I laughed so hard. - Everybody working hard to keep Casey from dying is so great. Hahaaa. Team work makes the dream work. And keeps the crazy kid alive. - Love the camera angles when Alopex grabs the ice bullet. Seriously cool. - OH SNAP. OHHHHHH SNAPPPPPPPPP. OH SNAP CRACKLE POP!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! - I LOVE HOW IT JUST ENDS WITH THEM CASUALLY WALKING AWAY AFTER TIGER CLAW GOT HIS ARM HACKED OFF AND ALOPEX JUST GOING I tried to come up with a pun on how Tiger Claw’s arm got chopped off and tie that in with the break downs, but I couldn’t think of anything so...here’s some break downs. If you are unfamiliar with Alopex, let me take a second to give those of you a super quick background. Alopex is a fox mutant originally from the IDW series. In the IDW comics, she’s originally a part of the Foot Clan before she changes sides to fight with the turtles, and that’s leaving out so much amazing detail. Needless to say, she has a hugely different backstory/character in the IDW comics, but let’s just say she’s absolutely badass, and if you needed any reason to read the already phenomenal TMNT IDW comics, let Alopex be your reason.(Seriously, she’s one of my favorite characters in IDW.) Right off the bat, we have an interesting scene with Tiger Claw. He’s using a mouser to project an image of Shredder, and he’s interacting with it as if it’s real, which he clearly knows it isn’t (and he’s sniffing catnip which is a whole other topic to touch on, but one I don’t want to get into too much yet until we know more about that). But he’s talking to this Shredder and trying to reason with him. It begs the question, is he practicing to speak to the real Shredder? We’ve seen Tiger Claw throughout the series question some of Shredder’s choices, and he’s openly questioned some of them with little success. Ever since Shredder’s mutation, TC has been very against almost every choice he’s made, and Shredder has never listened to his concerns. So now, we have Shredder pushing himself to dangerous points with this mutation, and Tiger Claw is more concerned than he’s ever been. Knowing Shredder won’t listen, he’s trying to figure out the wording that will bring him success in this endeavor, because it’s so important to him. Say what you will about Tiger Claw, but if he’s anything at all, it’s definitely loyal. Shoutout to Master Splinter for FINALLY pointing out that Leo and Mikey have the most potential of the four, but most notably, MIKEY! We’ve always known that Mikey can be so great, but we get such few glances of his real skills that it’s so easy to forget that fact. On those all too few occasions that we do get to see Mikey be the best (like no one ever was), we can see the truth behind that statement. But I emphasize the “all too few” part of that fact. So for the writers to openly acknowledge that fact for us is like a breath of fresh air. I can’t wait to see Mikey have more great moments. I think I’m going to start a petition to get Casey the respect he deserves. Honestly, last week, when I finally got to do a break down about Casey doing some things right, I was ecstatic. Now here I am having to complain about him again. He’s shoved aside and made off to be the character that screws everything up. I mean, the line when Splinter basically says Casey has no intuition whatsoever? I was lowkey offended. Casey has done some awesome things in this series so far, and he definitely has skills as a fighter. So to say he’s void of intuition is pretty hard to take with a grain of salt. Writers, PLEASE give Casey some love. I really want to like this version of him, and you guys are making it so hard. Remember the good old days in season one, where our existence was supposed to be a super secret and it was absolute law that no human could see us? Remember how much fun and more suspenseful and more overall ninja-y that made the show? Remember how three season later, they have no qualms about showing themselves to humans? Does that bother anyone else or is that just me? Because seriously, I get that the people of New York are aware of mutants and all of those things now, but I wish the boys were a bit more concerned with keeping their existence a secret like they used to be. Mikey just openly greeting the truck driver dude kinda killed me. I wish I had a better sense of who Alopex is, but we’ve seen very little of her. She clearly values honor and wants to distance herself from a life of doing bad things, but she’s also incredibly loyal to her family. Her and Tiger Claw’s past still have a lot of mystery to it, and I hope we’ll get to see more of it. Alopex has a lot of potential to be a great ally to the turtles. So far, I like her. Let me see her again, though. Lastly, Kitty Cat Man seems to have lost something... Seriously, I’m pretty impressed they went through with the violent action of severing his arm straight off. Of course we don’t see blood, but you can see the inside of his arm in one shot, which was nuts. I mean, seriously...2012 has turned it up. I haven’t kept it a secret that season four has failed to impress me on a lot of levels, but they’ve definitely hit their stride with getting darker and doing more violent things, which is how this show has always needed to be. There is a saying that if you live by the sword, you die by the sword, and it’s nice to finally see these consequences playing out. Plus, it’s definitely going to be interesting to see how Kitty Cat Man recovers from this. How will he go on fighting? Will he get a replacement arm? I can’t wait to look more into this. So let’s end this with some final thoughts. I enjoyed this episode overall. It wasn’t my favorite by any means, but I liked it a whole lot more than last week’s. I’ve been waiting to hear Tiger Claw’s backstory since he was introduced, and it’s so much more complex than I imagined it would be...and there’s still parts we don’t know! What happened to and and Alopex’s parents? So much mystery...but this episode does something great; it makes us excited about one of our major villains all over again. Tiger Claw had kind of faded into the background for me, but I’m pumped about him all over again. There are a few things this plot falls short on, and definitely a few weird moments, like Splinter drinking and Tiger Claw...getting high. Casey’s role was a bit of a let down for me. I wish we had more time to get to know Alopex. All in all, this episode is REALLY fast-paced, and it doesn’t leave a lot of time to absorb everything we see happen. Here’s to hoping we’ll get to know our fox mutant friend more in the future! Her character has potential.And let’s acknowledge that 2012 has gotten so bold as to cut off Tiger Claw’s arm. What does that means for his future role in the series? So much to think about! But for now, let’s close out this episode with a solid 7/10. And now, we’ve come to the the end of a season...there are only two episodes left, and with titles like ˆRequiem” (which means a celebration for the dead and/or an act of remembrance) and “Owari” (which literally means the end), I have a feeling 2012 is about to close out this season with a lot of pain and loss, and hopefully some resolution. It’s time to take the Super Shredder down once and for all, and we’ve got to go all out. We’ve got a few days before all things come to an end for season four, so let’s discuss this last regular episode while we’re all still emotionally alive. What did you guys think of Alopex? How did you feel about the episode overall? Any theories? Let me know here. Previous review for Tokka VS the World here. All season four reviews here. All episode reviews index here. Podcast review here.

#teenage mutant ninja turtles #tmnt #tmnt 2012 #tmnt 2k12 #the tale of tiger claw #episode review #tmnt spoilers

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aion-rsa · 4 years

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Teenage Mutant Ninja Turtles Animated Movie in the Works with Seth Rogen’s Point Grey

https://ift.tt/eA8V8J

The Nickelodeon-owned Teenage Mutant Ninja Turtles franchise is set for yet another—to briefly borrow its parlance—totally tubular radical reboot, which is now set to launch in the form of a new theatrical animated feature film.

This time, according to Deadline, the fighting foursome will star in a CGI-conjured cinematic offering that will see Nickelodeon team with Point Grey Pictures, the shingle of Seth Rogen, Evan Goldberg and James Weaver, with Paramount set to distribute globally. Ramsey Naito, EVP, Animation Production and Development, will oversee the project on Nickelodeon’s behalf, with Josh Fagen similarly tasked for Point Grey.

Set as director for this new Teenage Mutant Ninja Turtles outing is Jeff Rowe, who—having only served as co-director (alongside Michael Rianda) on upcoming Sony Pictures animated feature Connected—makes his debut here as the lone credited director for a feature. Rowe—who previously worked as a writer for Disney series Gravity Falls and Netflix’s Disenchantment—will work off a screenplay by Brendan O’Brian (Neighbors: Sorority Rising, Mike and Dave Need Wedding Dates).

As previous iterations have done before, the new Teenage Mutant Ninja Turtles animated movie will manifest as a complete canonical reboot of the venerable, perpetually-lucrative franchise that launched in 1984 with creators Kevin Eastman and Peter Laird’s comic book title of the same name, which, after the launch of its 1987-1996 animated series, exploded into global zeitgeist domination as a toys-and-knickknacks-selling kids’ property. However, the new movie will serve as Viacom subsidiary Nickelodeon’s very first attempt at a theatrically-aimed animated offering since the cable channel’s $60 million acquisition of the property back in October 2009.

As Brian Robbins, President, Kids & Family for ViacomCBS lauds of the new feature in a statement:

“Seth, Evan and James’ genius to the humor and action that’s already an integral part of TMNT is going to make this a next-level reinvention of the property. I’m looking forward to see what they do, and I know that Ramsey Naito and her team are excited to take the Nick Animation Studio into another great direction with their first-ever CG-animated theatrical.”

Of course, the sewer-dwelling, pizza-gulping Renaissance-named anthropomorphic reptilian martial arts practitioners—Leonardo, Raphael, Donatello and Michelangelo—are hardly strangers to the big screen, notably with the still-celebrated 1990 live-action Teenage Mutant Ninja Turtles, which solidified the brand as a global phenomenon. After that film’s 1991 and 1993 sequels, the franchise was rebooted in 2007 with its first theatrically-released CG-animated film, the Warner-distributed TMNT, which remains generally well-regarded. However, a live-action reboot of the franchise—this time under the audacious Transformers-esque studio auspices of Michael Bay’s Platinum Dunes—manifested with 2014’s Teenage Mutant Ninja Turtles, this one a live-action hybrid film featuring motion-captured CG-animated versions of the foursome. That film would be followed by a lone sequel in 2016’s Teenage Mutant Ninja Turtles: Out of the Shadows.

The Turtles have also regularly maintained their presence on the small screen, having conjured several animated iterations since the original show, and even the notorious 1997-1998 live-action series, Ninja Turtles: The Next Mutation. However, Nickelodeon’s stewardship yielded offerings like the successful 2012-2017 CG animated series and last year’s Batman vs. Teenage Mutant Ninja Turtles DVD/Blu-ray feature, along with a notable return to 2D animation in 2018 with reinvented Rise of the Teenage Mutant Ninja Turtles, an iteration that will soon be complemented by its own animated feature, on which Nickelodeon is partnering with Netflix.

While no timeframe was divulged for the project, we’ll keep you updated on the Teenage Mutant Ninja Turtles’ developing new theatrically-aimed reboot as the news arrives.

The post Teenage Mutant Ninja Turtles Animated Movie in the Works with Seth Rogen’s Point Grey appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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nofomoartworld · 7 years

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Hyperallergic: An Illustrated Guide to Linda Nochlin’s “Why Have There Been No Great Women Artists?”

Linda Nochlin’s “Why Have There Been No Great Women Artists?” (1971) is generally considered the first major work of feminist art history. Maura Reilly, a curator, writer, and collaborator of Nochlin’s, described the work as “a dramatic feminist rallying cry.” “This canonical essay precipitated a paradigm shift within the discipline of art history,” Reilly states in her preface to Women Artists: The Linda Nochlin Reader (2015), “and as such her name became inseparable from the phrase, ‘feminist art,’ on a global scale.” A dryly humored analysis of the values by which artists are historicized and discussed, “Why Have There Been No Great Women Artists?” posited the first methodological approach for the discipline: that instead of bolstering the reputations of critically neglected or forgotten women artists, the feminist art historian should pick apart, analyze, and question the social and institutional structures that underpin artistic production, the art world, and art history.

In her own words, Nochlin grew up in “a secular, leftist, intellectual Jewish family” in Crown Heights, Brooklyn. In 1951, she graduated with a BA in philosophy and a minor in Greek and art history at Vassar College. Vassar was one of the so-called “Seven Sisters,” a group of historic women’s colleges along the Northeastern US (it became coeducational in 1969). “The good thing about a women’s college…was that women had a chance to do everything,” Nochlin stated in a 2015 interview with Reilly. “We were not pushed to the margins because there were no gendered margins…we were all there was.” In 1952, Nochlin obtained a masters in English literature at Columbia before undertaking her PhD in art history at the Institute of Fine Arts, New York University, where she wrote her doctorate on the work of Gustave Courbet. Aside from “Why Have There Been No Great Women Artists?,” Nochlin is perhaps best known for her 1971 book, Realism, a landmark study on the 19th-century movement.

Shortly after she began teaching art history at Vassar, Nochlin had a conversation with an (unnamed) acquaintance that changed her life. She recalls the exchange in her 1994 essay, “Starting from Scratch”:

“Have you heard about Women’s Liberation?” she asked me. I already was, I said, a liberated woman and I knew enough about feminism — suffragettes and such — to realize that we, in 1969, were beyond such things. “Read these,” she said brusquely, “and you will change your mind.”

Nochlin’s friend handed her a stack of second-wave feminist literature. It included publications such as Redstockings Newsletter and Everywoman. “This was brilliant, furious, polemical stuff, written from the guts and the heart,” Nochlin wrote. “That night, reading until two a.m., making discovery after discovery, cartoonish light bulbs going off in my head at a frantic pace, my consciousness was indeed raised, as it was to be over and over again within the course of the next year or so.”

Nochlin amended the subject of her upcoming seminar (listed simply as “Art 364b”) to The Image of Women in the 19th and 20th Centuries. Together with her students, Nochlin combed through the visual tropes of art history. Among the course’s listed subjects were ‘Woman as angel and devil in 19th-century art,’ ‘Pornography and sexual imagery,’ and ‘The theme of the prostitute.’ “We were doing the spadework of feminist art history,” Nochlin recalled, “and we knew it.”

A year later, Nochlin attended a Vassar graduation ceremony where Gloria Steinem was the speaker. Steinem was invited by Brenda Feigen, a friend of Nochlin’s, and the sister of art dealer Richard Feigen. Nochlin later cited her interaction with the art dealer as the catalyst for “Why Have There Been No Great Women Artists?”:

Afterwards, Richard turned to me and said, “Linda, I would love to show women artists, but I can’t find any good ones. Why are there no great women artists?” He actually asked me that question. I went home and thought about this issue for days. It haunted me. It made me think, because, first of all, it implied that there were no great women artists. Second, because it assumed this was a natural condition. It just lit up my mind. [It] stimulated me to do a great deal of further research in a variety of fields in order to “answer” the question and its implications.

Building upon the research she conducted with her students, Nochlin wrote the essay for inclusion in Vivian Gornick and Barbara Moran’s Women in Sexist Society (1971), where it was originally titled “Why Are There No Great Women Artists?” However, the essay first appeared in the January 1971 edition of ArtNews, an issue specially dedicated to “Women’s Liberation. Woman Artists, and Art History.”

The issue’s cover reproduced an 1801 portrait of “Marie Joséphine Charlotte du Val d’Ognes” from the Metropolitan Museum of Art’s collection, which was once thought to have been painted by Jacques-Louis David. The choice of this painting was pertinent, not only because it depicted a woman drawing, but because it had recently been reattributed to a woman, Constance Marie Charpentier (1767–1849). An ArtNews editorial note describes the portrait as “perhaps the greatest picture ever painted by a woman.” Nine years later, the painting was reattributed to another artist, Marie Denise Villers (1774–1821). The Met Museum also clarified its stance on the painting’s subject, retitling the work more cautiously as “Young Woman Drawing.”

The painting’s shaky attribution underlines the fact that feminist art history should not be understood as just a necessary corrective — or to use Nochlin’s words, as something to be “grafted on to a serious, established discipline” — but as an ongoing project. A feminist art history, as Nochlin views it, would not only entail a more thorough investigation of the painting’s provenance and history, but would necessitate an investigation into why the painting was misattributed as well as the reasons for its art historical and critical neglect. The women’s question, Nochlin argues, “can become a catalyst, an intellectual instrument, probing basic and ‘natural’ assumptions, providing a paradigm for other kinds of internal questioning, and in turn providing links with paradigms established by radical approaches in other fields.”

The first half of “Why Are There No Great Women Artists?” is devoted to Nochlin’s methodological thesis. She argues that Women’s Liberation has been “chiefly emotional — personal, psychological, and subjective — centered,” but she asserts that in order to be effective it also “must come to grips with the intellectual and ideological basis of various intellectual [and] scholarly disciplines.” In this regard, she refers to John Stuart Mill’s observation that we tend to accept whatever is commonplace as “natural.”

“Those who have privileges invariably hold on to them,” wrote Nochlin. “In reality the white-male-position-accepted as-natural, or the hidden ‘he’ as the subject of all scholarly predicates — is a decided advantage, rather than merely a hindrance or a subjective distortion.” In art history, the white, Western male viewpoint is “unconsciously accepted as the viewpoint of the art historian.” Nochlin’s stated mission is to prove that this perspective is not only objectionable “on moral and ethical grounds, or because it is elitist” but because it is intellectually inadequate.

The question in “Why Are There No Great Women Artists?” is implicitly biased. It insidiously assumes that there aren’t any — that unlike men, women aren’t capable of achieving artistic greatness. “The feminist’s first reaction is to swallow the bait,” wrote Nochlin. “That is, to dig up examples of worthy or insufficiently appreciated women artists throughout history.” Though Nochlin affirmed that such work is “certainly worth the effort,” she rejected the approach on the basis that it does “nothing to question the assumptions lying behind the question.” “On the contrary, by attempting to answer it, they tacitly reinforce its negative implications,” Nochlin concluded.

This passage remains the most controversial section of Nochlin’s essay, in part because she went on to curate high-profile exhibitions of work by women artists; for instance, Women Artists: 1550–1950 at the Los Angeles County Museum of Art (1976) and Global Feminisms at the Brooklyn Museum (2007). As Nochlin surmised in “Starting from Scratch,” such exhibition work “directly contradicted” her earlier stance. “I said that I thought that simply looking into woman artists of the past would not really change our estimation of their value,” Nochlin states in her interview with Reilly. “Nevertheless, I went on to look into some women artists of the past and I found that my own estimations and values had in fact changed.” That this criticism has been leveled at Nochlin is not entirely fair. She clearly didn’t denigrate the rehabilitation of neglected artists. Rather, her point was that the approach does nothing to address art history’s patriarchal value system. How is art history structured? Who is asking the questions, how are they framed, and what assumptions do they carry? Why are male artists such as Michelangelo or Picasso typically described as “geniuses,” while women such as Berthe Morisot or Rosa Bonheur are not? Most importantly, how is art historical value conferred?

In what is perhaps the most quoted passage of the essay, Nochlin writes:

There are no women equivalents for Michelangelo or Rembrandt, Delacroix or Cézanne, Picasso or Matisse, or even in very recent times, for de Kooning or Warhol, any more than there are black American equivalents for the same. If there actually were large numbers of “hidden” great women artists, or if there really should be different standards for women’s art as opposed to men’s �� and one can’t have it both ways — then what are feminists fighting for? If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is.

But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class and above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education.

There are a couple of key points to unpack in this passage. The first is that Nochlin is not an essentialist. She does not believe that there is such a thing as an innate “feminine” style (this sets her apart from other feminists such as the artist Judy Chicago, who has argued the opposite). “In every instance, women artists and writers would seem to be closer to other artists and writers of their own period and outlook than they are to each other,” Nochlin observed. Patterns in subject matter, such as the scenes of motherhood and child-rearing depicted by artists such as Berthe Morisot or Mary Cassatt, can be attributed to sociological factors, artistic expectations, or personal predilection, not to gender. “If women have turned to scenes of domestic life, or of children, so did Jan Steen, Chardin, and the Impressionists — Renoir and Monet as well as Morisot and Cassatt. The mere choice of a certain realm of subject matter, or the restriction to certain subjects, is not to be equated with a style, much less with some sort of quintessentially feminine style,” Nochlin wrote.

Nochlin argued that terms such as “great” and “genius” are loaded with “unquestioned, often unconscious, meta-historical premises.” These premises are then compounded by art history’s “romantic, elitist, individual-glorifying, and monograph-producing substructure.” She demonstrates this fact by outlining certain patterns in art historical biographies — namely the discovery of certain “geniuses.” As told by the Renaissance artist and biographer, Giorgio Vasari, Giotto’s talent was discovered, when, as a young shepherd boy, he was observed drawing sheep on a stone. Other artists such as Mantegna, Zurbarán, and Goya “were all discovered in similar pastoral circumstances,” Nochlin jokingly observes. She doesn’t dispute the truth of such stories, but notes that they “tend both to reflect and perpetuate the attitudes they subsume.” Picasso’s completion of all his required art school examinations in a single day is a modern variant of what is effectively the same story, a highly fetishized and mythologized moment of talent and discovery.

Leonardo da Vinci, Pablo Picasso, and Julian Schnabel

Nochlin rejects the values of greatness and genius, not only because they are demonstrably patriarchal, but because their application typically involves a complete disregard for historical or sociological context. Today, the vast majority of contemporary art historians tend to avoid the use of such terminology and consider “genius” to be a facile concept. However, the notion of the masterful individual continues to retain a powerful allure over art-going audiences. The “romantic, elitist, individual-glorifying, and monograph-producing substructure” that Nochlin described, remains the stock-in-trade of the art industry, especially in regards to the marketing of artists and exhibitions.

This brings us to Nochlin’s final field of inquiry: the exclusion of women from art education. Discouraged from the arts (and indeed the majority of intellectual pursuits), talented women have not had their artistic origins or moments of genius documented or discussed. This exclusion, combined with the intellectually impoverished and patriarchal values of “genius” or “greatness,” explains why there are “no women equivalents for Michelangelo or Rembrandt, Delacroix.” The playing field and system of values are simply not the same.

The latter half of Nochlin’s essay examines the institutional exclusion and treatment of women artists. It is divided into four sections — ‘The Question of the Nude,’ ‘The Lady’s Accomplishment,’ ‘Successes,’ and ‘Rosa Bonheur’ — the first of which focuses on the institutionalization of life drawing.

From the Renaissance through to the 19th century, the drawing of the nude was considered an essential artistic skill. The exact parameters of this belief changed over time, but by the 18th century it had coalesced into a highly codified and hierarchical structure. Different genres of painting were ranked. History painting (i.e. historical and mythological scenes) was considered the highest artistic form. It was followed respectively by portraiture, genre, landscape, and still life painting. History painting could not seriously be attempted or lauded unless an artist had demonstrably perfected the male nude. This meant copying from other works, sculptures, and eventually from live models. But it was considered improper for women to attend life drawing classes until the late 19th century. When women were eventually admitted, they were usually supervised by men and their models were often purposefully (and counter-productively) draped. As Nochlin surmised, “to be deprived of this ultimate stage of training meant, in effect, to be deprived of the possibility of creating major art works.”

Nochlin provides a brief historic overview of life drawing, while also examining depictions of artistic pedagogy. She notes with a wry sense of humor that Angelica Kaufmann (1741–1807) could not be represented in person in Johann Zoffany’s 1771–1772 group portrait, “The Academicians of the Royal Academy,” since the scene depicted includes a nude male model. Instead, she is represented in the form of an effigy on the back wall.

Kauffmann was an extraordinarily rare example of a successful woman artist from the period. In France, the best-known women artists were Élisabeth Louise Vigée Le Brun (1755–1842) and Adélaïde Labille-Guiard (1749–1803). The two artists were pitted as rivals and were subject to salacious and unfounded rumors regarding their integrity and conduct, particularly Le Brun, whose association with Marie Antoinette made her an active target of pamphleteers and letter writers. Nochlin suggests that the rare and unique “successes” of artists such as Le Brun and Kaufmann were due, in part, to family ties. “They all, almost without exception, were either the daughters of artist fathers, or, generally later, in the nineteenth and twentieth centuries, had a close personal connection with a stronger or more dominant male artistic personality,” Nochlin wrote. She also observes, but does not delve into, the connection between women artists and “the roles of benign, if not outright encouraging fathers.” Although this section of the essay is less rigorously argued, Nochlin’s theory that familial connections enabled some women to circumnavigate the institutional strictures placed on them, is convincing. Aside from Kaufmann and Le Brun, she also cites Marietta Robusti, Artemisia Gentileschi, Lavinia Fontana, and Elizabeth Chéron as examples.

As the restrictions placed on artistic practice began to wane over the course of the 19th century, women began to “strike out on their own.” The glacial breakdown of these strictures was accompanied by the rise and establishment of a particular stereotype, that of “the lady painter.” In “The Lady’s Accomplishment,” Nochlin attributes this trope to 19th-century etiquette guides and literature. By way of example, she quotes a number of passages from Mrs. [Sarah Stickney] Ellis’s The Family Monitor and Domestic Guide:

To be able to do a great many things tolerably well, is of infinitely more value to a woman, than to be able to excel in any one.

Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is part of social and domestic duty… [it can also] be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.

In works such as these, Nochlin argued, “the insistence upon a modest, proficient level of amateurism…transforms serious commitment into frivolous, self-indulgence, busy work, or occupational therapy.” These attitudes perpetuated certain patriarchal advantages:

Such an outlook helps guard men from unwanted competition in their “serious” professional activities and assures them of “well-rounded” assistance on the home front, so that they can have sex and family in addition to the fulfillment of their own specialized talents at the same time.

Such attitudes persist today, particularly in regards to the tension between family life and work. For instance, the lack of institutional support for both maternity and paternity leave and the absence of universal child care makes it exceptionally difficult, if not impossible, for many women to resume their professions and creative passions. “The choice for women seems always to be marriage or a career,” wrote Nochlin. “I.e., solitude as the price of success or sex and companionship at the price of professional renunciation.”

Nochlin’s essay ends with an extended profile of Rosa Bonheur (1822–1899), “one of the most successful and accomplished women painters of all time.” Bonheur specialized in equine and bovine scenes and was awarded numerous accolades, including a first medal at the Paris Salon. Consistent with her methodological mission, Nochlin is less interested in the specifics of Bonheur’s work than she is in analyzing how the artist navigated the artistic and institutional strictures of her time. Bonheur functions as the ultimate exemplar for Nochlin’s essay, as her circumstances chimed with many of the art historian’s observations and conclusions about women in the arts. For instance, like Le Brun and Kaufmann, Bonheur was born into an artistic family. Furthermore, her father had been a member of the Saint-Simonian community, a political movement dedicated to “true equality,” whose female members made a point of their emancipation by wearing trousers. “My father…reiterated to me that woman’s mission was to elevate the human race, that she was the Messiah of future centuries,” Bonheur told an interviewer. “It is to his doctrines that I owe the great noble ambition I have conceived for the sex which I proudly affirm to be mine.”

Rosa Bonheur

Bonheur’s career coincided with the decline of history painting and the rise of middle-class patronage. By combining her artistic naturalism with a focused specialty, Bonheur was able to stand out in the nascent art market. As Nochlin surmised, Bonheur’s success “firmly establishes the role of institutions, and institutional change, as a necessary, if not a sufficient cause of achievement in art.” However, despite her enlightened roots, Bonheur continually felt the need to justify her unconventional artistic standing. She maintained that she wore trousers because she needed to study animals at fairs. Referring to her shorn head at the age of 16 — a look she briefly adopted following her mother’s death — Bonheur retorted, “who would have taken care of my curls?” The expectation to explain away so-called “masculine” needs and behaviors led Bonheur to police herself and her public image.

In examining and scrutinizing Bonheur’s attitudes, Nochlin effectively signposted a psychoanalytic approach to art history. In addition to yielding a great deal of information about institutional structures and customs, the study of Bonheur’s career also provides a case study of the internalized pressures and contradictory attitudes that women are continually forced to navigate. Perhaps the most extraordinary feature of Nochlin’s essay is its presaging and active encouragement of a multi-disciplinary approach to art history. Aside from psychoanalytic enquiries (vis-à-vis Bonheur’s statements and biography), Nochlin also delved into semiotics (‘genius’ and ‘greatness’) and social art history (institutions and academic structures).

“Why Have There Been No Great Women Artists?” was written during a watershed year for the Women’s Liberation movement. 1970 marked the 50th anniversary of the passing of the 19th amendment. In the same year both Sisterhood is Powerful (an anthology of feminist writings) and Germaine Greer’s The Female Eunuch were published, the Equal Rights Amendment (ERA) passed the US House, the Ad Hoc Women Artist’s Committee was founded in New York, and Judy Chicago established the first ever feminist art program at Fresno State College, California (Nochlin later visited Womanhouse, a pioneering installation work created by Chicago and Miriam Schapiro’s students at CalArts). The publication of Nochlin’s essay in ArtNews was hugely significant in that it catalyzed the art world to confront the so-called “women’s issue,” as well as the historic and contemporaneous treatment of women artists.

The immediate reaction to Nochlin’s article was decidedly mixed. The January ’71 issue of ArtNews featured a number of responses to Nochlin’s essay, including a dialogue between artists Elaine de Kooning and Rosalyn Drexler, who had markedly different reactions to the essay. When de Kooning posits that “the status quo in the arts is fine as it is,” Drexler dissents:

What this woman who wrote the article may mean is there are people who manipulate the art world — who can decide by tumeling up business, by talking, by maybe buying articles, by collecting, by publishing — that they can build a reputation, and the people who do this may feel subliminally — no matter what they say — that they wouldn’t do this for a woman, or, at least, not for many women.”

Rosalyn Drexler and Elaine de Kooning

Later in the exchange, when de Kooning rejects the notion of including women in exhibitions “on the basis of some democratic procedure or statistics” as “ridiculous,” Drexler replies that “you have to start somewhere.” Their conversation, as well as the contributions by artists such as Rosemarie Castoro, Marjorie Strider, and Lynda Benglis, demonstrate that the renewed and growing discourse on structural and systemic discrimination was still very much nascent in the art world, despite the activism of marginalized groups and factions such as the Art Workers Coalition (AWC), Black Emergency Cultural Coalition (BECC), and the Ad Hoc Women Artist’s Committee.

Although Nochlin’s essay did not provide a comprehensive or systematic model for a feminist art history, it did posit a clear methodological approach, which she keenly reiterates in her conclusion:

By stressing the institutional, rather than the individual, or private, preconditions for achievement or the lack of it in the arts, I have tried to provide a paradigm for the investigations of other areas in the field […] I have suggested that it was indeed institutionally made impossible for women to achieve artistic excellence, or success, on the same footing as men, no matter what the potency of their so-called talent, or genius.

As one of the first major works of the field, “Why Have There Been No Great Women Artists?” inspired countless artists and scholars to embark on their own fields of inquiry. Indeed, the essay is best understood as part of a larger post-structuralist rejection of perceived binary oppositions (men/women, black/white, heterosexual/homosexual, cisgender/transgender) and the inherently unequal and unjust dichotomies that they perpetuate. “Nochlin nailed the problem four decades ago,” wrote Eleanor Heartney in a 2015 tribute to the art historian. “That her thinking is still so current says some sad things about contemporary culture.”

Though its proponents may share the same basic values, not all feminist art historians adhere to the same conclusions or concerns. Feminist art history, like feminism itself, is not a monolithic methodology. Opinions regarding gender, race, essentialism, and the canon vary greatly throughout the discipline. One of the few maxims generally held to be true is that there is no such thing as a feminist art history. Rather, there are feminist art histories. Linda Nochlin’s “Why Have There Been No Great Women Artists?” stands as one of the first major strides into a rich, ongoing, and utterly essential discipline.

The post An Illustrated Guide to Linda Nochlin’s “Why Have There Been No Great Women Artists?” appeared first on Hyperallergic.

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