#r pettibone

[ztremx]

[coloursteelsexappeal]

Janet Jackson - The Pleasure Principle [Long Vocal Mix] (1986)

[dean-boese-universe]

In this episode we discuss Echo as well as the Legend of Vox Machina before we discuss a few things in Krysta's Corner and then we settle down to discuss a documented conflict between a young Houdini in 1897, long before he became famous for it, 'Professor' Houdini went up against a spiritualist in Saint Joseph, Missouri. We discuss the spiritualism movement, Harry's dislike of it, some of his more famous encounters with others over spiritualism, but mostly we focus on this one night where he did a show in St. JOseph, showing how spiritualists defrauded people and ruining the local reputation of one Hatfield Pettibone, a spiritualist who gained fame far and wide for his automatic writing. We discuss how Houdini faced both the public and a crowd of people who paid to disrupt the show and how Houdini was still able to prove most methods of Spiritualism could be easily faked. So join us in this scholarly, historical, confrontational episode of the Family Plot Podcast!

[myvinylplaylist]

Madonna: Erotica (1992)

Compact Disc

Maverick Records

[dinosaurgiantpenny]

[blackownersseekingsuccess]

The Resurgence of Cult Jam: Why Their Comeback Is Worth Celebrating

by Levi Wise Kenneth Catoe Jr.

Step back in time with me to the 1980s, when New York City's art scene was bursting with vibrancy and color. From the underground Hip Hop culture to the iconic Paradise Garage and Funhouse, the city was a haven for creatives of all kinds. Whether you were into New Wave, CBGB's Punk Rock, Graffiti art, or Breakdancing in Times Square, NYC was the place to be.

Amid all this creative energy emerged the musical group that would take the city by storm: Lisa Lisa & Cult Jam featuring Full Force. "I Wonder If I Take You Home" sold out in record stores as the soulful voice of Lisa Velez and the group's unique sound made them an instant success.

But with fame came a price, and it was a steep one. Recently, I had the chance to sit down with Michael Hughes, one of the founding members of Cult Jam, and discuss the challenges that come with success in the music industry. From the highs of topping the pop, R&B, and dance charts to the struggles of navigating the industry's demands, We spoke in-depth regarding the price of fame. I was fortunate enough to have musician Michael Hughes share his insights on making it in the music business in the 1980s and today

Levi Wise Kenneth Catoe Jr.: How are you, Mr. Mike Hughes? You came out of a very vibrant art scene in NYC that pretty much centered around “you had to be there to understand” How would you describe those days in the early 1980's on W. 26th Street in NYC at the Funhouse? 

Michael Hughes: At that time in New York City, at that age was phenomenal. Music and dance were so experimental then. We had such a great variety of music. Not just House music, R&B, or just Funk and Disco if it had a great rhythm or said something special, it got played; mixed crowds, straight or gay, we danced all night. 

LWC: Back in those days you had innovators like Keith Haring, Basquiat, Jellybean Benitez, Madonna, Africa Bambata, Shep Pettibone, Mister Magic, Funky Four Plus One More, and on and on and on; even Sade once worked at the Danceteria what was it about that period in a time in which none of the useful tools that young people now have easily at their disposal is made available; but yet so much creativity came out of that scene of music artist, graffiti artist, makeup artist, DJ, dancers, etc.?

MH: When you appreciate and respect all that came before you. And feed on the creativity of those around you. It's impossible for the seeds of growth not to enter your soul.

LWC: Cult Jam was the first Street/Urban act that came out of Columbia Records which is now Sony take me through that from A&R to executive decisions it was apparent that they were jumping on a bandwagon by opening the door to an act that had street-cred yet were still musically accomplished to be a gateway for the Hip-Hop that followed once you guys opened the door with two #1 smash hits on the Pop charts Head To Toe which also topped R&B and Dance Charts as well, and Lost In Emotions which to me aged better than Head To Toe and that music video was amazing; especially given the time of cheap urban videos. What was your take on that?

MH: Cult Jam came out following in the footsteps of groups like "Secret Weapon ", Unlimited Touch, GQ, and Shannon; other groups and artists came behind us continuing the music flow. Labels and the so-called powers that like to put music in boxes/categories so they can control what they usually don't even understand. 

LWC: CBS/Columbia Records {note: CBS/Columbia records is now SONY} did a poor job promoting the group the name was too long ‘Lisa, Lisa & Cult Jam featuring Full Force’ I feel it was a marketing strategy that was also being used with Miami Sound Machine to breakup the act and create a solo space for Lisa Lisa (Lisa Velez) do you agree? 

MH: The add-on to our name ‘Cult Jam’ was merely a shot in the dark at marketing something catchy. You never really know about that stuff. We used to say what's in a name. It's a stupid name until you have a hit.

LWC: How has the music industry changed since those early years? 

MH: The industry is different now, but what remains the same is money makes promotion make success. 

LWC: Do you guys, Cult Jam {note: founding member drummer/keyboardist Michael (Cultjam)Hughes, guitarist/bassist Alex (Spanador) Mosely, and their latest female vocalist/soultress, Long Island native Mystina Sol} feel more empowered today, or was the industry machine better than the social media and internet freedoms of today?

MH: We as a lot of indie artists are empowered. We can create something we love 100% with no interference or someone looking over our shoulder. Those creations can feel like your children. But the company machine can be very helpful. There is a give and take in every situation. Life is full of compromise. 

LWC: Talk a bit about where you are now and Cult Jam in its current form and describe your music genre. Are you still under the umbrella of Hip Hop and freestyle? What is the evolution?

MH: Cult Jam music can be best described then and now as feel-good-good. You dance and sing we supply the ambiance.

LWC: I represent a Black Literature space as well as a college student base that often is unaware of music beyond the same mainstream artist that’s constantly being streamed if there was one song of Lisa Lisa & Cult Jam to introduce them to your music what would that one song be?

MH: I wonder if I take you home our first puts you into the feel of what comes in the colors of Cult Jam. Celebrate what love can do from our current creations and keep that sexy feel essence. 

LWC: So now my question is how would you introduce someone unfamiliar with your previous music to who you are as Cult Jam today?

MH: Seeing Cult Jam live has always been what represents us best. We were a touring band from day one.

LWC: Thank you so much for speaking with our audience today. You are a boss.

MH: Much love and appreciation - Mike "Cult Jam" Hughes. 

*New Music* Holding Back The Years - Cult Jam / 2024

Levi Wise Kenneth Catoe Jr.

Editor, BOSS NYC

[randomvarious]

Today’s compilation:

The Best of Personal Records 1989 Disco / Post-Disco / Eurodisco / Electro / Boogie

Despite only existing between around '83 to '86, the New York-based dance label Personal Records possessed an uncanny ability in churning out floor-burning bangers. In just less than four years, and without the assistance of any major label, they managed to chart twenty-eight of their own releases. That's a lot, folks!

Personal was co-founded by famed disco producer Jurgen Korduletsch and record biz executive Don Oriolo. And here's a fun bit of trivia about Oriolo: he also ran the Felix the Cat brand. It was actually his dad who created Felix—as well as Casper the Friendly Ghost—and when he died, Don took over operations for Felix. So, if you've ever wondered why Felix appeared to have this sudden resurgence in the 80s and 90s, it's because the co-owner of this excellent 80s dance label was the one who was pulling the strings! Neat, huh?

Anyway, there's few things in this world that I love more than 80s club music. Just a total hodgepodge of stuff like disco, post-disco, boogie, funk, R&B, soul, hi-NRG, electro, hip hop, dance-rock, freestyle, synthpop, house, dance-pop, and new wave, all flowing carefreely through each other. Never has music really felt more like a melting pot than when it was played on a 1980s dancefloor. Purely unprecedented peak eclecticism that I don't think we're ever going to see again.

And Personal contributed to that spirit of dynamism with their own catalog, which this compilation manages to provide a retrospective of in eleven songs. Personal's stuff lit up New York clubs, but not all of it was made by New Yorkers. In fact, four of the songs on here were actually licensed from Germany, including probably the album's most popular song, George Kranz's "Din Daa Daa," a peculiar, onomatopoeia-heavy, beatboxing precursor that was featured on the soundtrack for none other than Breakin' 2: Electric Boogaloo. And the other three German-made tracks come courtesy of a guy named Fancy, whose "Chinese Eyes" sure as shit hasn't aged well at all lyrically, but sonically, it's something of a new wave-synthpop-Eurodisco masterpiece. Kranz's song hit #1 on Billboard's dance chart, while "Chinese Eyes" peaked at #2.

Also, do you remember that 1991 dance-pop-house piece of cotton candy fluff, "Touch Me (All Night Long)" by Cathy Dennis (I actually posted about it a while back...you think you haven't heard from Dennis since that song came out, but trust me, you have.)? Did you know it's actually a cover of a 9½-minute freestyle-electro-post-disco bop by Wish & Fonda Rae? The original's far less known than Dennis' version, but it still peaked at #5 on the US dance chart and it was also featured in A Nightmare on Elm Street 2. It's co-produced by the great and recently departed Patrick Adams (he made up half of Wish), who shows up in a couple other places on this comp too, including "Let's Change It Up" by Inner Life, a studio group fronted by Jocelyn Brown that he was also a member of.

Oh, and eminent 80s producer-remixer extraordinaire Shep Pettibone is on here as well, providing his signature sound in Clair Hicks & Love Exchange's "Push Push (In the Bush)," which, come to think of it...do you think that provided some inspiration for "What What (In the Butt)"? 😂

And one last thing! She's not on here at all, but Lisa Lisa was actually also signed to Personal Records for some time. They licensed her hit debut single, "I Wonder If I Take You Home," which Korduletsch and Oriolo both had a hand in producing, to CBS Records for a European compilation called Breakdancing, and it led to her getting signed to Columbia. Just another feather for this powerful, yet ultimately fleeting 80s dance label to wear in its cap.

Highlights:

George Kranz - "Din Daa Daa" Wish featuring Fonda Rae - "Touch Me" Fancy - "Chinese Eyes" Fancy - "Come Inside" Clair Hicks & Love Exchange - "Push Push (In the Bush)" Fancy - "Check It Out" Claudja Barry - "Born to Love" Inner Life - "Let's Change It Up"

[seanmorroww]

Janet Jackson - “Escapade (Shep's Good Time Mix)”

Escapade [A&M, 1990]

[touchwithyoureyes]

One of the most effective modes of sequential art involved in communicating a visual narrative is the comic. An interesting history of the comic strip dating back to the late 1600s can be found here

Ad Reinhardt (above) and R. Crumb (below) have been recognized for their work in comics (sometimes regarded as “low art” by the art community) so much so that their comic work has been highlighted and warranted representation on a gallery level by David Zwirner.

Ad Reinhard has utilized the illustration and techniques used in comics to introduce satirically how to view modern art, to critique the art world and to communicate and explain art theory and criticism simply and visually in a form of art comics to normal people who are not of the aforementioned upper echelon of the art world such as art dealers and curators and art critics.

R. Crumb utilizes comics to portray an alternative and risqué side of society and life, revealing a world of fetish and exploring the social underbelly of our society and exploring various subcultures through comics as a form of art.

R. Crumb also utilizes comics as a form of socio-political critique on the current state of affairs and is extremely tactful in his method of comics in communicating disdain and shared frustration visually:

Another famous artist Raymond Pettibon utilizes the comic stye of illustration as well in his graphic novels, artworks and posters. He is most famous for designing flyers for punk shows and concerts from the 70s and 80s and has illustrated and designed many graphic novels (frames of many of which have been reproduced and sold as artworks themselves) with social and political commentary and themes.

As Monica Lombardi, artist manager for Pettibon writes for The Blogazine:

“Raymond Pettibon (born Raymond Ginn in Tucson, Arizona, 1957) is recognized as one of most significant and peculiar US figurative artists, despite his outsider nature, maintained since the 80s, when he first emerged on the international art scene. The “petit bon” (good little one) – as Raymond was called by his father – adopted this nickname as surname during the late 70s when he started playing with his brother Greg Ginn, the founder of the famous punk band Black Flag. At that time, Pettibon started creating ironic and irreverent drawings: ink and gouache on paper that mixed fiction literature and comic-like sketches, creating strong, often ambiguous, associations. The artist’s works, which initially appeared on T-shirts, stickers, skateboards, flyers, cover records and such – among which, the most notable was the distinctive four-bars logo designed for the Black Flag and, later on, the cover of Sonic Youth’s 1990 album “Goo”–, at the beginning spread mainly within underground culture, helping to define the punk aesthetics.”

[howmanyartists]

Raymond Pettibon

• • Nace el 16 de Junio de 1957 en Tucson, Arizona. Actualmente reside en Nueva York. • Comienza diseñando portadas de ábumes para la banda de su hermano “Black Flag” a mediados de los años 70.Produce portadas para Sonic Youth, The Minutemen y Foo Fighters.• En 2017 tuvo lugar su exposición más importante: “Raymond Pettibon: A Pen of All Work,” en el New Museum de Nueva York. • Sus obras se encuentran en las colecciones del Centro Georges Pompidou en Paris, The Museum of Modern Art en Nueva York, y the Tate Gallery en Londres, entre otros. • Comenzó a exponer su obra como artista a mediados de los años 80. Ha tenido numerosas exposiciones incluyendo una exposicción individual en the Whitney Museum (2005), the Whitechapel Gallery en Londres (2001), y the Drawing Center (1999), así como un notable número de exposiciones colectivas como la de the Whitney Biennial en 1993 y 2004 y en 2007 en la Bienal de Venecia.

[databass3]

MASTERPOST

Categorías:

Dibujo

Pintura

Escultura

Cine

Arquitectura

Animación

Concept art

Ilustración

A

Tomma Abts

Lawrence Abu Hamdan

Franz Ackermann

Richard Aldrich

Brian Alfred

Francis Alys

Kai Althoff

Yoshitaka Amano

Ghada Amer

Even Amundsen

Hurvin Anderson

Richard Anderson

Wes Anderson

Tadao Ando

Ida Applebroog

Juan Araujo

Tauba Auerbach

Laurel Austin

Michael J. Austin

B

Andrew Baker

John Baldessari

Antonio Ballester Moreno

Matthew Barney

Darren Bartley

Georg Baselitz

James Baxter

Carole Benzaken

Cesar Biojo

Benjamin Björklund

Aaron Blaise

Rob Bliss

Michael Borremans

Lisa Brice

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Glenn Brown

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Bernard Buffet

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C

Ricardo Cabral

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Brian Calvin

Helen Cammock

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Henry Darger

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Cecilia Edefalk

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Helmut Federle

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Julio Galan

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Peter Halley

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Johannes Kahrs

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L

Studio Laika

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M

Jorge Macchi

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Muntean/Rosenblum

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N

Yutaka Nakamura

Yusuke Nakano

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O

Albert Oelhen

Kazuo Oga

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P

Blinky Palermo

Philip Pearlstein

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Q

R. H. Quaytman

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R

Neo Rauch

Blake Rayne

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S

Vyacheslav Safronov

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T

Tatsuyuki Tanaka

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U

Nicolás Uribe

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Adriana Varejao

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X

Zhang Xiaogang

Y

Santiago Ydañez

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Z

Luiz Zerbini

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Feng Zhu

[odioart]

Raymond Pettibon x Odio  Sonic Youth -Goo (1990)  c o l o r f u l  note* Sonic Youth is one of my favorite bands I was really happy to get to do something like this. IDK what will come of it but I will make some limited prints for the patron at the very least.  

[miamiartdistrict]

KAMROOZ ARAM

on the ancient arts of Iran

Achaemenid (Iran, Susa). Bricks with a palmette motif, ca. 6th–4th century B.C. Ceramic, glaze. The Metropolitan Museum of Art, Rogers Fund, 1948 (48.98.20a–c)

The Artist Project

Vito Acconci on Gerrit Rietveld's Zig Zag Stoel

Ann Agee on the Villeroy Harlequin Family

Diana Al-Hadid on the cubiculum from the villa of P. Fannius Synistor at Boscoreale

Ghada Amer on an Iranian tile panel, Garden Gathering

Kamrooz Aram on the ancient arts of Iran

Cory Arcangel on the harpsichord

John Baldessari on Philip Guston's Stationary Figure

Barry X Ball on an Egyptian fragment of a queen’s face

Ali Banisadr on Hieronymus Bosch's The Adoration of the Magi

Dia Batal on a Syrian tile panel with calligraphic inscription

Zoe Beloff on Édouard Manet's Civil War (Guerre Civile)

Dawoud Bey on Roy DeCarava

Nayland Blake on boli

Barbara Bloom on Vilhelm Hammershøi's Moonlight, Strandgade 30

Andrea Bowers on Howardena Pindell

Mark Bradford on Clyfford Still

Cecily Brown on medieval sculptures of the Madonna and Child

Luis Camnitzer on Giovanni Battista Piranesi's etchings

Nick Cave on Kuba cloths

Alejandro Cesarco on Gallery 907

Enrique Chagoya on Goya's Los Caprichos

Roz Chast on Italian Renaissance painting

Willie Cole on Ci Wara sculpture

George Condo on Claude Monet's The Path through the Irises

Petah Coyne on a Japanese outer robe with Mount Hōrai

Njideka Akunyili CROSBY on Georges Seurat's Embroidery; The Artist's Mother

John Currin on Ludovico Carracci's The Lamentation

Moyra Davey on a rosary terminal bead with lovers and Death's head

Edmund de Waal on an ewer in the shape of a Tibetan monk's cap

Thomas Demand on the Gubbio studiolo

Jacob El Hanani on the Mishneh Torah, by Master of the Barbo Missal

Teresita Fernández on Precolumbian gold

Spencer Finch on William Michael Harnett's The Artist's Letter Rack

Eric Fischl on Max Beckmann's Beginning

Roland Flexner on Jacques de Gheyn II's Vanitas Still Life

Walton Ford on Jan van Eyck and workshop's The Last Judgment

Natalie Frank on Käthe Kollwitz

LaToya Ruby FRAZIER on Gordon Parks's Red Jackson

Suzan Frecon on Duccio di Buoninsegna's Madonna and Child

Adam Fuss on a marble grave stele of a little girl

Maureen Gallace on Paul Cézanne's still life paintings with apples

Jeffrey Gibson on Vanuatu slit gongs

Nan Goldin on Julia Margaret Cameron

Wenda Gu on Robert Motherwell's Lyric Suite

Ann Hamilton on a Bamana marionette

Jane Hammond on snapshots and vernacular photography

Zarina Hashmi on Arabic calligraphy

Sheila Hicks on The Organ of Mary, a prayer book by Ethiopian scribe Baselyos

Rashid Johnson on Robert Frank

Y.Z. Kami on Egyptian mummy portraits

Deborah Kass on Athenian vases

Nina Katchadourian on Early Netherlandish portraiture

Alex Katz on Franz Kline's Black, White, and Gray

Jeff Koons on Roman sculpture

An-My Lê on Eugène Atget's Cuisine

Il Lee on Rembrandt van Rijn's portraits

Lee Mingwei on Chinese ceremonial robes

Lee Ufan on the Moon Jar

Glenn Ligon on The Great Bieri

Lin Tianmiao on Alex Katz's Black and Brown Blouse

Kalup Linzy on Édouard Manet

Robert Longo on Jackson Pollock's Autumn Rhythm (Number 30)

Nicola López on works on paper

Nalini Malani on Hanuman Bearing the Mountaintop with Medicinal Herbs

Kerry James MARSHALL on Jean Auguste Dominique Ingres's Odalisque in Grisaille

Josiah McElheny on Horace Pippin

Laura McPhee on Pieter Bruegel the Elder's The Harvesters

Josephine Meckseper on George Tooker's Government Bureau

Julie Mehretu on Velázquez's Juan de Pareja

Alexander Melamid on Ernest Meissonier's 1807, Friedland

Mariko Mori on Botticelli's The Annunciation

Vik Muniz on The Henry R. Luce Center for the Study of American Art

Wangechi Mutu on Egon Schiele

James Nares on Chinese calligraphy

Catherine Opie on the Louis XIV bedroom

Cornelia Parker on Robert Capa's The Falling Soldier

Izhar Patkin on Shiva as Lord of Dance

Sheila Pepe on European armor

Raymond Pettibon on Joseph Mallord William Turner

Sopheap Pich on Vincent van Gogh's drawings

Robert Polidori on Jules Bastien-Lepage's Joan of Arc

Rona Pondick on Egyptian sculpture fragments

Liliana Porter on Jacometto's Portrait of a Young Man

Wilfredo Prieto on Auguste Rodin's sculptures

Rashid Rana on Umberto Boccioni's Unique Forms of Continuity in Space

Krishna Reddy on Henry Moore

Matthew Ritchie on The Triumph of Fame over Death

Dorothea Rockburne on an ancient Near Eastern head of a ruler

Alexis Rockman on Martin Johnson Heade's Hummingbird and Passionflowers

Annabeth Rosen on ceramic deer figurines

Martha Rosler on The Met Cloisters

Tom Sachs on the Shaker Retiring Room

David Salle on Marsden Hartley

Carolee Schneemann on Cycladic female figures

Dana Schutz on Balthus's The Mountain

Arlene Shechet on a bronze statuette of a veiled and masked dancer

James Siena on the Buddha of Medicine Bhaishajyaguru

Katrín Sigurdardóttir on the Hôtel de Cabris, Grasse

Shahzia Sikander on Persian miniature painting

Joan Snyder on Florine Stettheimer's Cathedrals paintings

Pat Steir on the Kongo Power Figure

Thomas Struth on Chinese Buddhist sculpture

Hiroshi Sugimoto on Bamboo in the Four Seasons, attributed to Tosa Mitsunobu

Eve Sussman on William Eggleston

Swoon on Honoré Daumier's The Third-Class Carriage

Sarah Sze on the Tomb of Perneb

Paul Tazewell on Anthony van Dyck's portraits

Wayne Thiebaud on Rosa Bonheur's The Horse Fair

Hank Willis THOMAS on a daguerreotype button

Mickalene Thomas on Seydou Keïta

Fred Tomaselli on Guru Dragpo

Jacques Villeglé on Georges Braque and Pablo Picasso

Mary Weatherford on Goya's Manuel Osorio Manrique de Zuñiga

William Wegman on Walker Evans's postcard collection

Kehinde Wiley on John Singer Sargent

Betty Woodman on a Minoan terracotta larnax

Xu Bing on Jean-François Millet's Haystacks: Autumn

Dustin Yellin on ancient Near Eastern cylinder seals

Lisa Yuskavage on Édouard Vuillard's The Green Interior

Zhang Xiaogang on El Greco's The Vision of Saint John

[compneuropapers]

Interesting Papers for Week 38, 2020

Prediction and memory: A predictive coding account. Barron, H. C., Auksztulewicz, R., & Friston, K. (2020). Progress in Neurobiology, 192, 101821.

Prefrontal Cortex Predicts State Switches during Reversal Learning. Bartolo, R., & Averbeck, B. B. (2020). Neuron, 106(6), 1044-1054.e4.

Visualization of a Distributed Synaptic Memory Code in the Drosophila Brain. Bilz, F., Geurten, B. R. H., Hancock, C. E., Widmann, A., & Fiala, A. (2020). Neuron, 106(6), 963-976.e4.

Generative Feedback Explains Distinct Brain Activity Codes for Seen and Mental Images. Breedlove, J. L., St-Yves, G., Olman, C. A., & Naselaris, T. (2020). Current Biology, 30(12), 2211-2224.e6.

Manipulating synthetic optogenetic odors reveals the coding logic of olfactory perception. Chong, E., Moroni, M., Wilson, C., Shoham, S., Panzeri, S., & Rinberg, D. (2020). Science, 368(6497).

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[anartisticexpression]

Who knew there were so many ways to draw a skeleton?

l-R: Red Skull, Ghost Rider and Lady Death (Marvel Comics), Big Skeleton (Funnybones), Skeleton (Super Ted), Skeletor (He-Man and the Masters of the Universe), Death (Discworld), Jacques (Beetlejuice the Animated Series), Hexus (Ferngully: The Last Rainforest), Mr Skullhead (Animaniacs), Jack Skeleton (The Nightmare Before Christmas), Brook (One Piece), Mr. Skully Pettibone (Scary Godmother), Murry (The Curse of Monkey Island), Sir Dan (Medievil), Manny (Grim Fandango), Grim (The Grim Adventures of Billy and Mandy), Lord Death (Soul Eater), Bonejangles (Corpse Bride), Skulduggery Pleasant (Skulduggery Pleasant), The Lich King (Adventure Time), Captain Jack Sparrow (Lego Pirates of the Caribbean), Ainz (Overlord), Lord Hater (Wander Over Yonder), Elias Ainsworth (The Ancient Magus' Bride), Manolo (The Book of Life), Lewis Pepper (Mystery Skulls Animated), Sans and Papyrus (Undertale), Hector (Coco). Notes: Yeah, I'm slightly cheating here with Red Skull as he isn't actually a skeleton but he has the word "skull" in his name and he helps keep the numbers even so... *shrugs* Same with any demon/spirit/alien presented here! * I tried to limit this to one skeleton per franchise but when it comes to Sans and Papyrus, you can't draw one without the other! * To represent Pirates of the Caribbean, I initially drew Barbossa in his skeletal form but he came out looking far too much like a grey-skinned zombie and I got the same result when I tried switching to Jack (That's the trouble; for plot-related reasons all footage of the skeleton pirates take place in the dark so I struggled with getting the likenesses right!) I therefore said, "Screw it!" and went with Captain Jack Sparrow's Lego form... which I still had to alter as it wasn't skeletal enough! So, anyway... Happy Halloween!

Red Bubble / Commissions / Ko-fi   

[artbookdap]

Art School Inspirational! Back to School isn't exactly going as planned this year, so we dove into our archives in search of inspiration. We found it in 'Drawing People,' featuring an international roster of artists working with pencil, ink, watercolor, charcoal and crayon, including Francis Alÿs, Charles Avery, Louise Bourgeois, Francesco Clemente, Adam Dant, Marlene Dumas, Dr. Lakra, Paul McCarthy, Nalini Malani, Wangechi Mutu, Raymond Pettibon, Rosemarie Trockel, Tal R, Marcel Dzama, Barry McGee, Amy Sillman and Kara Walker.⁠⠀ ⁠⠀ Featured here, works and details by ⁠⠀ Paul McCarthy ⁠⠀ Erinc Seymen⁠⠀ Elizabeth Peyton⁠⠀ Marcel Dzama⁠⠀ Tabaimo⁠⠀ On the cover: Mircea Suciu⁠⠀ ⁠⠀ Read more via linkinbio!⁠⠀ ⁠⠀ Please order from your local independent #bookstorehero — many have reopened or offer curbside pickup! Or order via linkinbio.⁠ https://www.instagram.com/p/CFQJ-QMJFxk/?igshid=110wwsy9l67bl