Turning tragedy into a source of creativity, or why art doesn’t have to be street art to be politically subversive.
One November evening in 1998, Iranian intellectuals and activists Dariush and Parvaneh Forouhar, supporters of the democratically elected Prime Minister, were savagely murdered in their home in Tehran. Their devastated daughter, Berlin-based artist Parastou Forouhar, channeled her grief in the language she spoke most fluently: art — powerful, poignant, subversive art that pulls you into its uncomfortable beauty with equal parts urgency and mesmerism. In, Parastou Forouhar: Art, Life and Death in Iran, London-based writer and curator Rose Issa has gathered some of Forouhar’s most provocative yet poetic work from the artist’s exhibitions in Germany, exploring everything from democracy to women’s rights to her parents’ brutal murder.
In a way, Forouhar’s work is the polar opposite of the loud, conspicuous, explicit messaging of Iran’s street art. Her soft colors and fluid shapes might lull you into their surface beauty…until you realize they depict scenes of torture and tragedy — living proof that art doesn’t have to be “street art” in order to be subversive and make compelling cultural commentary on even the most uncomfortable of subjects.
When I arrived in Germany, I was Parastou Forouhar. Somehow, over the years, I’ve become ‘Iranian.’ This enforced ethnic identification took a new turn with the assassination of my parents in their home in Tehran. My efforts to investigate this crime had a great impact on my personal and artistic sensibilities. Political correctness and democratic coexistence lost their meaning in my daily life. As a result, I have tried to distill this conflict of displacement and transfer of meaning, turning it into a source of creativity.” ~ Parastou Forouhar
Images copyright Parastou Forouhar courtesy of Saqi Books
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From Voltaire’s status updates to Edison’s viral videos, or what Diderot has to do with data visualization.
We’ve previously madethecase that everything builds on what came before, yet our human tendency is to inflate and overestimate the novelty of our ideas. Today, we turn to five concepts from the centuries of yore remarkably similar to the central premises of five of today’s social web darlings, in the hope of illustrating that, indeed, creativity is combinatorial and innovation incremental.
In November of 1906, artist, anarchist and literary entrepreneur Félix Fénéon wrote 1,220 succinct three-line reports in the Paris newspaper Le Matin, serving to inform of everything from notable deaths to petty theft to naval expedition disasters. He became the one-man Twitter of early-twentieth-century Paris. In Illustrated Three-Line Novels: Félix Fénéon, artist Joanna Neborsky captures the best of these enigmatic vignettes in stunning illustrations and collages. Sometimes profound, often perplexing, and always prepossessing, these visual snapshots of historical micro-narratives offer a bizarre and beautiful glimpse of a long-gone French era and a man of rare creative genius.
Catch our full review, with many more illustrated “tweets,” here.
Long before there was Facebook, there was the Republic of Letters — a vast and intricate network of intellectuals, linking the finest “philosophes” of the Enlightenment across national borders and language barriers. This self-defined community of writers, scholars, philosophers and other thinkers included greats like Voltaire, Leibniz, Rousseau, Linnaeus, Franklin, Newton, Diderot and many others we’ve come to see as linchpins of cultural history. Mapping the Republic of Letters is a fascinating project by a team of students and professors at Stanford, visualizing the famous intellectual correspondence of the Enlightenment, how they traveled, and how the network evolved over time.
Published in London between 1690 and 1697, The Athenian Mercury supplied answers to readers’ questions on love, literature, science, religion and a variety of utilitarian concerns and personal matters. The answers came from The Athenian Society, consisting of publisher John Dunton and three of his close friends.
If you thought drawing large audiences around silly cat videos is a phenomenon of the YouTube era, you’d be wrong. The man to whom we largely owe the very existence of YouTube — Thomas Edison, who invented the first motion picture camera and made film both a mass communication medium and a creative craft — also invented the cats-engaging-in-silly-acts viral meme…in 1894:
Edison was also no stranger to the selling power of some girl-on-girl action, as evidenced by this antique viral of boxing women:
Thomas of Ireland authored the most famous florilegium of all time. Florilegia were compilations of excerpts from other writings, mashing up selected passages and connecting dots from existing texts to better illustrate a specific topic, doctrine or idea. The word comes from the Latin for “flower” and “gather.” The florilegium is one of the earliest recorded examples of remix culture — a Medieval textual Tumblr.
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What lovable dinosaurs have to do with chalkboard, Cab Calloway and the hypocrisies of Hollywood.
While California may have its Pixar and Dreamworks, much of the talent that gave animation its start hailed from New York. Today, we turn to the seminal work of five such pioneering animators who did New York proud, a follow-up to our recent omnibus of five early animation pioneers.
J. STUART BLACKTON
J. Stuart Blackton may be best-known for his 1900 masterpiece, The Enchanted Drawing, which earned him the credit of having pioneered animation in America. But his 1906 gem Humorous Phases of Funny Faces, while less well-known, is equally important and era-defining as the earliest surviving American animated film in the strict sense of single-exposures of drawings simulating movement — in this case, using chalkboard sketches and cut-outs.
Max Fleischer, a pioneer of animated cartoons, brought us the iconic Betty Boop, Koko the Clown and Popeye characters. In 1932, Betty Boop appeared in “Minnie the Moocher,” a jazz classic by the legendary Cab Calloway.
In 1911, Winsor McCay created the landmark film Little Nemo, which is often debated as the first “true” animation. Three years later, his Gertie the Dinosaur claimed its place in history as the first cartoon to feature a character with a well-definted, lovable personality.
Otto Messmer is best-known as the creator of the Felix the Cat cartoons and comic strips, produced by Pat Sullivan studio. In this 1923 episode, Felix goes to Hollywood, where he encounters celebrities like Charlie Chaplin, Ben Turpin and Will Hays. Underpinning the cartoon are Messmer’s subtle stabs at Hollywood’s corrupt morals and many hypocrisies.
Most of us know animator, director, producer and cartoonist Walter Lantz as the creator of Woody Woodpecker. In 1926, some 15 years before Woody, Lantz produced Tail of the Monkey, blending live-action film with cartoon animation.
Besides inventing the process of cel animation in the early 1910s, Earl Hurd created the once influential and now sadly nearly-forgotten Bobby Bumps animated shorts. Sample them with this treat from 1916: Bobby Bumps and the Stork.
Between 1915 and 1955, Paul Terry produced some 1,300 cartoons, many under his popular Terrytoons studio. Among them was the 1923 gem A Cat’s Life — which, some might say, got a head start on the viral cat videos meme by some 80 years.
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