05w24:1 John Currin

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Good Reads Mailing List | 2005 week 24 number 1 (john currin)

All these articles are from late 2003 – Timothy
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Defending John Currin | Charlie Finch
http://www.artnet.com/magazine/features/finch/finch11-10-03.asp
“Currin is conservative in the best sense of the world: he seeks to perceive what is authentic within the purview of his bent vision, and what is authentic to Currin is the unclassifiability of desire and the conviction that all life is essentially erotic. Other than Currin’s stated template, Lucius Cranach the Elder, the piece that best approximates Currin’s enduring genius is Vermeer’s Girl in the Red Hat, in which the attenuated red fur of the hat begs to be taken sexually, with permission from its wearer’s smile. This sensuous aspect of Currin’s work drives the politically correct art elite nuts, much as his limpid palette, so reminiscent of Wayne Thiebaud, leads to accusations that John can’t paint.”

Talk of the Town | Mia Fineman
http://slate.msn.com/id/2093020
“There are some wildly different ideas about exactly what Currin is up to?New York Times critic Michael Kimmelman sees him as ‘a latter-day Jeff Koons’ trafficking in postmodern irony while Peter Schjeldahl at The New Yorker finds him a blissfully sincere artist tapping into the timeless values of ‘mystery, sublimity, transcendence.’ But everyone is unanimous about one thing: John Currin can paint.In almost every review, Currin’s technical skill is acknowledged with a kind of breathless wonder. And to be sure, lately he has adopted a suave, Old Master-ish style, rendering the smooth, luminous skin of his nudes with real conviction?a marked departure from the intentionally crude technique of his earlier paintings. But this critical fixation on Currin’s painterly technique raises the question: Why are we so surprised that a successful contemporary painter is good at putting pigment on canvas? “essay continues with an html slide show

Art Market Guide 2003 | Richard Polsky
http://www.artnet.com/magazine/features/polsky/polsky10-22-03.asp
“Now that Currin’s prices are in the same league as the above artists, you have to ask yourself — who is this painter and what is he doing selling for all this dough? In terms of esthetics, John Currin has surprisingly received universal praise from the art world press. There has been all sorts of talk of how expertly his works are painted, coupled with a lot of psychological nonsense about the human condition. To my eye, all we have here are intentional kitschy, thrift-store portraits of people with exaggeratedly wide eyes. Sure, they’re skillfully painted, but why shouldn’t they be? In this day and age, the art world considers being a good draughtsman and having a command of color and composition to be something remarkable.”
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emailed by Timothy on Tuesday 14 June 2005 @ 2:25 PM

05w23:1 New Old Masterism

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Good Reads Mailing List | 2005 week 23 number 1 (new old masterism)


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Going Going Gone | Donald Kuspit
http://www.artnet.com/Magazine/features/kuspit/kuspit9-15-99.asp
“The attempt to create beauty as perfectly as possible has led these artists to emphasize craft — not at the expense of vision, but as its instrument. Sol LeWitt once wrote that ‘When an artist learns his craft too well he makes slick art,’ but the New Old Masterism makes it clear that one can never learn one’s craft too well, and the result of doing so is not slick but uncanny. For superior craft intensifies sight so that it becomes insight, which is what occurs in highly crafted Old Master art. The New Old Masterism restores the idea of the work of art as a carefully considered and composed object rather than an improvised sketch, that is, as an integrated, organic whole rather than a partial expression.”Note: article date 15 Sept 1999

Why it’s ok not to like modern art | Julian Spalding
http://www.timesonline.co.uk/article/0,,7-672489,00.html
“I have never met anyone who told me they loved modern art. No one ever came up to me, their eyes glowing with pleasure, telling me I just must see, say, the new wall drawings by Sol Lewitt in the 1970s, or the smashed-plate paintings by Julian Schnabel in the 1980s, or the life-size, glazed porcelain figures by Jeff Koons in the 1990s. […] It is all too obvious to anyone not in the art world (though always denied by those within it) that a rift has opened between the art being promoted in contemporary galleries and the art that people like to hang on their walls at home. […] Any work of art worthy of the name has an instantaneous effect on first viewing. An artist might bring all sorts of feelings and thoughts into play, but unless he or she manages to make them all contribute to one encompassing, illuminating whole, the work of art will have no heart, no ‘life’ of its own. Looking at a great work of art makes one feel more fully aware of one?s thoughts yet no longer wearied by them, more exposed to one?s emotions yet no longer drained by them, more integrated, more composed ? more, in a word, conscious. It is the light of consciousness that great works ignite in our minds. It is this quality of luminosity that unites the divine visions of Piero della Francesca with the nightmares of Goya. This is the light that will return to art after the eclipse has passed. A found object, whether it is a brick or a urinal, cannot by itself inspire you with a heightened level of consciousness, just because it is selected and placed in a gallery. The man who designed the urinal did not make it to inspire ideas about art, but for men to urinate into.”

Queen Street’s New Old Masters | Timothy Comeau
http://www.blogto.com/arts/2005/06/queen_streets_new_old_masters/
“Dan Hughes’s show is just down the street from Mike Bayne’s, which just closed at Katherine Mulherin’s gallery, which I wrote about here and which mentioned Kuspit’s defense of superior craft ‘enhancing sight to produce insight’. I’m afraid that the only immediate insight I got from Dan Hughes’s show is that varnish makes paintings very shiny. (That and what follows after a couple of days reflection …). My own recent experiences with practicing the craft of painting, in relation to rendering and toward the achievements of the Old Masters is that craft alone clearly isn’t enough.”

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emailed by Timothy on Wednesday 08 June 2005 @ 1:15 PM

Make Poverty History

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Make Poverty History

http://www.makepovertyhistory.ca/

Dear Timothy Comeau:

Thank you for supporting the Make Poverty History campaign. Your name has been
added to the ballooning list of supporters who have committed to the goals of
this campaign.

Now it’s time to make sure every person you know does the same. Poverty
eradication is possible, so let’s encourage hundreds of thousands of others to
get on board.

There is no time to lose. Please forward this message to everyone in your
address book. Tell them to join with thousands of others across the planet to
once and for all make poverty history.

Thanks again. We’re excited to make poverty history? with you.

Liz Bernstein
and the MPH Campaign Team
info@makepovertyhistory.ca
tel 613.241.5293

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Dear Friend,

Today, I became part of an unprecedented global call to action to end poverty:
Make Poverty History

Right now, there is active campaigning in over 50 countries around the three
core demands: More and Better Aid, Make Trade Fair, and Cancel the Debt. In
Canada, we’re also campaigning to End Child Poverty in Canada.

You’ve just got to be a part of this campaign.

Go to http://www.makepovertyhistory.ca and sign on to the campaign yourself.

There is no time to lose. It doesn’t matter who or where you are, your voice is
*critical* to the success of this campaign. This is a rare chance to join me and
thousands of others across the planet to once and for all make poverty history.

What are you waiting for? Join me and click in!

Timothy Comeau

What you can do right *now*:

* Sign on to the campaign
* Tell Paul Martin to commit to a timeline for 0.7%
* Click others into action – forward this message to your networks

/”If everyone who wants to see an end to poverty, hunger and suffering speaks
out, then the noise will be deafening. Politicians will have to listen.”/
– Archbishop Desmond Tutu

emailed by Timothy on Tuesday 07 June 2005 @ 10:35 PM

05w22:1 The Collaspse of Globalism

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Good Reads Mailing List | 2005 week 22 number 1 (The Collapse of Globalism)


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John Ralston Saul’s ‘The Collapse of Globalism’ | Timothy Comeau
http://tinyurl.com/bstum
“Ah the isms, can’t live with ’em, can’t have good arguments without them. And for the past thirty years, we’ve seen a flourishing of isms, one that could almost be said to have sprung from the fertilized soil of the World War’s dead a generation prior. To some they were flowers, to others they have been weeds. And JRS is one who’s seen them as weeds. I’ve come to find them somewhat noxious myself, which is one of the reasons that I’ve grown fond of his thinking, and over the winter I read most of his books. It is also for that reason that I was particularly excited when I learned in March that he had a new book coming out. There was also a geeky pleasure to know that with the publication of a new text he’d be speaking in Toronto at some point, which turned out to be sooner rather than later. JRS spoke at U of T’s MacMillan Theatre a week ago now, which I eagerly attended and like the keener I am took a seat dead centre in the third row because lectures for me are more exciting than rock concerts. “

The Collapse of Globalism by John Ralston Saul | Paul Kennedy
http://www.timesonline.co.uk/article/0,,2102-1616368,00.html
“There are few middle-of-the-road voices to be heard here. Egged on, one suspects, by their publishers, authors participating in this debate tend to advance a more extreme – or, shall we say, more dramatic – picture of events. Just recently, the foreign-affairs correspondent of The New York Times, Thomas Friedman, published his new book The World Is Flat: A Brief History of the Globalised World in the 21st Century. Deeply impressed by the communications revolution and the free flow of capital, and reinforced by interviews with high-tech entrepreneurs from Boston to Bangladesh, Friedman argued that globalisation is intensifying, making societies ever more ‘flat’ – that is, conforming more and more to free-market western practices. This debate is now joined by the Canadian philosopher John Ralston Saul, with The Collapse of Globalism. Saul has written various books of fiction as well as non-fiction, and he brings a great breadth of literary and cultural knowledge to his task. But he has his own axe to grind in this debate over globalism, and his own arguments to advance. […] But his story is about the losers or, better put, about the backlash against globalism and globalisation. And he is striving, yearning, faltering and then rising to find what Hans Kung, the great German theologian, described as a ‘global ethic’ to help us pick our way through the debris of the 21st century. The Collapse of Globalism is an angry and, I think, an unbalanced book, for the same yet opposite reasons as Friedman’s. Each is groping a particular part of our elephant of globalism. For his part, Saul sees, not the ‘flattening’ of our world, but the increasing storms and dislocations, and the increasingly powerful movements and protests against unbridled capitalism, especially in the developing world. And he means to frighten the reader, not only to his point of view, but to take action. This is a sort of manifesto, rather like Rachel Carson’s The Silent Spring, or Donella and Dennis Meadows’s Club of Rome report, The Limits to Growth.”

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emailed by Timothy on Saturday 04 June 2005 @ 2:38 PM

05w21:3 The Artistic Stereotype

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Good Reads Mailing List | 2005 week 21 number 3 (the artistic stereotype)


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Face to face with Freud | John Cornwell
http://www.timesonline.co.uk/printFriendly/0,,1-531-1610665-531,00.html
“In the early days of his success half a century ago, Lucian Freud was a charismatic playboy, a lady-killer with an Alvis. He mixed as easily with Soho lowlife as with Mayfair toffs. Frail now, stick-thin, stooped, his face bloodless, his nose like a hawk’s bill, I see him shuffling up Holland Park Avenue to Lidgate, the bespoke butchers, to buy steaks for the whippet; woodcock, quail and snipe for his human sitters. In crumpled chinos and laceless trainers, a thin grey scarf around his collarless neck, there’s more than a hint of old Steptoe. Yet with an income estimated in 2003 as £12m a year, he is twice as rich as Robbie Williams, they say, and despite the geriatric grunginess, he can still mesmerise women old enough to be his granddaughters. At 79 he was dating a 27-year-old called Emily Bearn. His latest self-portrait (on show at the National Portrait Gallery) reveals a naked young woman, identified as one Alexandra Williams-Wynn, the 32-year-old daughter of a Welsh landowner and baronet. Her ankles are wrapped around his right leg; her left hand wanders, it seems, towards his fly; or is it his pocket?”Note: a very good read which nonetheless indulges in the stereotype of artist as womanising bad-boy

The Canadian Art Foundation’s Symposium | Timothy Comeau
http://tinyurl.com/8j2qy
“On Saturday afternoon, a panel discussion was held around the question of ‘imaging the artist’, consisting of Myfanwy MacLeod (an artist from Vancouver), Mark Kingwell (the U of T prof), Michael Blackwood (the filmmaker), and Vera Frenkel (an artist from Toronto), moderated by Richard Rhodes, editor of Canadian Art magazine. It was an attempt to look at how artists tend to be represented in the media. Richard Rhodes introduced the topic with a little essay in which he described watching Lust for Life as a 14 year old one evening in Winnipeg during a snowstorm, and the images of the movie stars and the south of France during that winter night made an impression furthered by subsequently seeing a depiction of Michelangelo by Charlton Heston as an heroic worker in The Agony and the Ecstasy. Rhodes admitted these impressions of artists as glorious and heroic influenced and confused him for years and I think it’s fair to say that we’ve all gone through that. Sarah Milroy, in her pre-review of the film series in last Friday’s Globe and Mail, stated that she has never been flung on a filthy studio mattress and been ravaged by any of the artists she’s interviewed, and yet, year after year, artist’s biopics are made which depict them in this way. But to be fair, the biopics are made on artists who did behave that way.”

Modern, Postmodern, Altermodern? | Nicolas Bourriaud
http://www.artgallery.nsw.gov.au/aaanz/abstracts/nicolas_bourriaud
Note: not really a goodread, at least not yet, but here FYI, for he brings up the idea of creolization which I write about in the symposium review; this is an abstract to a paper he will be delivering in Australia this July
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emailed by Timothy on Wednesday 25 May 2005 @ 1:44 PM

05w21:1 Followups

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Good Reads Mailing List | 2005 week 21 number 1 (followups)

……because I missed them the first time around….
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The Life Quixotic | Charles Foran
http://www.walrusmagazine.com/article.pl?sid=05/04/21/193210
“Miguel de Cervantes published the second part of Don Quixote in 1615, a decade after the first volume had granted the sixty-eight-year-old Spaniard unexpected late-career success, and a year after the appearance of the counterfeit Part II. A failed playwright, he appears to have dashed off both parts of his masterpiece in a hurry, anxious to counter his imitators and return to what he believed was his serious work. In his haste, Cervantes allowed his imagination to wander so far and wide from existing prose genres?the pastoral tale and chivalric romance being the most popular at the time?that he ended up in an entirely new form. Today we call that form the modern novel, and credit him with its invention. The author himself died in 1616, his hopes for immortality pinned to a pastoral adventure titled Persiles y Sigismunda. It is said to deserve its obscurity. […]That might be so. But it might also be the case that four centuries after the birth of the novel?a spectacular birth it was, too, like delivering an eighty-kilogram baby with a wicked sense of humour and a Mensa IQ?the majority of us hardly recognize the form innovated by Cervantes in the fictions we currently admire. The anniversary offers a chance to revisit the enchantments of Don Quixote and also to wonder about the state of enchantment in the literature of our own age.”

Da Vinci studio find thrills art lovers, experts | CTV.ca News Staff
http://tinyurl.com/8qcn3
“Art lovers, historians and experts around the world are marveling at news Leonardo da Vinci’s workshop may have been found in Florence. Italian researchers uncovered the room in a building just off the Piazza of the Santissima Annunziata in the central part of the celebrated city.”NOTE: with links to video reports

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emailed by Timothy on Tuesday 24 May 2005 @ 11:24 AM

05w21:2 Star Wars

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Good Reads Mailing List | episode 2005 week 21 number 2


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Star Wars | Wikipedia
http://en.wikipedia.org/wiki/Star_Wars
“Whereas Gene Roddenberry’s Star Trek, another science fiction franchise that has enjoyed long-lasting popularity in American popular culture, takes a rational and progressive approach to storytelling, Star Wars has a strong mythic quality. Unlike the heroes of earlier space-set sci-fi film and TV series such as ‘Star Trek’, the heroes of ‘Star Wars’ are not militaristic types but romantic individualists. College literature professors have remarked that the Star Wars saga, with its struggle between good and evil, democracy and empire, can be considered a national epic for the United States. The film has many visual and narrative similarities to John Ford’s ‘The Searchers’ that also provides a clue to the relationship between Leia and Luke. The strong human appeal of the Star Wars story probably accounts for its enduring popularity; it has also been postulated that this popularity is based on nostalgia. Many Star Wars fans first saw the films as children, and the revolutionary (for the time) special effects and simple, Manichean story made a profound impact. The Star Wars films show considerable similarity to Asian Wuxia ‘Kung Fu’ films, as well as Roman mythology. Lucas has stated that his intention was to create in Star Wars a modern mythology, based on the studies of his friend and mentor Joseph Campbell.”

Space Case: a review of Ep. III | Anthony Lane
http://www.newyorker.com/printables/critics/050523crci_cinema
“‘Revenge of the Sith’ is a zoo of rampant storyboards. Why show a pond when C.G.I. can deliver a lake that gleams to the far horizon? Why set a paltry house on fire when you can stage your final showdown on an entire planet that streams with ruddy, gulping lava? Whether the director is aware of John Martin, the Victorian painter who specialized in the cataclysmic, I cannot say, but he has certainly inherited that grand perversity, mobilized it in every frame of the film, and thus produced what I take to be unique: an art of flawless and irredeemable vulgarity. All movies bear a tint of it, in varying degrees, but it takes a vulgarian genius such as Lucas to create a landscape in which actions can carry vast importance but no discernible meaning, in which style is strangled at birth by design, and in which the intimate and the ironic, not the Sith, are the principal foes to be suppressed. It is a vision at once gargantuan and murderously limited, and the profits that await it are unfit for contemplation”

Is new ‘Star Wars’ an anti-Bush diatribe? | CBC
http://tinyurl.com/76hn3
“At a press conference, Lucas said the film does mirror history, but he did not set out to comment on U.S. foreign policy under Bush. ‘As you go through history, I didn’t think it was going to get quite this close. So it’s just one of those recurring things,’ he said. ‘I hope this doesn’t come true in our country. Maybe the film will waken people to the situation,’ Lucas added jokingly. Lucas also said he penned the film long before the U.S. went to war against Iraq. ‘When I wrote it, Iraq didn’t exist,’ the filmmaker said with a laugh. ‘We were just funding Saddam Hussein and giving him weapons of mass destruction. We didn’t think of him as an enemy at that time.’ He added that the ‘parallels between what we did in Vietnam and what we’re doing in Iraq now are unbelievable.’ As research for writing the prequel trilogy, Lucas studied how democracies become dictatorships with the consent of the electorate. ‘You sort of see these recurring themes where a democracy turns itself into a dictatorship, and it always seems to happen kind of in the same way, with the same kinds of issues, and threats from the outside, needing more control. A democratic body, a senate, not being able to function properly because everybody’s squabbling, there’s corruption.’ Although his films are not overtly political, Lucas has included some allusions to U.S. politics in previous episodes of Star Wars. In The Phantom Menace he named characters after politicians: Nute Gunray, for instance, was named for Newt Gingrich, the former Republican speaker of the House. “

Save the Republic! | Moveonpac.org
http://tinyurl.com/br4m8
“This week, Star Wars III: Revenge of the Sith opens in theaters nation-wide. And weirdly enough, the plot of what will undoubtedly be one of the biggest films in movie history revolves around a scheming senator who, seduced by visions of absolute power, transforms a democratic republic into an empire. The movie?s opening buzz and its parallel theme to our current judicial fight present a great opportunity to educate the public ? and have some fun. So we?ve put together a flyer that draws on themes from the Revenge of the Sith story to explain the very real threat to democracy posed by the nuclear option.”Note: with a video file

Darth Vader’s Family Values | John Tierney
http://tinyurl.com/8d4b4
“The new installment of ‘Star Wars’ has set off the usual dreary red-blue squabble, with liberals using the film to attack Republicans, and some conservatives calling for a boycott. But – and I know this is hard to believe for a movie with characters named General Grievous and Count Dooku – there’s actually a serious bipartisan lesson about the dark side of politics. […]He says he could never betray the Jedi because they’re his family, but then the chancellor puts the family question in perspective: ‘Learn to know the dark side of the Force, Anakin, and you will be able to save your wife from certain death.’ Anakin promptly recognizes the limits of altruism, just as Adam Smith did in the 18th century.”

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emailed by Timothy on Tuesday 24 May 2005 @ 12:00 PM

05w19:4 Don Quixote

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Good Reads Mailing List | 2005 week 19 number 4 (Don Quixote)


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A Rational Quixote | Julian Evan
http://tinyurl.com/82gqs
“For 400 years – the first edition of the Quixote was distributed in Madrid in 1605 – his story has supplied the archetype of the bookish dreamer and the outermost comic landmark of our idealism. Yet Don Quixote’s achievement is surely greater than that. Without him, and without Cervantes’s own constant shifting between tradition and modernity, we might have remained for longer in a world of superstition and dogma. ‘Enlightenment is man’s leaving his self-caused immaturity,’ Kant wrote in 1784, 180 years after the first publication of the Quixote. ‘The motto of Enlightenment is therefore: Sapere aude! Have courage to use your own intelligence.'”

The most read novel of all times | Mireya Castaneda
http://www.granma.cu/ingles/2005/abril/lun18/17quijote.html
“Don Quixote rides throughout time and, in its literary immensity, is the favorite work of great writers of all periods, continents and trends. It was the preferred work of Dickens, Balzac, Flaubert, Stendhal, Dostoyevsky and Galdós, and in the 20th century, of Kafka, Joyce, Proust and Faulkner. […] Scholars agree that it is a work that fascinates on account of its poetry, its extraordinary narrative universe containing all human life, its motor forces, its essential conflicts.”

Let them read Quixote | Stuart Jeffries
http://books.guardian.co.uk/news/articles/0,6109,1464835,00.html
“The Venezuelan president Hugo Chavez has printed one million copies of Don Quixote to mark the 400th anniversary of the publication of Cervantes’ novel. This week they are being handed out free in public squares for the improvement of his citizens […]. So, for making this wonderful novel freely available to Venezuelans, hats off to Hugo, whose devotees incidentally are known as chavistas, but not for the reasons that link them to Wayne or Colleen. Chavez’s gesture, however, is itself Quixotic; a project as adorable and misguided as tilting at windmills. On his TV show Hello President, Chavez explained that Venezuelans should all read the book in order ‘feed ourselves once again with that spirit who went out to undo injustices in the world’.”

Don Quixote Symposium at U of T | Timothy Comeau
http://blogto.com/arts/2005/05/don_quixote_symposium_at_u_of_t/
“This isn’t going to be a great review, only because I went out of curiosity. I haven’t read Don Quixote nor am I tempted to anytime soon. But that’s not to say that the event sucked or anything – I think if I was a Don Quixote fan I would have really liked it, but not being one, I feel that I should just be up-front about that, and I write about my experience for what it’s worth. This review is also marred by the fact that having not read it, I’m in danger of not knowing what I’m talking about, so keep that in mind. So, accept these tokens of ignorance caveat lector. So why review it in the first place? Because I like that word – ‘re-view’. Because you missed it, and I was there, I can try to fill you in, paint a picture enabling you to ‘re-view’ it.”
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emailed by Timothy on Saturday 14 May 2005 @ 2:00 PM

05w19:3 The Indomitable Ed Deary

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Good Reads Mailing List | 2005 week 19 number 3 (the indomitable Ed Deary)

Those who know me will know that these selections are highly biased but I think they definitely qualify as goodreads worth sharing, especially the guest posting on Chris Lloyd’s blog of letters to the Prime Minister (the tinyurl’d one). – Timothy
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Sons and Uniforms | Ed Deary via Chris Lloyd
http://nobilliesplease.blogspot.com/
“I cannot imagine coming of age now. When I was a child the world was still stable. He was born in the shadow of Y2K – we were told that the world may even stop – and when 2000 came to Australia and we could see the live broadcast from the beaches – seeing the sun rise – I felt such a great sense of release – that the world would not stop – I tried to hide this, I remember – because Willow caught me there with a tear in my eye and she laughed at me. Well then came 911, and the litany of what has followed. These are things that we all shared – and I suppose that, in sharing them, it made them bearable.”
I’ve linked to the blog rather than the entry as all the entries are on that one page.

Guest Posting on Dear PM | Ed Deary via Chris Lloyd
http://tinyurl.com/cmnxf
“You know this sponsorship thing is sooo stupid – I mean shit how much money are we talking, a thousand here a few hundred thousand there – what’s the big freaking deal? Who doesn’t think that the government doesn’t grease wheels (nobody)? I think Stephen Harper looks like a big jerk. I would never vote for him after the stuff that he’s pulled. Maybe I don’t get it – but I don’t think that I’m in the minority – just ask some people the next time you go for your double americano from starbucks if they give a rats ass that you are sorta responsible for the misappropriation of funds run through an ad company – no, I don’t think anybody really cares. Cause, like I said, don’t people think that your doing that anyway? And that big jerk Harper, running with it like that. What a total jerk. Canada is important to me, in the morning I wake up and think that god I’m in Canada and not New York City with that old girlfriend of mine that kicked me out. I’m still mad at her cause she dumped me 4 times.”

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emailed by Timothy on Thursday 12 May 2005 @ 11:53 PM

05w19:2 Biomechanics

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Good Reads Mailing List | 2005 week 19 number 2 (biomechanics)

These are Flash websites that animate processes that I find are best understood through visualizations. – Timothy
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‘The Animated Bride at Understanding Duchamp’ | Andrew Stafford
http://www.understandingduchamp.com/
An interactive Flash site detailing Duchamp’s body of work. Scroll over to 1923 to see the animated The Bride Stripped Bare by Her Bachelor’s, Even, with an explanation according to Duchamp’s notes.

Mitochondria | John Kyrk
http://www.johnkyrk.com/mitochondrion.html
A flash animation explaining the function of cellular mitochondria. More animations are available via the menu at johnkyrk.com

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emailed by Timothy on Thursday 12 May 2005 @ 11:27 PM