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by шумидер-модер Thu 20 Feb - 22:47William Murderface wrote:E, a sad jedno predavanje za Šumidera - nije problem u Rokvelu, i njegovim razumljvo patetičnim i razumljivo propagandnim posterima, problem je kad nakon njih napišeš ovo:
На данашњи дан, неке тамо 1943, док је Америка још увек држала до онога што пише у њеним школским читанкама.
Jer šta? Ispada da posle toga više nije držala, da je posle toga došlo odvajanje Amerike od proklamovanih ideala, ama je sve bilo na svom mestu, bob na nebu, a Amerika u sopstvnim čitankama u vreme segregacije. A zapravo, sam Rokvel je šezdesetih uvideo da to nije tačno, i da ta Amerika nije dovoljno marila za ideale iz čitanke (ili Ustava), da ta Amerika ima problem sa kojim živi a o njemu ne govori. Kasniji radovi su u dobroj meri i kritika ranijih.
- Spoiler:
Rockwell was looking for a change. In 1959, his wife died and, the next year, he took an adult education painting class in Stockbridge, possibly to loosen up his characteristically precisionist style of realism. In 1963, he left the Post to work for Look magazine, where some of his most personally expressive work was to be published.
``He changed the whole style of his work after 1963,'' Moffatt stated. ``Rockwell's subject matter became more current events material. He traveled all over the world and did paintings on the Peace Corps, on the Soviet Union, on the Mideast. He also began painting some of the problems of the time.''
Among the paintings that were used in Look include ``The Problem We All Live With'' (1964), and ``New Kids in the Neighborhood'' (1967), both of which focus attention on young children and place blacks at the center of the picture rather than as observers of the action.
``The Problem We All Live With'' shows a young black girl in a starched white dress being escorted to an all-white elementary school in New Orleans by four federal marshals as part of a controversial integration order, and we look down on her both figuratively and literally. The marshals are visible only up to their shoulders, and the girl walks by a wall, where the word ``Nigger'' has been written and where a tomato had recently been thrown. Her head is down; she is trying not to see, perhaps.
``New Kids in the Neighborhood'' presents us with a young black brother and sister who look across at three white children from this white neighborhood they are moving into. The nervousness of being new kids on the block is used to make an analogy about blacks in the white world.
These were angry times when Rockwell painted these pictures, and the artist moved nervously into the new situation that seemed to call for some presentation of the problems. These paintings seem to say to us: ``If we could all just stop arguing and really try to understand one another, things would be better.'' Considering the passions of the era, this can seem tame and almost neutral. The decision to focus on children, the innocents, rather than on grown men and women - which was crucial for Rockwell, as he wanted to point up those who didn't cause the problems but are affected by them - moves the debate from law and ethics to sentimentality.
It takes a major generational leap to see these images as even controversial. ``Look was a magazine of middle America,'' Maureen Hart Hennessey says, ``and it was just starting to sink in that there was a problem in race relations, after Martin Luther King had been staging boycotts and marches for over a decade. `The Problem We All Live With' really surprised people, both because of the subject of the picture and that Rockwell did it.''
Walt Reed, a dealer and longtime Rockwell friend, pointed out that this painting, which records events that had taken place a full five years earlier, startled viewers into seeing that ``here is this little girl who can only go to school with US marshals escorting her because she might be attacked. A lot of people didn't know.''
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Some of the later works in this exhibit are even bolder, that is, less open to more neutral interpretations. ``Southern Justice'' (1965), which documents the murders of James Chaney, Andrew Goodman, and Michael Schwerner by racists in Philadelphia, Miss., is a starkly depicted scene that is painted in shades of brown, only highlighted with red bloodstains.
Two other oil sketches, both called ``Blood Brothers'' (1967), are images of young men - one white, one black - who lie side by side in death. In one picture, the two are dressed in street clothes (were they on the same or opposing sides in a riot?); in the other, the two are soldiers. Neither painting was ever published in Look, for which one or the other was originally intended (they were found in Rockwell's studio after his death), but they both reflect problems of the day, either violent demonstrations or the Vietnam war. Rockwell was in his mid-70s at this time and finally seemed ready to speak his mind. Possibly that willingness made him draw back and not publish the pictures.
https://www.csmonitor.com/1989/0605/unorm.html
Ali da bi se to skontalo mora se prema ovim stvarima imati malo drugačiji odnos, tj ne samo odnos pukog fetišizma. U suprotnom dobiješ - member Norman Rockwell again? I member! A odatle pa do padanja u nesvest na pominjanje one švedske šesnaestogdišnjakinje, put je kratak...
Боже, боже, колико ти лупеташ и колико си у ствари индоктриниран, вакцинисан такорећи, сетован на новокомпоновани либерализам удобно ушушкан у убеђење да живи у најбољем од најбољих могућих светова коме су, ето, потребне само мале козметичке поправке.
И, да, само да скинемо Трампа, вучића и мила...
Јебо те Роквел, један такорећи обичан илустратор и његово спознавање да то није баш тако...
Лепо сам покушао да ти објасним шта је неке 1943. могла да значи његова серија о Четири слободе.
И шта је значила као нека врста прокламације, практично програма употребљаваног и злоупотребљаваног од стране те исте Америке...
Да би добио предавање
о расној сегрегацији, гретици, итд, итд...Држи се ти ипак оног, како беше Баздуља, свакој шерпи поклопац...
disident
