Tuesday, October 23, 2018

Ole Windbag


He-Gassen, Japanese, Edo Period (1603-1868), unknown artist(s) See the full 11.7 x 395 inch  scroll here.


The powerful fart of the bonacon, as depicted in MS Bodley 264, Flanders, 1344. What expressive faces!

The farting Bonnacon, MS Bodley 264, Flanders, 1344.  



Bonnacon, Aberdeen Bestiary, 12th century. 
…in Asia an animal is found which men call Bonnacon. It has the head of a bull, and thereafter its whole body is of the size of a bull’s with the maned neck of a horse. Its horns are convoluted, curling back on themselves in such a way that if anyone comes up against it, he is not harmed. But the protection which its forehead denies this monster is furnished by its bowels. For when it turns to flee, it discharges fumes from the excrement of its belly over a distance of three acres, the heat of which sets fire to anything it touches. In this way, it drives off its pursuers with its harmful excrement.
A hybrid bird / deer?horse?cow? / with a human face that functions to fart; and a naked man with two trompettes, made to trump from two windy orifices; from Vincent of Beauvais, Speculum historiale, France, 1297.
A hybrid bird / mammal / with a human face that may fart and defecate; man with trumpets, makes musical wind; Vincent of Beauvais, Speculum historiale, France, 1297.





Chen Wenling, What you see may not be real, 2010
Chen Wenling uses his sculpture to present his view on the global financial crisis. The strong and farting bull represents Wall Street. "放屁", Chinese for 'fart' is also a slang term for 'Nonsense', used when they think someone is lying or bluffing them. And the man being shoved into the wall is Bernard Madoff who was sentenced to 150 years in prison because of Ponzi schemer.


Marcel Duchamp, Fountain, 1917Photo by Alfred Steiglitz. 



Sherrie Levine, Fountain (Buddha), 1996, bronze

gold standard of what art is. 





Maurizio Cattalan, America, 2016, 18 k gold, Guggenheim Museum
"The fact that it is very welcoming, inviting for anyone to use, gets to the heart of a lot of questions around exclusivity in the art world and in museums in particular. And this notion of having a very intimate, private experience with a work of art, and a work of art that speaks quite dramatically about its own value, is fascinating on many many levels," Nancy Spector, curator

Sarah Lucas, The Old In Out, 1998
Sarah Lucas, The Old In Out, 1998






shred

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