Hajime Sawatari Alice Download For Mac

I plan to do the third post in my “Sublimated Sexuality in Modern Surrealist Girl Art” series soon, but until then I will put up a couple of quickies. These two paintings are by the Victorian/Edwardian-era Italian painter Antonio Mancini. You’d think that an artist once described by John Singer Sargent as the greatest living painter would be better known, but he is considered a minor painter by art historians, which is ironic because he often painted minors. Usually boys, but not always.

• Hajime Sawatari Alice In Wonderland

This first image is likely a boy (going by the hairstyle and the angularity of the child’s body, but it’s ambiguous enough that I decided to post it anyway. At any rate, I think it’s a nice piece regardless of the child’s gender. The pose is quite feminine, I think. Edit: I’ve completely revised my position on this. I’m quite certain the child is, in fact, a girl, based on the hair and the pose. Mancini was too good a painter to have made a compositional mistake that would leave the child’s sex so ambiguous.

The entire dark swath has to be hair. The front of her hair is oddly short, but I’ve seen hairstyles like that for girls in other Victorian-era works. Moreover, the pose is classically feminine. The biggest clue, however, is the rosary.

A nude boy wearing jewelry, even religious jewelry, is pretty much unheard of. This is a girl. My apologies for the lateness of this post. The first of the month happened to fall on a particularly busy time. It’s Not Easy Being an Angel: When I first made my, I had no idea that the model in question was identified until Pip brought it to my attention. He had already done a featuring Samantha and Stefan Gates. Later, when doing, I was shocked to recognize Sam in some of the photographs.

Later, it was revealed that she was also the model for a series by in which only one example appears on the net. When I got to hear a few testimonials about Sam, by all accounts, she was an angel to work with. But I did notice that in a few unpublished photos, she seemed tired; and so however much she may have enjoyed modeling, it was nonetheless hard work.

With so many tidbits of new information coming in, I intended to do just one more post of Samantha Gates to tie everything together. Fortunately, that is no longer necessary. Some of you may already know that some close relatives and friends of Samantha and Stefan have put together a site dedicated to the careers of the two models. Since models rarely get copies from photo shoots, especially commercial ones, much of what the public have access to, the family do not.

The first success at tracking down old photos was with Hajime Sawatari who graciously shared a number of unpublished shots. Then came Graham Ovenden’s images (photos and paintings) and even a couple of drawings from who also happened to have an extensive knitting and crochet catalog collection featuring a very young Sam.

Plans are in the works to contact all artists who worked with the Gates children to compile the most extensive collection possible. To top things off, a few private family shots were included to demonstrate the legitimacy of the family connection.

It should be noted that Samantha believes in keeping the past in the past and is not directly involved with the site, but gave permission for its inception. Included on the site are some interviews with Sawatari and there are more to come. So take a look at. According to the family, Sam was not only a ham for the camera in private life, but was often found munching on one kind of food or another.

Hajime Sawatari – (Unpublished Photograph) (1972) Under the Guise of Art: So many uneducated and fanatically religious people have made (often rude) accusations that we are using art to justify pornography. There is simply no accounting for people incapable of comprehending what we are doing. Thankfully, the law has offered some protection and cogent interpretations of the laws will confirm that we are operating legally. More than that, I fervently contend that we also operate ethically and that complaints on moral grounds are an arbitrary deference to doctrine. Our internet provider (Rainbow Digital Media) was particularly angered by a comment (not posted, of course) about what monsters we are. He replied that apart from the disclaimers posted on the Legal page, this site is registered with the Internet Watch Foundation (IWF) as part of a requirement when the site was hosted in the UK (and previously in Sweden). Especially irritating is the fact that hardcore porn sites can be linked to our site lending a taint by association.

We simply cannot do anything about that (any clever ideas?) and we are not allowing such despicable actions to stop us in our mission. Even our old domain name has been hijacked due to unfair technicalities and now is used it to promote pornography. If anyone finds something on this site they believe is illegal, they are invited to report it to the who will notify us of any violations that we must remedy. YouTube Gripes: I received a message from a reader complaining about the rampant censorship taking place on YouTube. This is hardly news, but the reader had some kind of false impression that we had the power to do something about it and implied we were some kind of hypocrites for not stopping it. It is flattering that people think that we have so much influence, but it should be emphasized that this is a volunteer endeavor and we are only as good as our contributors. Therefore, anyone who seriously wants to do something about this can read on.

Although we cannot stop YouTube from pulling videos that are copyright infringements or violate their standards of conduct (no nudity, for instance), we can preserve examples that deserve it. For instance, the short film was originally captured from YouTube which was later removed. But as the name suggests, YouTube was really designed for personal videos and low budget and quirky productions by private individuals.

Although we can make a copy of videos that have not yet been removed, it is not our business to invade the privacy of contributors. Therefore, however cute and appropriate a video may be for the Pigtails audience, we will not copy and republish anything that is strictly personal. Even though such videos may no longer be available to the general public, they are not really lost if they are kept by the contributor in question. So if you find a video meant for general public viewing and you suspect it is something that might get censored, please notify us so we can keep an archival copy—assuming it is appropriate to do so. Also know that it is not copyright infringement for Pigtails in Paint to do this given that the ultimate goal is to publish a critical review of the material in question. Posted inTagged,.

Is an artist who creates hyper-realistic charcoal based drawings. She rarely exhibits her work outside of her home state of California, as such it is hard to find much information online about her art, career or how she creates her artworks. The artist was born in Sacramento, but her family was constantly moving so she ended up pursuing a Bachelor of Fine Arts at the University of Southwestern Louisiana; she graduated in 1994. The first images that she created were still-life acrylic paintings of objects she had or could easily find, usually clothing, cans, bottles, sheets and bones. After graduating she went back to Sacramento, to be closer to her family, got married and had her first daughter in 1996. The artist applied to the Master’s program at California State University but was refused entry. Therefore Annie focused on painting for two years, in addition to taking some college art classes, then reapplied for the Master’s program and was accepted.

She now dedicates her life to creating artworks. For a short time she continued to paint with acrylics, before switching to drawing with charcoal. One of these charcoal based drawings, titled Flower Girl, won first place at a student purchase show; this was her first award. She graduated from the Master’s arts program in 2002. Annie Murphy-Robinson – Flower Girl (2001) After graduating she went to an artist’s opening and met Troy Dalton, who became her mentor. He allowed the artist to use his studio and also encouraged her to experiment with sanding the charcoal into the paper, a technique that she has continued to use throughout her career.

Annie’s first solo show was held at a local community college in 2005. She continued exhibiting at various non-profit galleries before receiving her first sale for profit show at the B. Sakata Garo Gallery, held in 2006. It was at this show that she sold every drawing that she exhibited. Annie Murphy-Robinson – Casey and the Owl (2008) Annie’s studio is a small sectioned off area within the garage of her home, within it you find print making paper, various grains of sand paper, a belt sander, cleaning rags, erasers and large amounts of charcoal. Most of the artist’s drawings are of her children, however she also creates self portraits, does commission work and also draws still-lifes. A significant portion of her drawings are created using charcoal, rarely using pastels as the dust is dangerous to breathe in and she dislikes wearing face masks.

In many of the early drawings of her daughters they were depicted with minimal coverings, this was done to show their vulnerability, the beauty of innocence, as well as the beauty of their bodies, a message that could not have been conveyed if they were fully clothed. Annie Murphy-Robinson – Dragonfly Eyes (2011) The artworks featuring her children are drawn from photographs, not from real life. The photographs are increased in size so that they are the same size as the final artwork and placed beside the canvas she is working on.

She first outlines the image with compressed charcoal and then blocks in the light and dark. Secondly she uses 400 grain sandpaper to hand sand the entire image, this grinds the charcoal into the paper and sands off the sizing on the surface of the paper. Next she starts to fill in the details and sands them into the paper. Finally the rest of the details are then drawn onto the canvas, a process that can take weeks. She draws every day and averages twenty-five hours of drawing each week. In the comments of her Instagram account she hints that she teaches, therefore I presume she has a part time job teaching somewhere, in addition to devoting time to creating her own artworks.

Annie Murphy-Robinson – Theodora (2014) As mentioned above there are limited details online about the artist so I can’t say how often she sands her works, maybe it is only the two times I mentioned, or maybe more. There are several places where Annie describes how she creates her artworks, one place is, which also shows progress images of one of her drawings. Another place to find this information is, again also showing works in progress. Annie Murphy-Robinson is currently represented by Posted inTagged.

In the second part of our series (you can read the first part; if you haven’t already, I recommend doing so now) we’ll be looking at a few more of the common traits to this work. Let’s get to them, shall we? (5) Partial or full nudity – As I’ve said before, it may be difficult for Americans to comprehend, living as we do in a society where casual nudity even of very small children is considered highly taboo, but nudity and sexuality are not always coincident.

America is actually an anomaly in that regard. We have fetishized nudity by regarding it as inherently sexual, which creates undue problems when it’s a child that’s nude. Thus, nudity in the context of subversive girl art is more potent than it would be otherwise, as these artists are certainly well aware. There are so many good examples of this sub-category that I simply couldn’t limit it to three or four. Nils Karsten – No Angel in My Underwear (official site) (6) Aliens or monsters; references to alienness and monstrosity – This goes back to the idea of monsters being the Evil Other, the great existential threat symbolized in strange and terrible forms. In associating them with the eroticized child, the artist is clarifying the danger in following this mental thread too far, and the fear of becoming the monster themselves: the socially reviled pedophile. By projecting it into their work, they effectively distance themselves from it.

These images and all their associated weirdness stand in direct contrast to the accepted paradigm. Monsters in themselves define the natural paradigm by being rare and antithetical to it. As the essay at the Cambridge University site makes clear: It might seem counter-intuitive, but beasts that seemingly mixed the characteristics of different natural groups were not troubling. Rather, they reinforced categories by clarifying the defining criteria for these groups.

By transgressing, they helped to determine boundaries. To define a deviant form, such as a ‘deformed’ baby or calf, or a ‘monstrous’ exotic creature, you have to define ‘normal’.

Pedophilia, whether carried out or not, is the consummate modern monster, the most unnatural and deviant of sexualities in the collective consciousness. The desired children must therefore be shown in context with all that we find detestable, including monsters. Morton (Peemonster) – (Title Unknown) (7) Acts of violence or suggested violence – Violence has a long tradition of being a stand-in for sex in art and media. Stabbing in particular can symbolically represent an act of rape. But any violent act can be a means to end unwanted sexual desires, as violence serves as both a psychological mechanism for the desirer to emotionally distance himself from the desiree (lashing out violently at the desired person or persons sharply and instantly alters one’s emotions, as well as removing the object of desire, temporarily or permanently) and, like monsters, a way of associating that which repulses us with something we wish to be more repulsed.

Little girls are both the agents and recipients of violence in these images; it’s tough to decide which is more disturbing. Alex Kuno – The Miscreants of Tiny Town – The Grisly Discovery (2009) Caleb Weintraub’s work is filled with an apocalyptic vision in which children become agents of chaos and perpetrators of violence against adults. He slyly references the popular childhood game of Operation in this next piece, but it doesn’t take long to realize this is actually a cannibalistic feast. Notice the genital mutilation of both the man on the table and the woman lying on the floor at right, as well as the snack being munched on by the girl in the green checked shirt. These references cannot be accidental. Caleb Weintraub – (Title Unknown) (official site) In Carmen Roig’s Happy B-Day, a little girl who looks distressingly like is pierced through by several swords.

Recall what I said earlier about stabbing and rape, and notice the clergy paper doll outfits to either side of the girl. There are exactly nine swords in the image. Anyone passingly familiar with the Tarot will immediately see the implication: many Tarot experts consider the Nine of Swords to be one of the worst cards in the deck, a representation of mental anguish, feelings of worry and guilt. Taken all together, these clues seem to add up to a commentary on sexual abuse by priests. The priests then are appropriately headless and faceless, not individual abusers but symbols of a much larger problem. Brian Partridge – Drawing Book Title Page (1986) Every so often, I come across an artist that strikes me as exceptional. And although the artist in question may have gotten some recognition for his work, his or her fame and success does not seem in accord with his talent.

In the medium of pen-and-ink, Brian Partridge is just such an artist. Consider what kind of world we would have if great artists were recognized and nurtured at a young age. At the very least, our man-made world would be one of much richer beauty. Brian Partridge was born in 1953, in the small village of Silverstone on the edge of the Cotswolds. Adopted into a service family he travelled extensively, leading a peripatetic lifestyle until the age of twelve years. He had no formal art training, and astonishingly in view of his now apparent talent, he did not begin drawing seriously until he was twenty-five years old.

Meanwhile, he had discovered the world of secondhand book shops and developed a love for Victorian book illustration including John Tenniel’s drawings for the Alice books. Shortly afterwards he acquired Illustrators of Alice (1972) by Graham Ovenden and John Davis and found himself fascinated by the widely differing interpretations of Carroll’s stories by 20th Century artists around the world. Brian Partridge – Alice in Escher Land (1997) While visiting a postcard dealer friend of Partridge’s in Bath, he noticed a magazine for sale in a shop window called The Green Book, edited by Keith Spencer. It had an intriguing piece inside about the Ruralists so he bought it. As it happened, it was issue number one and there was a request from the editor for artists to send in black-and-white work. Partridge’s submissions were warmly received and many were published including several frontispieces. This was his first experience at being published.

He became familiar with specific Ruralists such as Graham Ovenden through his Illustrators of Alice book, David Inshaw from a magazine article and Ann and Graham Arnold who knew of his work from The Green Book. Partridge was introduced to Ovenden for the first time in 1982 when he went to Barley Splatt for a long weekend in the company of Spencer. Later, he and Ovenden even invested in the magazine for a time. Brian Partridge – Alice’s Rivals (1994) By 1984, he had direct involvement with professional artists in the Brotherhood of Ruralists and exhibited for the first time that year through that organization. Impressed by Partridge’s latest inspirations, Ovenden suggested they collaborate on a book and together they came up with a concept for an edition of Alice in Wonderland. Ovenden would provide the photos for Alice which would be set in a ‘wonderland’ drawn by Partridge. This project was ultimately abandoned but the two did work together on the which was handled in a similar vein.

Brian Partridge’s drawings are delicate and dramatic. They juggle with luminosity Behind many of these pictures is a shape-shifter’s imagination like the Celtic.

Women change into trees, saplings spring from their mouths. A girl’s body has a bird’s head, pinions for fingers. And is it ribbon or candle-smoke or tendril that winds among the trees? -Graham Ovenden, Inkscapes, Garage Press, 2018.

Brian Partridge – Forever (Lilith) (1997) At this stage, Partridge knew he was not skilled at drawing human figures and began to remedy that shortcoming in earnest. At first, Ovenden contributed some of his photographs of Samantha Gates for studies—even if it was necessary to trace them at first. One model, Gemma—just a chance acquaintance, borrowed for half an hour and then sent on her way—was used to produce a lot of the Alice drawings, mixed in with others, for another Alice project, this time drawn completely by Partridge. The artist considered the resulting efforts his first success at a believable likeness of a young girl. Lamentably, these fine images were not published at the time, but when a Japanese woman making a new translation of Alice saw the drawings, she wanted them for a book published in 2006. The cover, incidentally, is not one of Partridge’s designs. Brian Partridge – Domino Girl (1993) This business of building a portfolio of model studies then took a dramatic turn.

Some photographers are fortunate enough to have their own darkrooms to develop their images without prying eyes, but others with lesser means often depend on local vendors to process their film. Perhaps inevitably, the presence of nude child figures caught the attention of an overzealous technician who decided to inform the police. Partridge was subsequently arrested and charged. One of the bizarre consequences of these events is that communication between him and Ovenden was legally cut off due to Ovenden’s recent parole conditions. Fortunately, Partridge had not changed his address since 1994 and a couple of years ago, they were in touch again collaborating once again on new additions to Acrostics and other projects with Garage Press. He also delights in irreverent portrayals of politicians as Wonderland characters; Michael Hesletine as the Hatter, Peter Mandelson with the Millennium dome on his head as the Duchess, William Hague as the Baby and Tony Blair as a manic Cheshire Cat. But he is also fond on loving tributes of worthy artists such as composers Edward Elgar and Claude Debussy.

The Elgar drawings were done for a Ruralist Touring Exhibition of the same name. The Debussy drawing is considered another early success at including convincing child figures which are not to be seen in the Elgar drawings. Brian Partridge – Shirley (2000) Until recently, Partridge had worked almost exclusively in pen and ink, producing drawings which were amazingly detailed, delicate and yet startlingly dramatic.

When Tony Linsell first saw examples of his work at a Brotherhood of Ruralist’s exhibition in 1989, he immediately realized that this was the artist he wanted to illustrate his book, Anglo-Saxon Runes. It took Partridge more than two years to complete the thirty-one pictures for the book, but his drawings perfectly reflected the spirit of Anglo-Saxon folklore and tradition. A more recent book, Honeycomb, with poems by Pauline Stainer—a more modest project in size—contains fifteen of his superb drawings.

Brian Partridge – Sagittarius (1997) But undoubtedly his most remarkable work to date is his complete set of illustrations for Alice’s Adventures in Wonderland, and a series of stunning drawings of Lewis Carroll, Alice Liddell, her sisters and other real people associated with the famous author. The artist’s affinity with the Alice books is instinctive. He has been a member of the Lewis Carroll Society for years, and the Society has specially commissioned work from him, including the jacket designs for its most prestigious publication to date, Lewis Carrolls’ Diaries. His work is avidly collected by members of the society, and those who cannot afford his drawings, collect his postcards and was onetime voted favorite postcard illustrator in a survey organized by The Picture Postcard Annual. Brian Partridge – Frog King (1987) Partridge’s work has appeared in a wide variety of magazines and journals and he was kind enough to provide a complete bibliography.

Now that he and Ovenden have rekindled their collaboration, the artist has the chance to display his singular wit and imagination through storytelling. His latest project is a ghost story called A House Best Avoided (2018) which he believes could turn out to be one of his better efforts.

The intent is to include about eight new drawings, a design for the cover and incidental ornamental work as needed. Upon completion, he plans to reciprocate for this opportunity to publish by illustrating a book of nursery rhymes for Ovenden. This is an excellent new creative outlet for the artist as the challenges of making drawings becomes increasingly onerous. Brian Partridge – Unicorn (2003) Ed: Until such time that the Garage Press page is established, serious collectors interested in purchasing any of the Garage Press, hand-produced volumes including Inkscapes should express their interest and your message will be forwarded to the order fulfillment department. Exorcising Demons: Public relations is hard work! Just as I was congratulating Pip on his latest installment about Surrealist Art, I had to field a number of concerns about the content of that post. It should be understood that not every art form involving little girls will be everybody’s cup of tea.

Also, the presentation of these images should not be interpreted as some kind of endorsement. Pip is performing an important service of educating us on why artists are so compelled to create these contentious images and why they are appealing to many people. Despite some of the images’ fetishistic themes, it does not necessarily imply a disrespect on our part for girls or women or even on the part of the artist involved. And part of the point is how the ambiguity of the age of the subjects pushes our emotional buttons. It is said that “a picture is worth a thousand words”, but I am afraid the impact of these images has overwhelmed the points being put forth.

For those sensitive souls who were shocked by what they saw, I do sincerely apologize, but we at Pigtails are committed to delving into virtually all portrayals of little girls, regardless of how uncomfortable it may make us. Be forewarned that this series will continue and appreciate that Pip has put a lot of thought into it and is not making frivolous conjectures for the sake of sensationalism. Everybody Gets Naked: Regarding the difficulties parents have in explaining the facts of life to children, it is apropos that one of our biggest fans came across an excellent article regarding the use of nudity in a children’s book. The title of the article pretty much sums it up: At Least They Are Starting to Talk: I have been recently grilled by a couple of members of a child-advocacy organization about the justification for the kind of images we publish.

Instead of making assumptions about content they don’t quite understand, they made sincere inquiries about why we do what we do. This is a hopeful step in the right direction.

For a long time, I have had in mind that the real problem with the internet is the new level of access and relative lack of privacy that can result. I was told about bringing public awareness to the problems of overexposing a child’s private life on the internet. Although a legitimate issue, the video’s key point seems to play on latent fears that images are being used in the sexual fantasies of strangers. This kind of fear-mongering does make one question their real motives and backing and casts doubts on the movement’s grass-roots credibility.

Another Piece of the Puzzle: When one begins a new project as Pip did with Pigtails in Paint, there is no notion about how successful or popular it will be. Therefore one tends to be cavalier about keeping track of source material for site artwork. Fortunately, over the past few years, various contributors have dug out the details and so we have been able to bring them to you. Pip just reported that he identified a piece of art he used for the second Pigtails banner, the one with the yellow background. The piece is called Anita by Jesus Blasco and as with all the other banner art, can be. I said in my that I would do a series on Lowbrow artists with a focus on young girls, and I have every intention of honoring that.

However, I’ve been mulling it over on how best to approach this, and I’ve decided that rather than focus on individual artists who fit within that movement, I’m going to do this another way, at least for the first few posts (the Arwassa post aside). What interests me most about this type of art, and art in a similar vein, is that there are several recurring elements and themes throughout, and I propose that they are ultimately in service to an important psychological phenomenon currently proliferating through Western culture. To put it euphemistically, now that it’s been well-established that children and sex don’t mix very well, what do we do with the sexual insecurity caused by the inappropriate feelings towards children that I believe almost all adults are prone to from time to time?

Now, please note that I am not suggesting that nearly everyone on the planet is a pedophile or potential pedophile., and it clearly doesn’t apply to most people. But it is my contention that nearly everyone has had the occasional thought, fantasy or impulse to be sexual with someone who is physically and/or emotionally immature. Despite what detractors may say, human sexuality is primal and complex, with a lot of gray areas, unplanned quirks and latent motivations we don’t always understand, and these deep-rooted devils can result in some fairly convoluted mental gymnastics to repress or deny to ourselves what we have felt. I think such feelings, as much as they may disturb us when we face them head-on, are fairly common and normal. Nevertheless, they are obviously not discussed in the open and give rise to psychological phenomena such as projection and sublimation, including into artistic expressions. But given how controversial and taboo such feelings are in today’s world, we rarely see these expressions presented as is. What happens instead is that these impulses are somewhat disguised or transmuted into safer or less objectionable representations, or they are thematically linked with other things or events which thoroughly repulse the artist (and by proxy the consumers of his or her artistic output), a bolstering of the desired reaction to such a verboten concept.

This is not a new occurrence, of course, but it’s ongoing—and rising—popularity, despite its fringe nature, can only be explained as a growing awareness of the ways in which a phenomenon built on the back of a moral panic is processed both by individuals and by society as a whole, so that the feedback loop becomes self-reinforcing, which is how I imagine an otherwise marginal movement becomes mainstream, or at least no longer on the social periphery. At any rate, having examined a huge range of this art, I have determined that there are twenty-one recurring themes that link this “movement” (like Symbolism, the erotic girl-child in modern surrealism is not so much a movement of its own as it is mainly a trans-movement that happens to be largely contained within a movement yet is not limited to it), and I shall present examples of each from an assortment of artists over the course of several posts. This is not to say that individual artists will not get their own posts. Some will, particularly those with a large range of applicable pieces and important artists in the pop surrealist movement overall. But it’s important, I think, to familiarize ourselves with the common symbols and themes that link these images, and to examine their relevance with respect to my thesis. One last thing: I am not at all saying that these trends are always a conscious goal to sublimate unwanted pedophilic desires. In fact, I suspect it rarely is, and it’s entirely probable that the artists are barely aware of the instincts they may be sublimating.

That does not, however, decrease their power. Alright, so let’s get started. (1) References to sexuality or sexual acts – It’s essential in comprehending this work that we recognize that not all of the sexual features of this art are entirely rendered into symbolic or allegorical form. Indeed, it is our first and foremost clue as to what purpose the art serves for its creators and fans. An eye can become uncomfortably vulvic if arranged perpendicular to its normal orientation, especially if said eye isn’t paired with another. Speaking of eyes, Ana Bagayan’s works fits comfortably in the big-eyed waif/baby doll tradition, but we’ll get to that.

Heidi Taillefer – Oenophile (official site) (2) Humor and satire – But most of the child sexuality in these works isn’t nearly so overt and confrontational. That it surfaces directly from time to time is perfectly understandable. Sexual instincts are messy. But even when such blatant eroticism makes its way into these works, it tends to be packaged as satire, as is the case with all of the above images.

Without its most provocative side showing, much of this young girl art remains satiric in nature, and we can therefore add this as the second of our common characteristics. Ron English’s clown kid art is the prime example. Clowns serve basically two purposes in modern culture: as satire and as fodder for horror. English embraces the former by presenting clowns as children who indulge in adult pursuits like drinking, smoking and gambling. Sex is merely subtly implied (by the extremely short dress worn by the girl clown in this image).

Mike Cockrill – Target (2009) (official site) Another satirical angle is the adoption of light pop culture elements like cartoons and classic comics juxtaposed against general weirdness. This style was of course exemplified by Robert Williams, founder of pop surrealism, but as his work rarely features little girls, we will instead focus on the work of KRK Ryden (older brother of Mark Ryden, who may be better known, but KRK, ten years Mark’s senior, became an artist well before Mark did). Both brothers’ work is laden with little girls, but for different reasons. In KRK’s work they serve as the moral and spiritual center of an otherwise out-of-control culture, though they certainly aren’t spared KRK’s satiric touch. KRK Ryden – Shitzville (official site) (3) Cartoonish body exaggerations, particularly of the head, face and eyes – This leads naturally into our third common trait.

You should have realized by now that much of this art features more than one of these traits, but of them all, this may be the most universal. Of course, not all of the figures in the art have this trait, but a solid majority appears to. Cartoons are cute and nonthreatening, and that’s partly the point here. Does it become more troubling when the cartoon girls are behaving more humanly? More grown-up? LostFish – My Melody Dolly (2011) (official site) The references to Orwell and the modern surveillance state gives this next piece even more relevance in light of our thesis. One common fear among those who have had erotic thoughts about the underaged is that if they aren’t careful and pursue the thoughts too far on the internet, they might be exposed and labeled for life.

Overcompensation is common, but these fears still manage to be expressed in symbolic ways, even if several steps removed from their original aspect. Mark Ryden – St. Barbie (official site) (4) Girl-women; actual age or maturity level of figures difficult or impossible to discern – And finally for this post, another recurring theme in this work is the girl-woman, a being not quite child and not quite woman but something in-between, and not necessarily adolescent either, but rather an almost alien or mutant form that could be either but feels almost ageless.

The cultural value here is similar to that of the concept in Japan: it is the ability to give anything, including adult sexuality, a sheen of child-like innocence and cuteness without surrendering entirely to a pedophilic instinct. Not that it would be a problem for most people anyway, if only they accepted it for what it was and moved on. But as a species we seem doomed to never move beyond our sexual hangups. How fortunate for fans of subversive art! A Russian woman has recently gained some notoriety for a.

This photo has triggered some discussion in Russian social media. The contributor of this news item found it interesting that people are making a fuss even though it is a 20-year-old image which still brings delight to the now adult subject. But more importantly, it vividly illustrates the symbolic importance of nudity. The assumption today has become that it is somehow sexual, a matter of shame and that having it posted like this is an invasion of privacy. The reality is, at least in this case, that it represents a kind of giddy freedom and a moment of happiness so rarely experienced in life.

Who among us could resist sharing such an idyllic memory? People literate in Russian and English are encouraged to share some of the more cogent points that may have been shared on that site. Posted inTagged. I will get to the next post in the Lowbrow Art series next time, but let’s do something that’s quite overdue: an album art post! First up is one of my favorite covers from my youth.

I believe the child on Bad Company’s is meant to be a boy. Sure, it could be an image of a boy who happens to have longish curly hair, but I’d lay dollars to doughnuts that this is actually a little girl.

In my opinion the album was not one of Bad Company’s better efforts, but it did help to get the band back on track after the previous album, Fame and Fortune, which fared poorly. Photographer Unknown – Bad Company – Dangerous Age (cover) (1988) Again, I cannot verify that the child on the cover image of CYNE’s is a girl, but if it were a boy, at this angle there’s a strong possibility that his testicles would be partially visible. Little girl infants are often used for nude photos like this one for precisely that reason. Now, when you look at this image, what do you think? If you’re a white person, you are likely to think, aw, that’s sweet—a black man cradling a white baby. It’s all about racial harmony and a world where everyone is colorblind, right?

But that is not, in fact, the message being conveyed here. According to the band, this image was actually inspired by former member Akin Yai’s reflections on his reading of Martinican political activist and poet provocative and controversial 1950 essay, one of the strongest repudiations of European colonialism ever published up to that point. The image is to demonstrate how colonized peoples—usually people of color—begin to accommodate and acclimatize to the presence of the white European colonizers and think of them as innocent when in fact they are certainly not. Moreover, the colonized become like nurses or caretakers for the selfish, needy colonizers, who demand and take from the colonized but offer nothing substantial in return. There could be other layers of meaning here too that I’m not picking up on, but the point is, when you begin to look at this seemingly innocuous image through the eyes of the colonized black, brown, yellow or red man, it takes on a much more sinister tone than we might be inclined to perceive outside of that context. It’s a powerful and thought-provoking image for that reason. Photographer Unknown – The Afghan Whigs – Congregation (cover) (1991) Since we’re doing the Afghan Whigs, we might as well put up the cover for, which was their breakthrough album and my introduction to the band.

This is another great example of an image which is only provocative in context. The image features a shirtless boy sitting on the edge of a double bed while a girl lies on the bed across from him. Given the themes tackled on the album—troubled relationships between men and women—the suggestion here is quite evident.

The back cover depicts the same boy dressed in red overalls standing in a hallway. I no longer have the actual album to verify, but as I recall, there were one or two interior images with the boy and girl together as well. This image is almost iconic now, so much so that it has been.

Photographer Unknown – Thompson Twins – King for a Day (single cover) (1985) And now we move on to one of my favorite bands ever, Nick Cave and the Bad Seeds. If you know anything about Nick Cave, then you know his music tends to be pretty dark. His sixth album, took a slightly different turn, being full of lighter ballads. Well, light for Nick anyway. And the cover is a nice reflection of that, featuring a fresh-out-of-rehab Cave spiffed up in a white tux and playing a grand piano for a bunch of little girls, all identically clad in delicate white dresses.

In and of itself it’s not a provocative image; it’s only the presence of Nick Cave (whom many parents would hesitate to leave alone with their precious little darlings based on his appearance alone) that might cause us to look askance at it. I’ve seen two versions of this cover floating around as well.

The main one features red lettering, while the less common one features white lettering. I will post the former (as well as the back cover, which shows an image of three girls from the same photo shoot beating on a drum).

Photographer Unknown – Nick Cave and the Bad Seeds – The Good Son (back cover) Additionally, the music video for the album single The Ship Song echoes the same imagery as the album cover: Here’s another group I really like. It’s not easy to sum up the sort of music Piano Magic makes in a few words, but if pressed to do so, I would say it is dark ambient pop. This cover is for the single release of Speed the Road, Rush the Lights, which comes from the album. I can’t quite tell if this is a photo, a painting, or some combination of the two.

Photographer Unknown – Bauhaus – Kick in the Eye/Searching for Satori EP (1982) And last but certainly not least is a cover suggested to us by one of our followers (thank you!) This is the beautiful—and rather provocative—cover for Mea Kulparik Ez by Imanol Larzabal, a folk-style singer of origin. I know little about him beyond that, other than that he fought as part of the Basque separatist group ETA (Euskadi Ta Askatasuna) for a time in his youth. I searched for a high-quality version of this cover, ultimately downloading six different versions, none of which I was entirely happy with. I finally narrowed it down to two and have opted to post both.

The first is closer to an ideal version of the image, but it isn’t quite as in-focus as I’d like and is a touch too dark. The second version is lighter and larger, but it is also somewhat weathered.

Between the two I think we can get a pretty good idea of what this should look like. I also found the image for the cassette tape of the same album. It features the same girl in the same setting but in a different pose. Unfortunately, it is heavily scratched up and quite small.

I could find no other copies of this image online, not even bad ones, but it is still worth sharing. If someone could do some research into this covert art, perhaps find out who the photographer was and even what the title translates to, maybe it will lead to better versions of these images. Robert Shure – Boston Irish Famine Memorial (1998) It is one of two groups of sculptures installed in The Boston Irish Famine Memorial, a memorial park located on a plaza along The Freedom Trail. Sculpted by Robert Shure, they were supposed to commemorate the contrast between an Irish family suffering during the Great Famine of 1845–1852 (‘The Potato Blight’) with a prosperous family that emigrated to America.

The park was opened in 1998 and received scathing reviews earning it the moniker of “the most mocked and reviled public sculpture in Boston”. The statues are also accompanied by eight narrative plaques. The criticism lies mainly in the fact that the figures are portrayed in an outdated and cloyingly stereotypical manner. Our contributor found this statue particularly interesting because of the little girl’s mourning pose and her ripped clothing which reinforces mainstream stereotypes. Posted inTagged Post navigation.

You may use anyone you wish for shipping, but those listed below have worked with a large number of our buyers. Please feel free to get competing quotes. But please, please get your quotes quickly and make arrangements as quickly as possible after paying for your purchases!!! SHIPPERS Mail Service Center Mike Kaufman 3402 Edgemont Ave Brookhaven, PA, 19015 610-872-5662 mailserctr@aol.com Small items, including small furniture The UPS Store Auction Warehouse Walter Gaines 75 East Uwchlan Avenue; Suite 130 Exton 19341 484.879.6678 auctionpackship@gmail.com The Packaging Store Duane Freed 2333 Welsh Road Lansdale, PA 19446 215-361-6940 215-361-6941 fax hello@packandShipNow.com www.GoPackagingStore.com Smalls, Furniture, Art Unique Products & Company, LLC Gene Grady 302.723.2365 uniquecompany@comcast.net Art in Transit Nicholas Clarke 715 N. 6th Street Philadelphia, PA 540.550.7080 nclarke@artintransit.net VG Packaging LLC Gordon G. Murray II 12 Salem Road Schwenksville, PA 19473 484-552-8741 484-552-8744 quotes@vgpackagingllc.com www.vgpackagingllc.com Navis Pack & Ship 780 Primos Avenue, Unit A Folcroft, PA 19032 610-534-0750 rebecca.michaelson@gonavis.com www.gonavis.com Mt.

The best way to receive a quick response to requests for condition reports and additional photos is to contact us directly at info@williambunchauctions.com or call us at 610-558-1800 to speak to a staff member. This will assure the most rapid response possible. Bidders known to the auction house or with credible online bidding and payment history will be approved quickly.

Others will be sent a credit card form that will ask for a valid card and pre-approval to use that card to pay for all purchases immediately after the auction. Some bidders may be required to post a refundable deposit or guarantee timely payment with a credit card at the auction house's discretion. In any event, full payment for all purchases must be must be made by close of business 10 days following the auction.

Accounts not paid in full at that time will be placed in dispute status with Live Auctioneers and these bidders will be placed on our Do Not Register list. We will be asking for pre-auction deposits to guarantee payment for items purchased.

All deposits will be refunded withing 24 hours of the auction if you are not successful. We accept VISA, MC, Discover, wire transfer, cash, personal check (items will be held until check clears.) We do not accept AMEX or PayPal.

Before registration approval, The auctioneer reserves the right to ask for credit card information and to place a minimum $1000 hold on account towards purchases from any or all overseas buyers. This will be credited towards the total purchase price of all items or, in the event of no purchases, will be credited back to the credit card account within 24 hours after the conclusion of a sale. Accepted payment methods. To the best of our ability, all works of art are described in accordance with industry standard cataloging terms with respect to authorship.

Due diligence should be performed prior to bidding, not after. Returns and refund will not be considered unless the request for a return and refund is accompanied by a notarized statement from a generally accepted authority on a particular work. By registering for and participating in this auction, you agree that you have read and will abide by these and all other terms of sale as stated here and elsewhere by the auctioneer. The best way to receive a quick response to requests for condition reports and additional photos is to contact us directly at info@williambunchauctions.com or call us at 610-558-1800 to speak to a staff member. This will assure the most rapid response possible.Please keep in mind when bidding we do NOT offer any in-house shipping. We use third party shippers.

Pleae read the shipping paragraph above for details. If you would like to pick up your items or make your own shipping arrangements, please notify our office as soon as possible and we will hold your items at our warehouse accordingly. For an estimate on shipping costs please contact Mail Service Center at 610-872-5662 or via email at mailserctr@aol.com. They seem to provided the best response time according to some of our buyers. To the best of our ability, all works of art are described in accordance with industry standard cataloging terms with respect to authorship. Due diligence should be performed prior to bidding, not after.

Returns and refund will not be considered unless the request for a return and refund is accompanied by a notarized statement from a generally accepted authority on a particular work. By registering for and participating in this auction, you agree that you have read and will abide by these and all other terms of sale as stated here and elsewhere by the auctioneer. All State, Federal, and International Laws pertaining to trade in endangered species will be obeyed. There are many items containing parts of endangered species that cannot be shipped out of the Commonwealth of PA. Buyers Premium 21% of Hammer Price includes the 3% Live Auctioneers fee for online buyers at LiveAuctioneers.com.

We accept Visa/MC/Discover. Wire Transfers preferred for overseas transactions William H. Bunch, Auctions & Appraisals, LLC will offer the property described in this catalogue, which description may be amended by salesroom notice or announcement, for sale on behalf of various consignors. Unless otherwise indicated in the catalogue, William H. Bunch, Auctions & Appraisals, LLC will offer all property as agent for the seller. These CONDITIONS OF SALE and the LIMITED WARRANTY and ABSENCE OF OTHER WARRANTIES set forth below, together with any glossary contained herein, constitute the complete and exclusive statement of the terms and conditions on which all property is offered for sale. Bunch, Auctions & Appraisals, LLC reserves the right to vary terms of sale and any such variance shall become a part of these conditions of sale.

By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer agrees to be bound by these conditions of sale. As used in these conditions of sale, the term 'final bid' means the highest bid acknowledged by the auctioneer and the term 'purchase price' means the sum of the final bid plus the premium payable by the buyer, as set forth in Condition 4.

The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders to determine the successful bidder, to continue the bidding or to re-offer and resell the lot in dispute. In the event of any dispute after the sale, William Bunch Auctions & Appraisals, LLC record of final sale shall be conclusive. William Bunch Auctions & Appraisals, LLC reserves the right to withdraw any lot before the sale.

The purchase price payable by all internet buyers shall be the sum of the final bid plus a premium of 21% of the final bid which includes the 3% Live Auctioneers fee for online buyers at LiveAuctioneers.com. In addition, buyers are required to pay any sales tax, which may be due, unless exempted by law. Title to the offered lot shall pass to the buyer upon the fall of the auctioneer's hammer and announcement by the auctioneer that the lot has been sold, subject to compliance by the buyer with all other conditions of sale. The buyer shall forthwith assume full risk and responsibility for the lot and shall pay the full purchase price or such part thereof as the auction house, in its sole discretion, shall require.

In addition, the buyer may be required to sign a confirmation of purchase. No lot may be removed from William Bunch Auctions & Appraisals, LLC premises until the buyer has paid in full the purchase price thereof or has satisfied such terms as the auction house, in its sole discretion, shall require. Subject to the foregoing, all lots are to be paid for and removed from Bunch's premises at the buyer's expense no later than 4:30 p.m.

Of the third business day following the sale. The buyer of any lot which remains on Bunch's premises later than 4:30 p.m. Of the third business day following the sale will incur a charge for storage and handling of $10.00 per day for each lot.

In addition to other remedies available by law, auction house reserves the right to impose a late charge of 1% per month on the purchase price if the buyer does not make payment in full in accordance with these conditions of sale. Time required to arrange shipping on absentee and internet purchases will be considered, but payment is due in 3 days.

Bids which are submitted to William Bunch Auctions & Appraisals, LLC in writing or are otherwise left with Bunch's prior to an auction for execution at or below a specified price, as well as telephone bids, shall be entertained and executed by William Bunch Auctions & Appraisals, LLC for the convenience of bidders not present at auction, but William Bunch Auctions & Appraisals, LLC shall not be responsible for failing to execute such bids or for errors relating to its execution of such bids. Unless exempted by law, the buyer shall be required to pay any applicable Federal excise tax and state and local sales tax on the purchase price. If the buyer fails to comply with any of these conditions of sale, Bunch's may in addition to asserting all remedies by law, including the right to hold such defaulting buyer liable for the purchase price, (I) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately on seven days notice to the buyer or (iii) take such other action as it deems necessary or appropriate.

If William Bunch Auctions & Appraisals, LLC resells the property, the original defaulting buyer shall be liable for the payment of any deficiency in the purchase price and all costs and expenses, including warehousing, the expenses of both sales, reasonable attorneys' fees, commissions, incidental damages and all other charges due here listed. In the event that such buyer pays a portion of the purchase price for any or all lots purchased, William Bunch Auctions & Appraisals, LLC shall apply the payment received to such lot or lots that William Bunch Auctions & Appraisals, LLC in its sole discretion, deems appropriate. Any buyer who fails to comply with these conditions of sale will be deemed to have granted William Bunch Auctions & Appraisals, LLC a security interest in, and Bunch's may retain a collateral security for such buyer's obligations to William Bunch Auctions & Appraisals, LLC any property in William Bunch Auctions & Appraisals, LLC possession owned by such buyer.

William Bunch Auctions & Appraisals, LLC shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the state where the auction is held. The respective rights and obligations of the parties with respect to the conditions of sale and the conduct of the auction shall be governed and interpreted by the laws of the state of Pennsylvania. By bidding at an auction, whether present in person or by agent, by absentee bid, telephone or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state and Federal courts sitting in the state. William Bunch Auctions & Appraisals, LLC does not provide an in-house shipping service. Bunch Auctions may, in its discretion and as a service to buyers, arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. Bunch's assumes no responsibility for acts or omissions in such packing or shipping by Bunch's or other packers or carriers, whether or not recommended by William H.

It shall be the potential buyer's sole responsibility to research and satisfy the requirements of any laws and regulations that apply to the import and export of property as described in the aforementioned paragraphs. Prospective buyers must also note that the inability or delay in obtaining permits, licenses or other permissions to import or export property containing potentially regulated wildlife material will not constitute a basis for rescission or cancellation of the sale of said property or the delay in payment of purchased items in accordance with the Conditions of Sale.

Hajime Sawatari Alice In Wonderland

Jewelry Sold at William Bunch Auctions & Appraisals, LLC: It is the responsibility of the bidder to examine carefully any item(s) of potential interest. For all the jewelry sold at William Bunch Auctions & Appraisals, LLC the following applies: All gemstone weights are approximate. Items identified as 14K, 18K, sterling, or other specific assays are stamped as such and are described accordingly. We generally test unmarked metals with 14K acid and those items that test positive are called 'unmarked gold.' When we say 'tests as high karat' we mean that the metal tested positive with 18 K acid, but no warranty is given as to the actual karat assay of any metal under any circumstance. We are aware of the many types of treatments and/or enhancements used today on diamonds and colored stones. The purpose is to improve their appearance i.e.

Color and/or clarity. Techniques like heat treatments, color diffusion, irradiated, HTHP, oiling, resin, bleaching, dying and impregnation are just a few techniques known today. Some treatments combined.

Some treatments are not detectable using standard gemological procedures. Not all treatments are permanent. Prospective buyers are therefore reminded that unless otherwise noted in the description(s), it must be assumed that some form of enhancement may have been used. Regarding laboratories certification: The certifications mentioned in the descriptions only reflect the opinions of the laboratory. From one laboratory to another they do differ on the degrees of grading and/or treatments. And if a stone has a certificate from a laboratory we cannot guarantee this grading.

To Prospective Buyers of Clocks and Watches The description of the condition of clocks and watches in this catalogue, including references to defects and repairs, is provided as a service to prospective buyers, but such description is not necessarily complete. While William Bunch Auctions & Appraisals, LLC will furnish a condition report on any lot to a prospective purchaser upon request, any such report may also be incomplete and may not specify all mechanical replacements or defects. Accordingly, all clocks and watches should be viewed personally by prospective buyers to evaluate the condition of the property offered for sale.

All lots are sold 'as is,' and the absence of any reference to the condition of a clock or watch does not imply that the lot is in good condition and without defects, repairs or restorations. Virtually all clocks and watches have been repaired in the course of their normal useful lifetime and may now incorporate parts not original to them. Furthermore, William Bunch Auctions & Appraisals, LLC makes no representation that any clock or watch is in working order. Asian Arts Disclaimer: We are aware of the many types of treatments and/or enhancements used today on jade. The purpose is to improve their appearance, i.e. Color and/or clarity. Techniques like bleaching, dying and impregnation are just a few techniques known today.

These treatments are not detectable using standard gemological procedures. Not all are permanent.

Prospective buyers are therefore reminded that unless otherwise noted in the description(s),. it must be assumed that some form of enhancement may have been used. Accompanied by a laboratory report stating natural, no evidence of treatment.

Buyer's Premium and Sales Tax Bidders are reminded that the purchase price to be paid by the highest bidder shall be the sum of the final bid plus a 21% of the final bid which includes the 3% Live Auctioneers fee for online buyers at LiveAuctioneers.com. In addition, buyers are required to pay any sales tax, which may be due, unless exempted by law. Price Range Estimates This catalogue may be published with the opinion of William Bunch Auctions & Appraisals, LLC as to the estimated price range for each lot.

These estimates are the approximate prices expected to be realized at auction. They should not be relied upon as a prediction or guarantee of the actual selling price. They are well in advance of the sale and are subject to revision. The estimates printed in the auction catalogue do not include the buyer's premium. Bidding Generally The auctioneer will accept bids from bidders present in the salesroom, absentee bidders participating in the auction by telephone or internet and absentee bidders who leave written, or order, bids with William Bunch Auctions & Appraisals, LLC in advance of the auction. Some lots offered may be subject to a reserve.

The reserve is a confidential minimum price agreed upon by the consignor and William Bunch Auctions & Appraisals, LLC below which the lot will not be sold. A representative of William Bunch Auctions & Appraisals, LLC will execute such reserves by bidding for the consignor. Reserves are set at or below the estimated range. Under no circumstances will reserve amounts be disclosed to prospective bidders. Absentee Bids When bidders are unable to attend the sale, the auction house will be pleased to enter their absentee bids. These bids should always be made or confirmed in writing by fax or internet bid. Such bids will be executed at the lowest price taking into account the reserve price and other bids.

If two or more parties have entered matching bids, the first bid received shall take preference. The auctioneer may execute bids for absentee bidders directly from the podium. Telephone Bids Telephone bids will also be executed for absentee bidders who wish to participate in the auction. Arrangements for telephone bidding must be confirmed in advance with the office, 610-558-1800.

The staff will execute telephone bids from designated areas in the salesroom. Condition Report William Bunch Auctions & Appraisals, LLC will be pleased to provide a condition report for any lot on request. Nevertheless, prospective buyers are reminded that each lot is sold 'as is,' and their attention is drawn to the Important Notice set forth below. Important Notice All property is sold 'as is,' and neither William Bunch Auctions & Appraisals, LLC nor the seller makes any express or implied warranty or representation as to the condition of any lot offered for sale, and no statement made at any time, whether oral or written, shall constitute such warranty or representation.

Descriptions or conditions are not warranties. The descriptions of the conditions of articles in this catalogue, including all references to damages or repairs, are provided as a service to interested persons and do not negate this paragraph. Accordingly, all lots should viewed by prospective buyers to evaluate the condition of the property offered for sale.