Men’s adventure mags from the 1950s and ’60s mashed up with concurrent Better Homes and Gardens imagery by Nadine Boughton.
Colored woodcut, “An illustration of writing brushes.” (Kokushi Daijiten, 1868) via NYPL Wire.
Photograph by Terry Stevenson to accompany a George Nelson article about writing instruments (PDF) in the April 1973 issue of Harper’s.
Fictitious Dishes – a series of meals from novels cooked and photographed by Dinah Fried. Here’s the one for Moby Dick:
(Via NYPL Wire.)
The Wu-Note Project – Wu-Tang Clan album covers re-imagined in Blue Note Records style.
Redo your iTunes album artwork. You’ll be glad you did.
Related viewing: Project Thirty-Three
One of Flannery O’Connor’s early drawings:
“Do you have any books the faculty doesn’t particularly recommend?”
(Via Wesley Hill.)
Gerald Murphy (American, 1888–1964). Razor, 1924. Oil on canvas, 32 1/16 x 36 1/2 in.
With its almost “pre-Pop” billboard-style oversizing and graphic boldness, Gerald Murphy’s Razor suggests the heraldic crest of a modern American man, whose necessary tools are a Gillette safety razor, a Parker Big Red pen, and Three Stars matches. As the son of the head of the Mark Cross company, known for fine leather goods, Murphy was attuned to product design, as well as to style and status. After taking up painting in Paris in 1921, he borrowed from the new, reductive decorative aesthetic of Purism to celebrate American machine-age design for an enthusiastic postwar French audience. The painting also resonates in the context of Murphy’s obsessive self-fashioning as ultramodern and unconventional—an expression, in part, of his own bisexuality.
Part of Youth and Beauty: Art of the American Twenties, now playing at the Brooklyn Museum.
From Andy Warhol’s Tuesday, 9 October 1984 diary entry. It’s Sean Lennon’s 9th birthday party.
We went into Sean’s bedroom – and there was a kid there setting up an Apple computer that Sean had gotten as a present, the Macintosh model. I said that once some man had been calling me a lot wanting to give me one, but that I’d never called him back or something, and then the kid looked up and said, “Yeah, that was me. I’m Steve Jobs.” And he looked so young, like a college guy. And he told me that he would still send me one now. And then he gave me a lesson on drawing with it. It only comes in black and white now, but they’ll make it soon in color. And then Keith and Kenny used it. Keith had already used it once to make a T-shirt, but Kenny was using it for the first time, and I felt so old and out of it with this young whiz guy right there who’d helped invent it.
After seeing a couple different people on Twitter link to a short video wherein Jim Jarmusch asks Martin Scorsese about the scene in Goodfellas with Scorsese’s mom, I couldn’t resist sharing an image of the painting her character is supposed to have painted in the film.
Actually, as http://www.goodfellaspainting.com/ (perhaps my favorite single-serving site ever) points out, it’s a painting by Nicholas Pileggi’s mom based on a photograph from the November 1978 issue of National Geographic.
I am, of course, not the first person to point this out, but this strikes me as one of those things that’s so utterly delightful it can’t be pointed out too many times.
Tommy’s (Joe Pesci’s) analysis of the painting is particularly delicious:
“One dog goes one way and the other dog goes the other way. And this guy’s saying, ‘Whaddya want from me?’”