5 Artists Reimagine '1984' for 2017
With 1984's popularity, the debate about whether our current world is more like Orwell's dystopia or the one described in Aldous Huxley's Brave New World has resurfaced as well. Both books warn of the dangers their authors perceived was on the horizon, but the living legacy of 1984 is its mark on language, so Creators asked artists to illustrate the terms and concepts from the book that they see reflected in today's society.
Read more and explore more dystopian art here.
Via Vice/Creators
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ARTxLIT: Nikos Kazantzakis x Vincent Van Gogh
—
“I said to the almond tree, ‘Sister, speak to me of God.’
And the almond tree blossomed.”
Nikos Kazantzakis, Report to Greco
—
Almond Blossom by Vincent Van Gogh (February 1890 - 1890) (at Saint-Rémy-de-Provence)
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ARTxLIT: Hozier x Gustave Coubert
—
When my time comes around
Lay me gently in the cold dark earth
No grave can hold my body down
I’ll crawl home to her
Hozier, from “Work Song”
original edit; L'Homme blessé (The Wounded Man) by Gustave Courbet (1844–1854) and its X-Ray image by C2RMF
—
using X-ray fluorescence, L'Homme blessé was found to be reworked twice. restorers discovered that a woman once lay on the artist’s shoulder, but then ten years later–perhaps, after the relationship had ended–the private contentedness between the artist and his lover had been replaced by a sword and a bloodstain from a wound on his chest. (at Musée d'Orsay)
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ARTxLIT: Geofferey Hill x Dante Gabriel Rossetti
"Undesirable you may have been, untouchable
you were not. Not forgotten
or passed over at the proper time.
[…]
September fattens on vines. Roses
flake from the wall. The smoke
of harmless fires drifts to my eyes.
This is plenty. This is more than enough."
Geoffrey Hill, from “September Song,” in New and Collected Poems, 1952-1992
—
The Day Dream or Monna Primavera, Dante Gabriel Rossetti (Oil painting. 1880)
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ARTxLIT: j. p. berame X Francesco Hayez
—
in June, a night
that clings
to my marrows
—wet, quiet
.
bone silence & soft
wanings—an ache
that splits the being:
part-heart
part-head
.
collapse inside
the atria of my own
chest: i vibrate
in the blood &
dreams of me,
oozing past layers
of ontologies
.
turn a page of
tender unweavings:
my heart, a garden
my heart, my own
Gethsemane
.
enfold all in the humidity
of thoughts & prayers;
heavy atmosphere—
.
go lightly,
therefore &
breathe water.
j. p. berame , “June,” in this year: POEMS 2017
—
Mary Magdalene as a Hermit by Francesco Hayez (1833)
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ARTxLIT: Louis XIV x Hyacinthe Rigaud
“Why do you weep? Did you think I was immortal?”
these were the last words of Louis XIV, the Sun King of France, who died on this day, 1st of September in the year 1715
-
Portrait of Louis XIV by Hyacinthe Rigaud
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ARTxLIT: Heiner Müller x John Everett Millais
—
I am Ophelia. She who the river could not hold. […] I set fire to my prison. I throw my clothes into the fire. I dig the clock which was my heart out of my breast. I go onto the street, clothed in my blood.
Heiner Müller, Hamletmachine.
—
Ophelia by John Everett Millais (1852)
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ARTxLIT: Muriel Rukeyser x William-Adolphe Bouguereau
1
Held between wars
my lifetime
among wars, the big hands of the world of death
my lifetime
listens to yours.
The faces of the sufferers
in the street, in dailiness,
their lives showing
through their bodies
a look as of music
the revolutionary look
that says I am in the world
to change the world
my lifetime
is to love to endure to suffer the music
to set its portrait
up as a sheet of the world
the most moving the most alive
Easter and bone
and Faust walking among flowers of the world
and the child alive within the living woman, music of man,
and death holding my lifetime between great hands
the hands of enduring life
that suffers the gifts and madness of full life, on earth, in
our time,
and through my life, through my eyes, through my arms
and hands
may give the face of this music in portrait waiting for
the unknown person
held in the two hands, you.
2
Woman as gates, saying:
"The process is after all like music,
like the development of a piece of music.
The fugues come back and
again and again
interweave.
A theme may seem to have been put aside,
but it keeps returning—
the same thing modulated,
somewhat changed in form.
Usually richer.
And it is very good that this is so."
A woman pouring her opposites.
"After all there are happy things in life too.
Why do you show only the dark side?"
"I could not answer this. But I know—
in the beginning my impulse to know
the working life
had little to do with
pity or sympathy.
I simply felt
that the life of the workers was beautiful."
She said, "I am groping in the dark."
She said, "When the door opens, of sensuality,
then you will understand it too. The struggle begins.
Never again to be free of it,
often you will feel it to be your enemy.
Sometimes
you will almost suffocate,
such joy it brings."
Saying of her husband: "My wish
is to die after Karl.
I know no person who can love as he can,
with his whole soul.
But often too it has made me
so terribly happy."
She said: "We rowed over to Carrara at dawn,
climbed up to the marble quarries
and rowed back at night. The drops of water
fell like guttering stars
from our oars."
She said: "As a matter of fact,
I believe
that bisexuality
is almost a necessary factor
in artistic production; at any rate,
the tinge of masculinity within me
helped me
in my work."
She said: "The only technique I can still manage.
It's hardly a technique at all, lithography.
In it
only the essentials count."
A tight-lipped man in a restaurant last night saying to me:
"Kollwitz? She's too black-and-white."
3
Held among wars, watching
all of them
all these people
weavers,
Carmagnole
Looking at
all of them
death, the children
patients in waiting-rooms
famine
the street
A woman seeing
the violent, inexorable
movement of nakedness
and the confession of No
the confession of great weakness, war,
all streaming to one son killed, Peter;
even the son left living; repeated,
the father, the mother; the grandson
another Peter killed in another war; firestorm;
dark, light, as two hands,
this pole and that pole as the gates.
What would happen if one woman told the truth about
her life?
The world would split open
4 Song : The Calling-Up
Rumor, stir of ripeness
rising within this girl
sensual blossoming
of meaning, its light and form.
The birth-cry summoning
out of the male, the father
from the warm woman
a mother in response.
The word of death
calls up the fight with stone
wrestle with grief with time
from the material make
an art harder than bronze.
5 Self-Portrait
Mouth looking directly at you
eyes in their inwardness looking
directly at you
half light half darkness
woman, strong, German, young artist
flows into
wide sensual mouth meditating
looking right at you
eyes shadowed with brave hand
looking deep at you
flows into
wounded brave mouth
grieving and hooded eyes
alive, German, in her first War
flows into
strength of the worn face
a skein of lines
broods, flows into
mothers among the war graves
bent over death
facing the father
stubborn upon the field
flows into
the marks of her knowing—
Nie Wieder Krieg
repeated in the eyes
flows into
"Seedcorn must not be ground"
and the grooved cheek
lips drawn fine
the down-drawn grief
face of our age
flows into
Pieta, mother and
between her knees
life as her son in death
pouring from the sky of
one more war
flows into
face almost obliterated
hand over the mouth forever
hand over one eye now
the other great eye
closed
Muriel Rukeyser, "Käthe Kollwitz" from The Collected Poems of Muriel Rukeyser
—
William-Adolphe Bouguereau, “Girl with a pomegranate” (1875)
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ARTxLIT: Ilya Kaminsky x John Everett Millais
---
"Our hearing doesn’t weaken, but something silent in us strengthens."
Ilya Kaminsky, from “Deafness, an Insurgency, Begins” in Deaf Republic
—
John Everett Millais, “Joan of Arc” (1865)
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ARTxLIT: Robin Ekiss x Adriaen Van Utrecht
—
“[…] not to carry the bones of August
into September, foiled with redness
and nothing to squander
but the buds of spring
dormant in their boughs.”
Robin Ekiss, from “The Bones of August,” from The Mansion of Happiness (University of Georgia Press, 2009)
.
.
.
🎨: Adriaen van Utrecht, Vanitas Still Life with Flowers and Skull, 1642. Oil on canvas, 67 x 86 cm.
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• #February #poem •
–
to respire with
the gentle breathings
of February:
in the gasping,
in the shortness of breath,
i walk the boundaries
of tender collapsing:
–
a little flock that trampled
the snakes and serpents
that made a nest in my head;
–
an assemblage of hurt intertwined
with the cascades of my hair.
–
i gather my thoughts—these poison
blooms—ready for the reaping.
–
i listen to my own bones praying
(the fire of the sky’s truth speaking):
–
“Behold, you have loved much
therefore much you can forgive.”
–
eyes be opened, dear heart:
we are all little children
under the soft wings of light.
.
.
.
− j. p. berame // no. 030617
.
.
.
🎨 Dante Gabrielle Rosetti, "La Ghirlandata" (1873)
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ARTxLIT: William Shakespeare x Frederick Sandys
“Is he not approved in the height a villain that hath slandered, scorned, dishonoured my kinswoman? O that I were a man! What, bear her in hand until they come to take hands, and then, with public accusation, uncovered slander, unmitigated rancour - O God, that I were a man! I would eat his heart in the market-place.”
—
Beatrice; Much ado About Nothing (William Shakespeare)
—
Frederick Sandys, “Love's Shadow” (1867)
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