#1975 dutch gp | Explore Tumblr Posts and Blogs

tasksweekly · 5 years

Photo

[TASK 169: COMANCHE]

In celebration of November being Native American Heritage Month, here’s a masterlist below compiled of over 90+ Comanche faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. The Comanche are a Native American and Native Mexican tribe who historically have lived in a region they call “Comancheria”, which encompasses the US states of Colorado, Kansas, New Mexico, Oklahoma, and Texas and the Mexican state of Chihuahua. The majority of Comanche now live in Oklahoma or Texas. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever faceclaim or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK - examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST!

Raven De La Croix (1947) Comanche / French - actress.

Karita Coffey (1947) Comanche - ceramist.

Yolanda Martinez (1950) Comanche, Apache, Spanish - singer, drummer, composer, and artist.

Gigi Bannister (1960) Comanche / Osage - actress and makeup artist.

Teri Greeves (1970) Comanche, Kiowa / Italian - beadwork artist.

Keri Ataumbi (1971) Comanche, Kiowa / Italian - painter, sculptor, and jewelry maker.

Shiah Luna (1984) Comanche / Mexican - actress.

Amber Stevens / Amber Stevens West (1986) Comanche, African-American / Irish, Norwegian, German, English, Dutch, Scottish, Welsh - actress and model.

Billie D. Merritt (1990) Comanche, Choctaw / African-American - actress.

Janee’ Kassanavoid (1995) Comanche - hammer thrower.

Marla Nauni (?) Comanche, Potawatomi / Seneca - actress, singer, and model.

Bernadette Perez (?) Comanche / Mexican [Purepecha, Spanish, Possibly Other] - actress, director, producer, and storyteller.

Chyna Rose Stevens (?) Comanche, African-American / Irish, Norwegian, German, English, Dutch, Scottish, Welsh - makeup artist.

Nina Hargis (?) Comanche - actress.

Andria Benet (?) Comanche / Coahuiltecan - musician, filmmaker, writer, poet, photographer, and curator.

Veronica Wood (?) Comanche, Kiowa / Irish, German - actress.

Apryl Allen (?) Comanche, Unspecified White - singer-songwriter, composer, playwright, and author.

Cece Meadows (?) Comanche / Yaqui - plus-sized model and makeup artist.

Liv The Artist / Olivia Simone Komahcheet (?) Comanche, Navajo - actress, singer, multi-instrumentalist, and graphic artist.

Juanita Pahdopony (?) Comanche - actress, poet, writer, and artist.

Dana Goodin (?) Comanche - podcast host, fashion designer, and writer.

Jhane Myers (?) Comanche, Blackfoot - actress, producer, dancer, and artist.

Bethany Dupoint (?) Comanche, Kiowa - model.

Ava Battese (?) Comanche, Potawatomi, Pawnee, Seminole - basketball player.

Julianna Brannum (?) Comanche - filmmaker.

Shauna Osborn (?) Comanche, Spanish, German - poet, artist, and wordsmith.

Kimi Greene (?) Comanche, Unspecified White - singer and blogger.

Terry Gomez (?) Comanche - actress, director, and playwright.

Wakeah Jhane (?) Comanche, Blackfoot / Kiowa - artist.

Laurena Killsnight (?) Comanche, Nez Perce - actress, artist, and writer.

Ginny Underwood (?) Comanche, Kiowa - producer and writer.

Jessica Quoetone (?) Comanche, Kiowa - basketball player.

Cynthia Canada (?) Comanche, Kiowa - painter.

Toyacoyah Brown (?) Comanche - writer.

Cynthia Masterson (?) Comanche - artist.

Nahmi Koassechony-Burgess (?) Comanche, Chiricahua Apache - softball player.

J. Nicole Hatfield (?) Comanche, Kiowa - painter.

Blaize Burgess (?) Comanche, Shawnee / African-American - basketball player.

Carmen Selam (?) Comanche, Yakama - artist.

Cynthia Clay (?) Comanche / Unknown - artist.

Rance Hood (1941) Comanche - artist.

Gil Birmingham (1953) Comanche - actor.

Micki Free (1955) Comanche, Cherokee, Irish - singer-songwriter, guitarist, flutist, and harmonicist.

Raoul Trujillo (1955) Comanche, Tlaxcalan, Metis, Ute, Apache, Pueblo, Andalusian Moor, Sephardi Jewish, French - actor, director, dancer, and choreographer.

Benjamin Dane (1962) Comanche / Blackfoot - actor.

Jonathan Joss (1965) Comanche, Western Apache, Spanish - actor.

Rodrick Pocowatchit (1966) Comanche, Pawnee, Shawnee - actor and filmmaker.

Quanah Parker Burgess (1975) Comanche - artist.

Comanche Boy / George Tahdooahnippah (1978) Comanche, Choctaw - boxer.

Rudy Youngblood (1982) Comanche, Yaqui, Cree - actor, musician, dancer, and artist.

Thundercat / Stephen Lee Bruner (1984) 1/8 Comanche, 7/8 African-American - rapper-songwriter, singer, guitarist, keyboardist, drummer, and producer.

DJ ELITE (1990) Comanche, French / Irish - DJ, producer, and audio engineer.

Chance Comanche (1996) Comanche, Choctaw, African-American, Irish, Scottish - basketball player.

Phillip Bread (1998) Comanche, Blackfoot / Kiowa - actor and model.

Marco Fuller (?) Comanche, Choctaw, German / Colombian - actor.

Darryl Tonemah (?) Comanche, Kiowa, Tuscarora - actor and singer-songwriter.

Hud Oberly (?) Comanche, Osage, Caddo - actor and filmmaker.

Jason Asenap (?) Comanche / Muskogee - actor, director, and writer.

Duane Loken (?) Comanche - actor and singer.

Cornel Pewewardy (?) Comanche, Kiowa - singer-songwriter and flutist.

Sy Hoahwah (?) Comanche / Southern Arapaho - author and poet.

Randy Granger (?) Comanche, Apache, Mayan, Tequesta, Tłı̨chǫ, Alaskan Athabaskan, Unspecified Non-Native - singer-songwriter and flutist.

Jason Lawton (?) Comanche - actor and producer.

Timothy Tate Nevaquaya (?) Comanche, Yuchi / Chickasaw, Choctaw - flutist and visual artist.

Glass Eden (?) Comanche, Mescalero Apache - singer.

Alan Odinson (?) Comanche - archer.

David Lopezz the Double Letta / David Lopezz (?) Comanche / Raramuri - rapper.

Chief Sonne Reyna (?) Mexican [Comanche, Yaqui, Apache, Comecrudo, Coahuiltecan] - singer and drummer.

King Keeno (?) Comanche - rapper.

Joe Galarza (?) Mexican [Comanche, Possibly Other] - musician, instrument maker, painter, muralist, and sculptor.

Aaron Adson (?) Comanche / Pawnee - singer.

Sunrise Tippeconnie (?) Comanche, Navajo - filmmaker.

Lans Saupitty (?) Comanche - singer.

Tyler Martinez (?) Comanche, Navajo, Chiricahua Apache - actor, stuntman, equestrian, and artist.

Kenneth Cozad (?) Comanche, Kiowa - musician.

Benny Tahmahkera Jr. (?) Comanche - actor.

John Robert Jr. (?) Comanche, Unspecified White - actor.

Robbie Mitchell (?) Comanche, Unspecified Other - model (instagram: nativepapi_47).

GP Handman / Rahim Asad Shakur (?) Comanche, Afro-Jamaican - rapper (instagram: famerica_handman).

Paul Chaat Smith (?) Comanche / Choctaw - author and curator.

Steven A. Flores (?) Comanche / Mexican - actor and artist.

Raymond Love (?) Comanche, Irish - filmmaker.

Arch W. Gibson (?) Comanche - writer.

Eric Tippeconnic (?) Comanche - painter.

Shinali Robbie R. Daniels (?) Comanche - singer.

Nocona Burgess (?) Comanche - painter.

Phillip Roybal (?) Comanche, Kiowa, Caddo - mixed martial artist.

Larry Hood (?) Comanche - artist.

Barthell Little Chief (?) Comanche - artist.

Tim Saupitty (?) Comanche - artist.

NB:

Peshawn Bread (1996) Comanche, Blackfoot / Kiowa - Two-Spirit (They/Them/She) - actor, model, filmmaker, and poet.

Raven Two Feathers (?) Comanche, Cayuga, Cherokee, Seneca - Two-Spirit (They/Them/Their’s) - filmmaker.

Problematic:

Hozhoni Whitecloud (2001) Comanche, Omaha, Otoe, Ho-Chunk, Plains Cree, Lakota Sioux, Menominee, Muskogee, Arikara - model. - Cultural appropriation.

#comanche fc #native fc #poc fc #fc list #rph #task: 169 #task: comanche

18 notes · View notes

saphrin · 6 years

Text

Modern!Van Der Linde Gang AU

I got this idea from earlier today when I took my little brother somewhere! Enjoy y’all!

Jack sighed as he sat on the floor of the living room, playing with a little train set that his father had bought him. Lately it felt as if there was nothing to do, everyone was busy and Jack felt bored. Finally, he stood up and walked down the halls of the large manor to the library, where his mother, Abigail, sat with Mary-Beth.

“Momma, can we go somewhere today?” Jack asked with a pout, letting his arms fall to his side at he looked at his mother.

Abigail set down the book she held in her hands on the small table beside her and looked down at her son. “I ain’t sure, where would you like to go?”

Mary-Beth perched up as she was about to speak, clearly an idea had come to mind. “I heard of this place just downtown, near that plaza. I suppose we could go there, Jack. I’m sure you’d love it. It’s just this little play place, there’s tons of little actives and a big jungle gym type o’ thing!”

Jack’s eyes widened at the idea Mary-Beth had come up with, he looked at his Mother with a wide and excited grin on his face. “C-can we Momma? Please!”

Abigail thought for a moment before responding with a soft smile. “Well, I don't see why not. I ain’t got nothin’ to do today.”

Jack jumped up and down excitedly as Arthur, Sean, and John walked into the room they were currently in.

“What’s all the commotion?” Arthur asked, his gaze facing towards Abigail and Mary-Beth before smiling down at Jack.

“Momma and Mary-Beth are goin’ to take me to this play place, Uncle Arthur!” Jack answered, still full of excitement as he looked up at the adults.

Abigail stood up and looked at the three men. “You should come, that includes everyone else as well. I think it’d be fun, good family time.”

Seans eyes lit up as Abigail extended the invitation. “Ooo! Is it the new place? Let’s go, it’d be fun!”

John shook his head, looking over at the two that stood beside him. “No, Sean. Don't ya think we’re too old?”

Abigail groaned, rolling her eyes and grabbing the three as she pushed them out into the hall way. “I’ll decide for ya’ll, you're comin’. Now, come on.”

“Ow! Dutch, John be sittin’ on my hand again!” Arthur complained, yelling from where he sat in the back of the car over to Dutch whom was in the front, driving.

Dutch groaned in annoyance, looking at the two in the rear-view mirror. “I swear to god you two! If I hear one more complaint outta one of ya again I will turn this god damned car around, have some faith!”

“Y-yes boys, calm down now. You wouldn't want to anger daddy now, would ya?” Hosea said, turning to Dutch who sat beside him, patting his shoulder and then turning his gaze to the map he held in his hands.

Javier eyed Hosea from his seat, looking from the window and back to him until he finally decided to speak. “Hosea, why are you lookin’ at a map? Ya know you could just look at the GPS that is literally right fuckin’ there beside the radio. It ain’t 1975 ya know.”

Hosea sighed and looked back at Javier, setting down the map. “For me it feels like just yesterday I was twenty-nine, livin’ in the country side in 1975 so give me a break, would ya?”

After that everyone finally shut up, or at least for a few moments. Only five minutes later did John and Arthur start picking up a fight, yelling whilst pulling at each others hair. Between them sat Sean and Charles, who both looked very unamused by what was happening in between them, glaring at Javier, jealous that he sat alone in front of them.

“Stop it! My sons, you are supposed to get the hell along! Now, we’re here so get out of this car and stop setting a bad example for the child!” Dutch basically screamed at the two who fought in the back.

Everyone unbuckled themselves out of their seats and got out of the car. Beside them were the rest of the gang, in a separate car.

Charles hit both Arthur and John on the head once he got out, “I am never riding with you two morons again.”

Abigail turned and smiled at them all as she sent Jack to the door of the building. “How was the ride? Our’s was lovely, Bill put on some music and everyone was so nice.”

Dutch glared at her in jealousy as he grabbed both his sons by their ears, “These two can't get along and fought whilst Sean kept makin’ me play children’s music like the ABCs and Wheels On The bus.”

Sean put a hand on his chest as he pretended to be offended. “Excuse me? It’s like the Shakespeare of music!”

Hosea looked at them all as he shook his head, walking away to the doors of the building.

“How ‘bout we just go in?” John asked, clearly bored with the conversation.

Everyone nodded and got in, Dutch walked over to the employee who stood at the front desk.

“Hello there, may I-” Dutch started to speak, before getting distracted once he looked up at the person he was talking to. “M-Micah? What In the hell are you doin’ ‘ere!”

Micah rolled his eyes at Dutch and the gang, looking almost as if he was gritting his teeth. “Well... If it isn't the Van Der Linde Gang? Don't you have competitions to ruin and bake sales to blow up?”

“Ha-ha, very funny. Just let us in, damn it.” Dutch said, annoyed by the mere presence of him.

Micah rolled his eyes once more as he pressed a button, opening the gate in front of them all.

“We cheat in one pie eating contest and suddenly it’s ruined? Oh, please! We’ve all done worse things, including him.” Dutch complained as everyone sat down at this one long table.

Arthur raised a brow at Dutch as he sat down next to him. “First of all, it wasn’t even a contest, it was a fund raiser for charity and drunk you thought it’d be a good idea to eat the poor’s pies. Second, remember the time you blew up Jack’s school bake sale?”

“In my defence, it was Bill who blew it up. I had done nothin’, Bill is the one who brought dynamite on accident instead of fireworks.” Dutch defended, leaning back on his chair.

Bill looked up and threw his arms into the air. “How many times do I have to say I'm sorry for you to stop bringin’ that up!”

John looked over and glared at Bill as Jack pulled himself onto his fathers lap. “You could’ve killed the poor kid and then I would’ve killed you!”

“Can we all just have a good time and go play in the jungle gym? I bet little Jack ‘ere want’s to.” Sean pointed to the structure, excitement in his eyes.

Arthur shook his head, “Oh no, no. We all gettin’ too old for this. You go have fun with the kid.”

“Ya’ll are cowards, just think about it.” Sean replied, taking Jack’s hand and leading him over.

Dutch looked over at Arthur hesitantly. “I suppose we could join ‘em, just for a bit.”

Arthur sighed and stood up, making his way over to the structure. “Come on, then.”

The two made their way over and looked at the one entrance on the right side they were at. They stood on a platform and stared at the other.

“So, uh, what do we do?” Arthur asked, looking at the thing they needed to get up on. It was like a platform, but led up to the next level almost like a slide and had these plastic foam, circle like grips that went across that you'd hold onto to climb.

Dutch raised his arms up into almost a T-pose and looked at Arthur. “Well, we climb!”

Arthur looked down and shook his head before sucking it up and getting down on his hands and knee’s, attempting to climb up.

“Dutch, I’mma slip!” Arthur exclaimed, holding onto a grip with one hand and another on his side.

“son, your feet can touch the ground.” Dutch said, trying to hold back a laugh but failing.

Hosea looked over at the two from the table and squinted his eyes slightly. “What exactly are they doing?”

Everyone looked over to see Arthur struggling to climb and Dutch holding him up while on the other side Sean and Jack were having the time of their lives.

“Hey, guys! Watch me go down this slide.” John cheered, running over to the slide like a child.

“H-how can y-you do this?” Arthur asked, sitting down and out of breath.

“Weeeeee!” John yelled as he slid down the side.

Dutch patted Arthur on the back with a chuckle, “What? You getting too old for this?”

Arthur raised his arms into the air and nodded, “Well, yeah! I’m thirty-six not a child.”

“And I may be forty-one but I’m havin’ a great time.” Dutch said, laughing as he walked over to a bridge type of thing that led to the other side.

Arthur got on all four’s as he army crawled across, Dutch soon followed once Arthur got half way.

Arthur stopped suddenly and bit his lip, trying to look back at Dutch. “Hey, um... Dutch.”

Dutch raised a brow, looking up at him. “Yes?”

“I-I think I’m stuck.” Arthur whispered, not wanting to be heard by anyone else.

Charles climbed up from the other side, Followed by Javier. “What exactly are you guys doing?”

Arthur hid his face in embarrassment. “We’re just chillin’. You?”

“They’re stuck!” Sean yelled from below.

They all looked down to see him riding these plastic cars with Jack, sticking their tongues out at the two.

“Would ya look at that, even the old man is doin’ better then you two!” Hosea hollered from the second level just below them, swinging on some tire attached to the roof with a robe.

Arthur sighed at looked down at the ground, “I hate every single one of ya.”

“Guess we ain’t helpin’ you out there if you hate us then.” John shrugged, standing behind them.

“He was just kidding’!” Dutch reassured, laughing nervously.

“Guys? Guys!” Arthur yelled, looking around for everyone as they walked away.

They were stuck there for 20 minutes until Lenny came and got them out with butter. Let’s just say that maybe you shouldn’t say you hate everyone when you're in a bit of a pickle.

47 notes · View notes

romeorosso · 8 years

Photo

Tom Pryce, Shadow DN5, 1975 Dutch GP, Zandvoort Photo credit: Ove Nielsen

#tom pryce #shadow dn5 #shadow #dutch gp 1975 #zandvoort #1975 #RIP

2 notes · View notes

f1-blog-posts · 8 years

Photo

1975 Dutch GP, Zandvoort

#1975 #Dutch GP #Zandvoort

31 notes · View notes

yamahamotorusa · 7 years

Photo

The 1974 YZR350 0W16 proved itself to riders and fans in its early years. A liquid-cooled version of the 350cc Yamaha TR3 production racer, the YZR350 0W16 featured a two-stroke, parallel-twin engine with disc-valve induction. The bike made its debut at the 1973 Dutch TT and, in 1974, it received upgrades and improvements such as disc brakes and a monoshock rear suspension. Italian rider Giacomo Agostini shocked fans when he moved to Yamaha in 1974, and, in his first year with Yamaha, he won the 350cc Grand Prix World Championship aboard the 0W16. In 1975, Venezuelan rider Johnny Cecotto handed Yamaha back-to-back world championships when he captured the 350cc GP title on the 0W16. Link in bio for more @yamahamotogp history. #YamahaofYesterday #ThrowbackThursday #tbt #yamaha #classicmotorcycle #vintagemotorcycle #motogp

#classicmotorcycle #yamaha #tbt #vintagemotorcycle #yamahaofyesterday #motogp #throwbackthursday

58 notes · View notes

motorsporthq · 5 years

Text

Niki Lauda remembered: All 25 of his F1 wins

1974 Spanish GP

1/25

Photo by: Sutton Images

1974 Dutch GP

2/25

Photo by: LAT Images

1975 Monaco GP

3/25

Photo by: LAT Images

1975 Belgian GP

4/25

Photo by: Rainer W. Schlegelmilch

1975 Swedish GP

5/25

Photo by: Rainer W. Schlegelmilch

1975 French GP

6/25

Photo by: LAT Images

1975 US GP

7/25

Photo by: Ercole Colombo

1976 Brazilian GP

8/25

P…

View On WordPress

0 notes

nofomoartworld · 8 years

Text

Hyperallergic: Two Cy Twombly Exhibitions Marry Myth and Sensual Abstraction

Cy Twombly “School of Athens” (1961) Oil, oil-based house paint, colored pencil and lead pencil on canvas, 190.3 x 200.5 cm (© Robert Bayer, Bildpunkt AG, Munchenstein)

PARIS — With a sloppy style of vacuous vicissitudes Cy Twombly reversed what the avant-gardes of the prewar era held as a given: the view of history as a burden. There is a marvelous sprightly loose, intuitive feel about Twombly’s operatic paintings that manages to merge mythic, classical intellectualism with a Dionysian sensual immoderation that verges on shit. By this playful amalgam of semiotics with scatology, Twombly redevises history painting into palimpsest poop.

High-brow works such as “Nine Discourses on Commodus” (1963), “Fifty Days at Iliam” (1978) and “Coronation of Sesostris” (2000) organize the relaxed Pompidou retrospective containing some 200 paintings, sculptures, drawings, and photographs, mercifully hung in chronological order. It is cogently enthralling and spaciously mounted by Pompidou curator Jonas Storsve and Nicola del Roscio of the Cy Twombly Foundation. Sad to say, the show will not be travelling from Paris.

Cy Twombly “Untitled (Grottaferrata) III” (1957) Wax crayon and lead pencil on squared paper, 1 of 7 drawings: 21.6 x 29.9 cm (each) (© Galerie Karsten Greve, St. Moritz, Paris, Köln)

Born in Virginia in 1928, Edwin Parker Twombly, Jr. inherited the name Cy from his father — who pitched baseball for the Chicago White Sox and got his nickname after the legendary Cy Young. Following a trip to Paris and Morocco with Robert Rauschenberg, whom he met as a student and accompanied to Black Mountain College for the summer of 1951, Twombly expatriated to Rome in 1957, where he pressed further into his emulsified and rickety style. An uninhibited use of sallow colors is already evident in “Untitled (New York)” (1954) (that opens the show) and “Volubilis” (1953). “Volubilis” is named after the partly excavated Berber and Roman city in Morocco situated near the city of Meknes and commonly considered the capital of the ancient kingdom of Mauretania. The scratchy, scribbled dribbles that “Volubilis” employs owe a lot to a less solemn, that is, transgressive, approach to Abstract Expressionism. Indeed, Twombly’s work’s quintessence is Epicurean and festive in nature — and he never much conformed to AE’s angst ridden expressionism. Yet I felt something like twinges of existential doubt or futility while appreciating the spikey fertility of “Volubilis,” something Twombly most likely absorbed from his early passion for the transubstantiating drawings of Alberto Giacometti.

Cy Twombly “Veil of Orpheus” (1968) House paint, crayon,and graphite pencil on primed canvas 228.6 x 487.7 cm (© Cy Twombly Foundation)

From the same year, there is also a suite of seven child-like, wax crayon drawings that Twombly gave to his friend Betty Stokes, who was married to Venetian aristocrat Alvise Di Robilant and had just given birth to their first child in Grottaferrata (from where the drawings take their name). To make them, Twombly took liberties with the liberty that André Masson’s experiments with automatic drawing yielded in the 1920s. There is also a never-before-seen sweet suite of drawings he made in bed, in the dark at Grottaferrata, that feature repeated, spewing hump-forms suggestive of volcanic eruptions, like the one that buried Pompeii in ash.

The most accomplished post-AE paintings (resembling a bit, Arshile Gorky’s) are those that also engage with a haunting look of improvisational planned chance where chance operations are deliberately introduced into the creative process, such as the tantalizingly smudged “School of Athens” (1961), loopy and sensual “Dutch Interior” (1962) and the tasteful yet flamboyant “Achilles Mourning the Death of Patroclus” (1962). “School of Athens” and “Dutch Interior” are great examples of his almost convulsive, balm-encrusted paintings made between 1960 and 1962. This is when he created some of his hottest, most voluptuous paintings, in which churning male and female sexual body parts flutter and float through splatters and splurges that play off the thick, eggshell-whitish ground suggestive of foamy sea scum. Inspired in part by the midsummer Italian holiday of Ferragosto (rooted in an ancient Roman fertility festival) the sloppy, raunchy imagery in “School of Athens” is excessively goofy — congregating delicately scratched or scribbled shit messes against each other. Baboons might just as well have produced it.

Cy Twombly “Pan” (1975) Oil pastel and collage on paper, 148 x 100 cm, Cy Twombly Foundation (© Cy Twombly Foundation Archives, courtesy Nicola Del Roscio, photo by © Mimmo Capone)

Twombly does elegiac restraint very well too. This is abundantly apparent in the viscous paintings “Orpheus” (1979) and “Veil of Orpheus” (1968) at the Gagosian exhibition, a calm, whitish show of six large drawings and five paintings that riff on the archaic tale of Orpheus. The large painting “Orpheus” contains urgently curtailed marks that hint at the word Orpheus while refusing to move completely beyond gesture into actual readability. The same level of abstraction as applied to Greek myth is found in French composer Pierre Henry’s great musique concrète composition “The Veil of Orpheus” from 1953. With the audacious “Achilles Mourning the Death of Patroclus” at the Pompidou, we have before us a large, luxuriant canvas without the typical framed glass barrier so many other paintings here are burdened with. I guess that when these babies sell for around 70 million dollars a pop (as they do) the owners are willing to kill their surface sensuality a bit in the interests of safety. Anyway, “Achilles” conveys an immediate soft-hot, violent (or vigorous) sensual attractiveness — while also remaining curbed. The subject, a reference to Patroclus from Homer’s Iliad, is typical of Twombly’s playful interest in Mediterranean myth. His use of restrained pencil lines and two warm orgiastic marks in “Achilles,” akin to scrawled vandalism, compares favorably to Anselm Kiefer’s pious and heavy resurrections of epic battles and ancient myths that were also presented at the Pompidou not long ago, to less effect.

What distinguishes “Achilles” is its sliding signifiers — the way it correlates a gooey gestural present with an imperturbable, passive, classical past. It also has immediacy. Its seemingly unpremeditated gestures suggest the eternal presence of the now, because Twombly neither accepts the Greek classics as a perfunctory accumulation of events — succeeding one another in time — nor as a reservoir of fixed forms. Rather, especially in “The Vengeance of Achilles” (1962), he seems to have positioned self-possession on the tip of a bloody spearhead, piercing history with a slippery and alienated here-and-now present. At the same time, his slathering and slack markings, such as in “Dutch Interior,” suggest a willful regression into the infantile, so as to move the viewer closer to sensual instinctiveness. Yet the baby-playing-with-poop regression sensed in “School of Athens” is turned out as optimistic: it projects historical confidence at the same time, by piggy-backing on Raphael’s Italian Renaissance “The School of Athens” (1511) frescoes.

Cy Twombly, “Wilder Shores of Love” (1985) Oil-based house paint, oil (oil paint stick), colored pencil, lead pencil on wooden panel 140 x 120 cm (© Robert Bayer, Bildpunkt AG, Munchenstein)

Large scale synthesis of words and images and sophisticated soft lighting propel that confident feel in the fantastically installed “Fifty Days at Iliam” (1978), a ten-part painting cycle based on Alexander Pope’s translation of the Iliad, on loan from the Philadelphia Museum of Art. I was especially moved by the carnal, crimson canvas “The Fire that Consumes All Before It” (1978). Anticipating neo-expressionism by allowing color to become dissociated from line, Twombly’s self-imposed blundering here is far more elegant and earnest than Julian Schnabel’s bombastic combinations of scribbled words and abstract marks would ever be.

As denigrated in Donald Judd’s art criticism, I found less successful the swarming, faux urgent “Nine Discourses on Commodus” (1963) cycle with its overripe and agitated crimson swirling brushstrokes sent hovering on a rather uniform gray ground. These works, devoted to the Roman emperor Commodus, who is remembered as a bloodthirsty ruler, were inspired by John F. Kennedy’s splattered brains when he was assassinated in Dallas. Though ersatz by comparison to “Achilles Mourning the Death of Patroclus,” I don’t deny some collective force surviving in this series of presentations of bodily sensation in disarray, but the uniform vertical gray ground tends to kill it.

Turning his gestural AE materiality towards the Minimalism and Conceptualism that emerged around the world in the mid-1960s, Twombly created a series of taut, austere, muted paintings with energetic backgrounds of grey or black inscribed with simple geometric forms in distress or script-like loop-de-loops made with white wax crayon. These works, including the windswept “Night Watch” (1966), on loan from a private collection on the West Coast, strongly suggest Joseph Beuys’s scrawled blackboards (though they lack his social idealist (leftist) intent).

Cy Twombly “Achilles Mourning the Death of Patroclus” (1962) 259 x 302 cm, oil, lead pencil on canvas, collection Centre Pompidou, Paris (© Centre Pompidou / P.Migeat / Dist. RMN-GP)

White is the choice for Twombly’s sculpture assemblages that are grouped together so the Paris skyline enhances them. Even though Twombly was an early enthusiast of Kurt Schwitters’s collages, his assemblages are really not very good. Consisting of disparate found materials like wood, electrical plugs, cardboard boxes, scraps of metal and artificial flowers — and unified by a coat of white plaster — they are just too reminiscent of Picasso’s superior work in the medium. Though all his compositions straddle abstraction, Twombly is so much better, so much more richly psychic, when he stays within two-dimensional, collaged space so as to create unexpectedly affective territories where connections are made to be undone. This is evident in his rather juicy but minimalistic “Bacchanalia” (1977) cycle and particularly with the gratifying “Pan” (1975) collage. Probing the gap between sign and signified, it is a delighting feat of free association thrown up against a state of panic.

Like handwriting adorning a love letter, the title makes its way across the top half of “Wilder Shores of Love” (1985), a work alluding to the 1954 Lesley Blanch book of the same name. Thus Twombly evokes a kind of sentimental longing for other places and other times through a compost heap of past matter — now ready to sprout new forms.

Some may contest this, but for me, the Pompidou show slides unpropitiously downhill from there, as Twombly relies less and less on his emollient energetic mark making and more and more on letting gravity have its way with drooling liquid paint. This continues until finally, as with the limp loop-de-loop “Untitled (Bacchus)” (2005), the dripping drool becomes the sine qua none of old age and festive excess itself.

Well, at least it was a major whoop while it lasted.

Cy Twombly continues at the Centre Pompidou (Place Georges-Pompidou, 4th arrondissement, Paris, France) through April 24, and Cy Twombly: Orpheus continues at the Gagosian Gallery (4 Rue de Ponthieu, 8th arrondissement, Paris, France) through February 18.

The post Two Cy Twombly Exhibitions Marry Myth and Sensual Abstraction appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2lkBAEv via IFTTT

#IFTTT #Hyperallergic

1 note · View note