#hess studio

[nobrashfestivity]

"I really need to take a firm, strong step in my work. I do feel a need to say something in my way. [Quoting de Beauvoir]: “In boldly setting out towards ends, one risks disappointments; but one also obtains unhoped for results; caution condemns to mediocrity. What woman essentially lacks today for doing great things is forgetfulness of herself; but to forget oneself it is first of all necessary to be firmly assured that now and for the future one has found oneself.”

-Eva Hesse from her diary

quote at acquavellagalleries

[shokushii]

wanted to post this stupid shitpost right after pride month ended but anywho. love loses </3

also heres the nonshitpost version because i like it:

[onedegreeofsoniccomics]

Adventure Time #10: Cover B

Art: Tyson Hesse

[daisies-and-cosmos]

Dee Hess photographed by Peter Basch (c. 1956)

[therhaenys]

I’ll just say Sara Hess needs to understand the characters on the show she’s working. How can you know so much about Daemon from the inside and still just see him as this villan? Like it’s plain black and white. When all his motives and his motivations are right there. He’s in between and that’s what makes him so interesting and appealing. And he LOVES his family. Please lady go read and rewatch everything all over again. I’m mad 😾

[fashionbooksmilano]

Milton Glaser : POP

Steven Heller, Mirko Ilić, Beth Kleber

Monacelli Press , New York 2023, 288 pages, 25x30cm, ISBN 9781580936132

euro 55,00

email if you want to buy booksinprogressmilano@yahoo.it

An overview of the work of illustrator and designer Milton Glaser during the 1960s and 70s

From 1954, when he co-founded the legendary Push Pin Studios, to the late ’70s, Milton Glaser was one of the most celebrated graphic designers of his day, whose work graced countless book and album covers, posters, magazine covers, and advertisements, both famous and little-known. Glaser largely defined the international visual style for illustration, advertising, and typeface design and interest in his legacy continues unabated, with modern creatives acknowledging his influence; for example, in 2014 Mad Men creator Matthew Weiner enlisted Glaser to design the ad campaign and branding for the show’s final season.

His renowned work garnered solo exhibitions at the Centre Georges Pompidou in Paris and the Museum of Modern Art in New York. Creator of the iconic 'I ♥ NY' logo and cofounder of New York magazine, Glaser received numerous accolades and lifetime achievement awards. Across thousands of works across all print media, he invented a graphic language of bright, flat color, drawing and collage, imbued with wit. This collection of work from Glaser’s Pop period features hundreds of examples of his design that have not been seen since their original publication, demonstrating the graphic revolution that transformed design and popular culture.

29/10/23

[nashewsart]

Another ref down!

[abwwia]

Eva Hesse at work in her studio in Kettwig an der Ruhr, Germany, ca. 1964–65. © The Estate of Eva Hesse. Courtesy of Hauser & Wirth.

[rbolick]

Books On Books Collection - Inscription 4

Inscription: The Journal of Material Text, Issue 4 on Touch Simon Morris, Gill Partington and Adam Smyth (eds.) Cased perfect bound paperback, printed paper cover. 313 x 313 mm. 120 pages. ISSN: 2634-7210. Acquired from Information as Material, 29 November 2023. Photos: Books On Books Collection. Different readers will come to different conclusions on whether Inscription #4 dedicated to the…

[smbhax]

The entire Sonic Mania intro as an animated GIF = P

[goryhorroor]

What are some underrated horror films? I have watched all the popular ones and need more! Thanks!

mentally prepare yourself because im ready to give a gumbo list (this has been sitting in my inbox because i had to ask all my friends and this is the list we came up with):

curse of the demon (1957) the serpent and the rainbow (1988) paranoiac (1963) the old dark house (1932) countess dracula (1971) golem (1920) haxan (1968) island of lost souls (1932) mad love (1935) mill of the stone women (1960) the walking dead (1936) the ghoul (1933) tourist trap (1979) the seventh victim (1943) ganja & hess (1973) dead of night (1945) a bay of blood (1971) let's scare jessica to death (1971) alice sweet alice (1976) the deadly spawn (1983) the brain that wouldn't die (1962) all about evil (2010) black roses (1988) the baby (1973) parents (1989) a blade in the dark (1983) blood lake (1987) solo survivor (1984) lemora: a child's tale of supernatural (1973) eyes of fire (1983) epitaph (2007) nightmare city (1980) slugs (1988) death smiles on a murderer (1973) intruder (1989) short night of glass dolls (1971) the children (2008) alone in the dark (1982) end of the line (2007) the queen of spades (1949) the housemaid (1960) tormented (1960) captain clegg (1962) the long hair of death (1964) dark age (1987) the crawling eye (1958) the kindred (1987) the gorgon (1964) wicked city (1987) baba yaga (1973) 976-evil (1988) bliss (2019) decoder (1984) amer (2009) the visitor (1979) day of the animals (1977) leptirica (1973) planet of the vampires (1965) lips of blood (1975) berberian sound studio (2012) a wounded fawn (2022) matango (1963) the mansion of madness (1973) the killing kind (1973) symptoms (1974) morgiana (1972) whispering corridors (1998) dead end (2003) infested (2023) (this just came out but im adding it) triangle (2009) the premonition (1976) you'll like my mother (1972) the mafu cage (1978) white of the eye (1987) mister designer (1987) alison's birthday (1981) the suckling (1990) graveyard shift (1987) messiah of evil (1987) out of the dark (1988) seven footprints to satan (1929) burn witch burn (1962) the damned (1962) pin (1988) horrors of malformed men (1969) mr vampire (1985) the vampire doll (1970) contracted (2013) impetigore (2019) eyeball (1975) malatestas carnival of blood (1973) the witch who came from the sea (1976) i drink your blood (1970) nothing underneath (1985) sauna (2008) seance (2000) come true (2020) the last winter (2006) night tide (1961) the brain (1988) dementia (1955) don't go to sleep (1982) otogirisou (2001) reincarnation (2005) mutant (1984) spookies (1986) shock waves (1977) bloody hell (2020) the den (2013) wer (2013) olivia (1983) enigma (1987) graverobbers (1988) manhattan baby (1982) evil in the woods (1986) death bed: the bed that eats (1977) cathy's curse (1977) creatures from the abyss (1994) the dorm that dripped blood (1982) the witching (1993) madman (1981) vampire's embrace (1991) blood beat (1983) the alien factor (1978) savage weekend (1979) blood sisters (1987) deadly love (1987) playroom (1990) die screaming marianne (1971) pledge night (1990) night train to terror (1985) the devonsville terror (1983) ghostkeeper (1981) special effects (1984) blood feast (163) the child (1977) godmonster of indian flats (1973) blood rage (1980) the unborn (1991) screamtime (1983) the outing (1987) the being (1983) silent madness (1984) lurkers (1988) forver evil (1987) squirm (1976) death screams (1982) jack-o (1995) haunts (1976) a night to dismember (1983) creaturealm: demons wake (1998) the curse (1987) daddy's deadly darling (1973) nightwing (1979) the laughing dead (1989) the severed arm (1973) the orphan (1979) not like us (1995) prime evil (1988) the monstrosity (1987) dark ride (2006) antibirth (2016) iced (1988) the soultangler (1987) twisted nightmare (1987) puffball (2007) biohazard (1985) cameron's closet (1988) beast from haunted cave (1959) the she-creature (1956)

[lemonhemlock]

I did not get into Game of thrones when it first started airing. In fact, I waited until it was long past it's heyday (around s6 or 7) to check it out because the marketing and the conversation surrounding it misled me into thinking it was nothing more than "grimdark" bullshit. As one famous YouTuber sarcastically called it "hot fantasy that fucks." So, I avoided Martin's work for literal years due to the impression that I got from online reactors and show-only casuals who did as you and a few others have described as his work being fundamentally misinterpreted.

Fortunately, I overcame my hang-ups, purchased the books (even the supplementary material) and fell down an entire rabbit hole of ASOIAF which led me to recognizing that this world he spent decades creating is far more complex than what had been portrayed onscreen. Regardless of the possibility of the books remaining unfinished (which I am fine with, personally), what George has created is a genuine work of art that I imagine took a tremendous amount of time and energy. So, for so many people online to behave like children and throw tantrums because they feel entitled to him (ew) instead of ushering forth more reasonable conversations and legitimate debates about the nature of his situation frankly makes me look at this fandom with a heavy dose of skepticism.

It is truly baffling to hear even professional critics and see articles describing George as being "ungrateful" or "unprofessional" when it has been well-documented just how often authors get locked out of the adaptation process and left to the wayside as consultants. Look at what happened to Rick Riordan and Christopher Paolini! George R.R. Martin is not the only author to have qualms with how a multimillion dollar studio has mishandled his creative work, and to act like he should remain silent just because he's amassed a certain degree of wealth is quite frankly, ridiculous. He shouldn't have to settle down, be grateful, and stay quiet because the greedy corporate executives and their media drones will get offended by actual criticism that could alter the perception of the adaption being revealed as mediocre for having departed from the source material.

TLDR: authors should be allowed to speak up about their art being sacrificed for commercialization.

Thank you so much for this message, anon! This needs to be talked about more, because I don't think a lot of commentators truly understand the vulgar, late-capitalistic sheen that seems to set in and slowly poison any ASOIAF adaptation. It honestly baffles me how quick some members of this fandom are to rush to the defense of, what is essentially (let's not be kidding ourselves here), a cashgrab by a giant corporation to the detriment of the actual artist and the actual creative foundation behind it.

Why else would "MAX" (if that is even their name) make another (or several other) ASOIAF adaptations? Not to stay true to any philosophical aesthetic vision, as it has become more than apparent with Season 2, but to increase shareholder profits by appealing to the lowest common denominator. Even the basic premise has been shifted in order to address popular trends and satisfy the mindless consumer that doesn't want to engage with anything deeper than their favourite tropes, prettily packaged:

from a story about a doomed ouroborous family superimposed on the pitfalls of feudalism, with villainy and heroism to be found on both sides, it has been simplified and reduced to a narrative that exalts white feminism and disqualifies anyone who opposes its girlboss protagonist. This is Sheryl Sandberg's version of Fire and Blood.

Truly, I think Sara Hess did (unintentionally) outline it the best: "civilians don't matter in Game of Thrones". They don't matter in Game of Thrones, but they matter in A Song of Ice and Fire. The entire heart of the series is contained in Septon Maribald's speech. The writers "kind of", must have forgotten, though.

[shokushii]

i havent drawn them so jenna tj and carl be upon ye

[fragrantblossoms]

Eva Hesse Archive. Photograph of Eva Hesse in her Bowery studio, 1969.

[thephantomcasebook]

Where is my Aemond, "I will stand deathly close to massive dragon to protect my sweet sister" Targaryen on the show? Cause I think the writers lost him and can't find him!

I think people need to remember Condal and Hess were replaced by the showrunner of "The Crown" early in production.

Remember, Condal and Hess missed the deadlines for scripts ... twice. They also delayed production of Season 2 for months because they couldn't finish the scripts in a timely manner.

"Blood and Cheese" was given to Sara Hess and another female writer and they had to redraft 4 times because it was continuously sent back and it actually got worse and worse, till GRRM came in and rewrote from scratch the entire episode in the eleventh hour.

Warner went out of pocket to get a ghost showrunner to come in as a ringer and get production off the ground as well as edit the scripts while Condal and Hess fucked off for the writers strike.

The things you are seeing on screen are a jumble of Condal and Hess's ideas patch worked by someone who knows absolutely dick about ASoIaF or the characters beyond what he read in the show bible.

The reason the ghost showrunner is not credited is because he's not a part of the American Writer's Guild thus the studio is not obligated to put his name on screen. Also he was brought in as a fixer to get production back on track and to script doctor Condal and Hess's shit work on the scripts.

So, if characters like Aemond, Alicent, and Criston are not acting like you'd expect them to be or the way they were in Season 1, it's because they're being rewritten by someone who doesn't really know the characters or the book lore. They're being doctored by someone the studio paid to take over for incompetent producers.

The scenes with Otto, Aegon, and Criston and especially the fight between Rhaenyra and Daemon, along with the shot compositions of the flower peddles that Helaena sees along with the dust motes that Rhaenyra stares at. These are all artistic hallmarks and signatures of "The Crown". The ghost showrunner was brought in because of his experience writing royal family drama.

The reason the Greens are written the way they are is because the ghost showrunner is basing them off of the British Royal Family dynamics of the Royal House of Windsor. With politically and public relations minded patriarchs and cold detached matriarchs that don't know how to show love. Because, these are the main tenants of "The Crown" and the characters/historical figures in them that he wrote for years.

So the quality of acting is elevated because the ringer they got is really excellent at directing and writing character drama. But the lore and the characters are off, because, he doesn't know anything about the characters beyond what he's seen in Season 1 and read from Condal and Hess's rejected scripts and their show bible.

[garadinervi]

Eva Hesse, January 11, 1936 / 2024

Exhibition: On the Bowery, Curated by Loren Munk, Zürcher Gallery, New York, NY, November 13, 2021 – Jan 30, 2022

(image: Eva Hesse in her Bowery Studio with a poster of Tom Doyle, New York, NY. Hauser & Wirth, Zürich. © The Estate of Eva Hesse)