God created hamburgers in hope that people would embrace one another
and that the trans fat would be the glue that holds us together
up in the clouds; Like when god created bridges
he hoped that people would use them to visit relatives and get to the nearest Burger King
with ease when the oil stopped flowing at McDonald’s
so that His greatness might be digested every night.
Greasy fryers and pious friars are the telegraph wires from the Father,
picking up His holy morse code in late night transmissions to our stomachs
(and the former operate ‘til 3 am or later!)
Plastic promotional offerings brought in the dough for the sugary white bread,
the bread of the new and everlasting covenant, which will be given up for you.
The Lord figured: after fating so many to a life of vagrancy for keeping the best for themselves,
he’d give them the destruction of their resources in excessive packaging
and cheap Jurassic Park watches to keep the time
(if only to ensure the most fluffy, salty, never overdone fries)
so that his greatness might be felt in every bite.
Down to the last few fries in the bottom of a paper bag
soon to end up in
rivers are just spaces in between the fry pits
keeping the sweet potatoes from the otherwise sinful ones,
but they all end up in the same place in the long run,
which says quite a bit about His opinion of religion
So when god created french fries he knew it was an insult.
Bob Dylan and Allen Ginsberg at Jack Kerouac’s Grave
Alexander Rodchenko (1891 - 1956), otro ruso piola.
bird’s eye - diagonal
Aleksandr Rodchenko (1891-1956) Russia Assembling for a Demonstration (1928)
Max Dupain (1911-1992) Australia Street at Central (1939)
Manly (1938) Manly Down Shot (1940s)
Dupain’s photographs define Australian beach culture and it was the beach that was the inspiration for his most famous and enduring images: Sunbaker (1939), At Newport (1952) and Bondi (1939). When it came to photography, Dupain’s philosophy was about ‘simplicity’ and ‘directness’. He remained an adherent of black and white photography, believing that colour was restricting in its objectivity, leaving little room for individual interpretation. http://www.dickersongallery.com.au
search Dupain @ www.artgallery.nsw.gov.au
David Moore (1927-2003) Australia Martin Place Youth Display (1948) http://www.artgallery.nsw.gov.au
Otto Umbehr (1902-80) Germany Mystery of the Street (1928) 29x23.5cm http://www.metmuseum.org/toah/works-of-art/1987.1100.49
Sátántangó nº 1, 2011. Graphite on linen, 18 x 24 cm.
Sátántangó nº 2, 2011. Graphite on linen, 18 x 24 cm.
Sátántangó nº 3, 2011. Graphite on linen, 18 x 24 cm.
Sátántangó nº 4, 2011. Graphite on linen, 18 x 24 cm.
Sátántangó nº 5, 2011. Graphite on linen, 18 x 24 cm.
Sátántangó nº 6, 2011. Graphite on linen, 18 x 24 cm.
Sátántangó nº 7, 2011. Graphite on linen, 18 x 24 cm.
Sátántangó nº 8, 2011. Graphite on linen, 18 x 24 cm.
Vintage Underwater Pinups photos by Bruce Mozert
To promote Silver Springs, Florida’s crystal clear waters, Bruce Mozert took a series of creative underwater photos in 1938, depicting scenes of leisure one can partake in with no oxygen required. Prints of his work can be purchased over at his website: mozertstudio.
(via: Visual News)
Well, I figured this one out a long time ago: I’d be James Cherokee, a dark, brooding menace to society (that also happens to have razor-sharp cheekbones)