Dali House

This fascinating amalgam entitled “Monument of St Redon” is one of dozens on view at Exhibits From The Imaginary Museum, where the copyright is assigned to Thomas Ligotti, but the creator seems to be also known as Aeron Alfrey. Aeron has a slew of websites, with his infernal creatures at Monster Brains also of special note.

Dalí’s collaborator Philippe Halsman took a series of photos of Sal’s divine whiskers for the 1954 book “Dalí Moustache”, including the Mona Lisa embellishment above (a real moustache, apparently), which I’ve lined up against Marcel Duchamp’s celebrated “LHOOQ” from 1919.

At least one commentator has chastised Dalí for being far too late with this gag, regardless of whether this was intended as a mere pun or as a renewed declaration of war on old-school painting. But maybe Dalí knew something about Duchamp that still isn’t widely known.

“Parody” is the word most often used in describing “LHOOQ”. Others are hot bum, hot ass, hot arse and hot pants. Commentators do the jitterbug when they “translate” the title. Pronounce the letters aloud in French slowly, quickly, in a slurred fashion, with gusto, and you ought to hear Elle a chaud au cul, common street lingo for “She has a hot arse” or “She is hot in the bum / ass” or “She’s got hot pants” or, Duchamp once dubiously offered, “There is fire down below”, by which someone else presumed “She’s horny”.

Maybe “LHOOQ” is supposed to be read in English as “look”, said another, which is a good title for an artwork, after all. I suggest that, read in English when very, very drunk, the letters suggest, “Shhhe’s sooooo cute.” Any takers?

The most interesting thing about the postcard view of Leonardo’s Mona Lisa that Duchamp randomly defiled in 1919 is that it’s apparently not a randomly defiled postcard of the Mona Lisa. See the rest.

The chiropractic skills of people who make balloon animals becomes acutely evident upon examination of the blow-up puppy. American Jason Freeny has obliged with an autopsy, not just revealing the skeletal structure but the internal organs too, on his astonishingly clever and frequently funny website MoistProduction.com.

Added May 2008: Looks like Jeff Koons may be the guilty party in this dog’s demise. This piece, “Balloon Dog (Blue)”, from 1955, was on the auction block at Sotheby’s “Modern & Contemporary Art” sale in Milan this month and expected to chow down as much as 5,000 euros!

Mismatched by default: Clijsters, Tzara and Gysin

“Writing is fifty years behind painting,” the American idea machine and would-have-been surrealist Brion Gysin said, decades after inventing the cut-up technique for writing in the mid-1950s. Wait a second, if Gysin invented it, what about Tristan Tzara’s recipe for making a dadaist poem?

Take a newspaper.
Take a pair of scissors.
Choose an article as long as you are planning to make your poem.
Cut out the article.
Then cut out each of the words that make up this article and put them in a bag.
Shake it gently.
Then take out the scraps one after the other in the order in which they left the bag.
Copy conscientiously.
The poem will be like you.
And here you are a writer, infinitely original and endowed with a sensibility that is charming though beyond the understanding of the vulgar.

I chose a short article at random and it happened to be about tennis champ Kim Clijster having a baby. Congratulations, Kim, but I’m afraid the dada cut-up spun out a tragic ending:

World Leo Clijsters and in Belgian spokesman of international before have a delivered Belgium player Kim are east Belgian May No 1 made the soccer Jada to child well, Clijsters of Wednesday a family gave Limbourg Former former and on wishes retired both and daughter The year in her which in birth father cancer mother the she who birth baby died one was to last.

The “poem” is nothing like me at all. What was Tzara thinking?

In another experiment, I cut out words from different articles, trying not to see what they were, but at the same time trying to be sure I had some articles and conjunctions. It’s got a nicer ring to it and seems a bit more poetic at least:

Had not been into that companies tongues, the seething a in various was the watchword middleweight An working a barbershop yesterday haircut pretending They’re campaign The contrast was Burmese the solved presence Revised the holiday The research become readers are flats.

What happens when a painting’s title forgets its place and crawls all over the canvas? Too ambitious to loiter meekly in the little sign card next to the frame, the words decide they’re just as important as the picture, and the next thing you know you have anarchy, graffiti run amok, images and text forming a labour union and subverting the millennia-old conventions governing visual representation.

A detail of Georges Braque’s “Pedestal Table” from 1913.

Pop art made words in paintings commonplace, but its grandfather, cubism, was a sucker for shards of text blowing through the scenery, and its crazy old great-uncle, surrealism, kept scrapbooks of every flitting message scrap, quite sure they would one day all make sense.

Andre Derain’s “Portrait of a Man with a Newspaper” from about 1912.

Pictures and words are natural enough collaborators, of course, both being central to the fine arts, but traditionally they never appeared onstage together. I really don’t want to dig too deeply into this, because there are websites that are quite happy to take you on very long and not particularly interesting strolls along Semiotics Street, returning by way of Semantics Boulevard. In the case of Rene Magritte the University of Washington has an especially heavy-breathing thesis online, but do watch out for words like “intersubstitutability” — you could injure yourself.

Then there’s David Scott’s 2005 essay for Image & Narrative, “the Online Magazine of the Visual Narrative” about the words found in Paul Delvaux’s art, which I found a bit more intesting since Delvaux is a bit more interesting, not least because he was forever painting naked women sleepwalking around train stations. (He also painted a fine “Leda” in 1948, a subject I’ve lately been rattling on about.)

Dali House has also joined the wool-minders pondering the meaning of “Et in Arcadia ego” in Nicolas Poussin’s “The Shepherds of Arcadia”, but that was hardly on the same level as Magritte’s patient experimenting with what exactly it is that words and pictures do, how they do it and how you can pull the rug out from under them.

“This is Not a Pipe”, from 1929, and it’s still not a pipe today. Magritte did a string of variations on this picture over the decades in a bid to expose “the Treachery of Imagery”, ultimately putting the words on a bolted-down plaque so it looked as though the affirmation could never be removed. I think of the image every time I hear David Byrne sing, “This is not my beautiful wife!”

What was Magritte on about? Michel Foucault found a litany of layered possible interpretations in a 1973 book about the pipe picture, one cancelling out another. This picture of a pipe doesn’t make the pipe a pipe, of course, but there’s much more. This painting is not a pipe? Art is not a pipe? If you focus on the words and realise this sentence is not a pipe, suddenly a picture reclaims its dominance over the written word. See the rest.