viz.

Behold, the generic and intimidating Lego "Bad Guy" for their new Indiana Jones series:

Image: www.lego.com

As you may realize, Lego is engaging in a bit of revisionism: in the original films (at least in the first and third films), the "Bad Guys" were Nazis. Yet notice here that something is conspicuously absent from this little guy (in Lego lingo, a "minifig")...

The New Yorker recently published an essay by John Updike on the National Gallery of Art’s exhibition “The Art of the American Snapshot 1888-1978.” The essay contains some information on the history of snapshots, and analysis of the same.

Slate has posted a slideshow on the history of the illustration of American children’s books. The slides are based on Timothy G. Young’s book, Drawn To Enchant, which explains how images for children went from orderly scenes of proper behavior, like this one by Justin H. Howard for Doings of the Alphabet (excluding, of course, the bratty mischief-makers in the background):

to the madcap drawings of Maurice Sendak:

Here’s a great collection of freehand drawings where the artists were asked to visualize time. The individual images are usually witty statements about their authors’ views of time.

GLOBAL WARMING!

On the heels of yesterday’s post about the art (and absolute fidelity to reality) of scientific photographs, this story from The Guardian describes how scientists from the National Observatory of Athens are investigating sunset paintings “to work out the amount of natural pollution spewed into the skies by [volcanic] eruptions such as Mount Krakatoa in 1883.” Apparently the method has some validity:

They used a computer to work out the relative amounts of red and green in each picture, along the horizon. Sunlight scattered by airborne particles appears more red than green, so the reddest sunsets indicate the dirtiest skies. The researchers found most pictures with the highest red/green ratios were painted in the three years following a documented eruption.

via Boing Boing

UT’s First-Year Forum text for 2007–2008 will be Luis Alberto Urrea’s The Devil’s Highway. Yesterday I sat in on a seminar hosted by the DRW where Domino Perez discussed some of the background and context of the issues that the book engages.

One theme of the discussion was the influence of film on the Urrea’s prose, as well as how images of Latinos can both support and trouble Urrea’s arguments. In the wake of that discussion, I thought I would post links to some Latin-American and Border Studies visual resources for use by DRW instructors and anyone else who is teaching a class that deals with these fields.

Slate has posted a slide-show essay by Mia Fineman on the work of photographer Ryan McGinley. [This link may not be suitable for work.] Fineman makes the argument that McGinley’s work has been coopted by advertisers because he “has essentially created a successful lifestyle brand—a stylish fantasy of youth, beauty, and hedonistic fun” which they find appealing. The photos and analysis could be the start of a fruitful discussion of commercialism and art.