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Jot or Tittle?

ektachrome — Sun, 27 Dec 2009 05:08:28 +0000

This cartoon is based on the New Testament passage, quoting Jesus as saying, “…till heaven and earth pass, one jot or one tittle shall in no wise pass from the Law, till all be fulfilled.” (Matthew 5:18, KJV)

To give this quote some context, this verse follows “The Beatitudes” and is part of Jesus’ “Sermon on the Mount”. Immediately before this verse, Matthew 5:17, Jesus says, “Think not that I have come to destroy the Law, or the prophets: I am not come to destroy, but to fulfill.” (KJV)

This statement attributed to Jesus demonstrates his uncompromising stance on the Divine inspiration of the Torah and the writings of the Hebrew Prophets – most of which are unknown and unread by modern day Christians.

A “jot” was the smallest of Hebrew letters – yodh (י) – or in Greek, iota (ι) – and a “tittle” was the smallest of stroke extensions that differentiate one letter from another. An example, beth (ב) and kaph (כ) – the letters appear similar except for tiny differences in stroke shape and length.

Dr. Bart D. Ehrman, Professor of Religious Studies at the University of North Carolina, Chapel Hill, is the “Dr. Ehrman” referred to in the cartoon. Dr. Ehrman is not (to my knowledge) an archeologist, but he is a renown expert on New Testament manuscripts and textual criticism, having studied, taught and written extensively on the subject of how our modern-day scriptures came to be.

In one book, Misquoting Jesus: The Story Behind Who Changed the Bible and Why (2005), Dr. Ehrman states that Divine inspiration of original Scripture is a moot point since a vast majority of Christians have never seen or had access to an original manuscript.

“Not only do we not have the originals, we don’t even have the first copies of the originals. We don’t even have copies of the copies of the originals, or copies of the copies of the copies of the originals. What we have are copies made later – much later. In most instances, they are copies made many centuries later. And these copies all differ from one another…there are more differences among our manuscripts than there are words in the New Testament.” (p.10)

But, even Dr. Ehrman agrees that the vast majority of these textual differences make absolutely no difference in basic Christian doctrine. There are a few that do – for example; Is the Doctrine of the Trinity explicitly taught in scripture? Is Christ a “unique God” himself? Does Luke teach that Jesus’ death provides atonement for sin?

If you enjoy history, intrigue and are curious about the historical evidence regarding the development of our modern day texts, read Dr. Ehrman. You don’t have to agree with him to enjoy his research and writing.

NOTE: No jots or tittles were harmed in the writing of this post. ~ Ekta.

While Shepherds...

ektachrome — Thu, 24 Dec 2009 08:19:37 +0000

Luke 2:9 “And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.”

The Littlest Shepherd — he’s always the weird one.

Munch Time

Ako — Thu, 24 Dec 2009 01:49:11 +0000

Interview with Carlos Pérez Bucio

livingartroom — Tue, 22 Dec 2009 21:16:21 +0000

- Can you identify when you started drawing? How did you become a newspaper cartoonist?

At the age of six I realized I could draw better than my class-mates. I used to draw cartoons of T.V. characters. I really liked Hannah Barbera ones and also Marvel comics, but I mostly enjoyed Naranjo’s drawings, a political cartoonist. At that age I was very much surprised that only a few ink strokes could portray a person with shadows and volumes. More than becoming a painter, as a child I wanted to be able to draw as well as that gentleman. Then as a teenager I started to practice more often and tried to find my own style. I signed up for a workshop conducted by Helguera (La Jornada’s cartoonist) and during those years I really thought I would end up being a cartoonist. So as soon as I could, I approached the Excélsior newspaper cultural supplement, El Búho, which was directed by the writer René Avilés, who gave me my first break. I showed up with some caricatures of famous people and presto: I got my first assignment.

- What is your relationship with France? We can see people and characters in your paintings. Do the latter come completely from your imagination or do they have features of people you know and that you then distort in the images you create?

I lived six years in France. Not because of a scholarship, or an artistic residence, but a love story. My daughter was born there. I spent my first year as an undocumented resident, though it was not very difficult to subsequently normalize my status. I had to renew my resident permit yearly and I hated it. Being a Saint-Denis resident, I had to lineup with all the third-world misery, literally. After coexisting, day after day, with multiculturalism and diversity, even saints can lose their patience. I no longer buy humanist tolerance speeches. Because I lived very close to the ghettos I know that the peaceful coexistence of people with different languages and cultures in one space is impossible. I like to say: that explains why I became a Marxist-Lepenist. If Jean-Marie Le Pen were Mexican, he would support Juarez and even Zapata. So: Long live Le Pen, long live Juarez, and long live me. Since it’s so difficult to find such people, my friend Jairo Calixto Albarrán, of the Milenio newspaper, asked me to write articles about life in the ghettos, something nobody had ever attempted before. Existing reporters and journalists tend to write insipid things about foe example such and such café in Saint-Germain where the surrealists used to gather, or Sartre and Beauvoir and shit like that. No. I am interested in the filthy side of life. So it’s normal for my painting to be consequently filthy too. That’s why my characters turn out to be jokers, like in “Racaille”, a piece alluding directly to my experience in France but which is by no means exclusive to anecdotes (autobiographical notes should not restrain the universal vocation of a good piece of art). I have no trouble at all going from an academic drawing to a satirical one. In one painting you can find glimpses of reality through a real, recognizable character and at the same time fantasy nightmarish characters, many of which are constructed from friends’ traits.

- We know that you destroy several paintings before declaring one finished. Are the paintings you tear, first versions of the same image? In other words: when you start painting are you seeking an image, or is every attempt a different image that happens not to convince you, leading to destruction and a fresh start?

I don’t make sketches, nor do I take notes on the streets. The image is born in my head and I can spend several days composing it mentally until it’s perfect. I then draw it directly on the surface, with no previous studies or sketches and the results tend to be almost identical to what I had imagined. The problem is that many images disappoint me once finished. Or they even bore when it comes to working on them. Hence, the urge to destroy becomes unstoppable. I think that if a painting does not marvel me, it is not worthy of other people seeing it. So I butcher it and start something else, a new piece, as different as possible as the one I failed. Neurotic episodes can also take over, where I destroy pieces that I liked but for some reason were never exhibited or never stepped out of my studio.

In order to better understand your work, is it necessary to see how you conceive caricatures? Clearly, it is not simply the mocking of physical features. What components do you think a cartoon/caricature has to have?

All great artists have made caricatures, that is, exaggeration and monstrosity. This is the way it should be understood, caricature in all its vast possibilities, they way José Clemente Orozco, Otto Dix and Georges Grosz did it. Caricatures are not mere political comments in a newspaper. Some of the best caricaturists, like Daumier or Grandville, were complete artists. Leonardo practiced caricaturesque distortions, just as Bosco did. In the 20^th century, comics and the T.V. culture have contributed to enrich pictorial languages used by artists whose work is close to caricatures and cartoons, for example the lowbrow movement. I feel very close to them but do not ascribe myself to that aesthetic. I draw cartoons and distortions because “realistic representation” is not enough for me.

You have an impressive management of different techniques. Which ones are more interesting to you? And how did you get to them?

Almost all techniques interest me and I master almost all of them, except one: oil, which is a pity because it is the pictorial technique par excellence. Nobody teaches technique and I am not sure if recent art graduates have received any technical training. I suspect not: nowadays a lack of skills is considered more of a virtue than a flaw. Why bother to become skilled when “spontaneity” and “freshness” have replaced virtuosity? The ENAP taught me to build mental masturbations, but never to paint. I don’t regret it. I bought my first acrylics to try out, around that time. I found it very easy to master the technique and so I still use acrylics today. Pastels are another story. It’s a very popular technique, like a hobby for ladies, but I took it as a challenge because I always found bad pastel artwork very annoying when history of art has seen chalk masters like Quentin Latour or Rosalba Carriera. So I told myself, “Carlitos, if you’re going to do it, do it like they did”. Also, because I find myself in the low-tech of things, my interests lie in all that counterweighs new technologies. From that standpoint, I’m a reactionary.

Who appears in your paintings? When someone inspires you so much that one way or another you want them to be part of your compositions?

For the last couple of years I have been including real people in my work. When there exist people with such powerful symbolic charge, like Jean-Marie Le Pen, Napoleon or the one and only Gabriel Orozco, there is no need to distort or caricaturize them. On the contrary, if they lose that “immediate recognition” then the meaning of the work is also lost. What’s the point of drawing against the “gabrielorozquization” of taste, if the protagonist is not recognizable? Without technique becoming an obsession, the academic drawer must overshadow the satyrical one. My friends also appear in my work. Their physical features help me construct new characters, monsters interacting with real characters, like the drawing with Hugo Chávez, or monsters starring in their own scenes, like “Piercings for idiots”. I have always asked permission to those in mi work, except when I deal with public figures. Since I don’t know Hugo Chávez or the Kuri brothers, I simply get photos of them wherever I can. That’s what almost everybody does. It’s different with friends. I have the feeling that many of them are waiting to appear in one of my pictures. It flatters them and they really hold out for it. They know I won’t paint them smelling roses or in graceful positions. They have been warned. I am filthy and as characters of my pictures, they will automatically become filthy. No, nobody has taken offence. On the contrary, it is a privilege to be in carlitos world. If they appear in my work, be it Juan Pérez or José Kuri, it’s for a reason. Parody is also a homage, even though at first sight it seems like stepping over the line.

Are there any limits to the content of your creations? Or do you sometimes censor yourself (just a little) depending on the relationship you have with the person in your work, e.g. if it is someone you love and might somehow hurt them with one of your paintings?

I don’t like dicks nor do I like cheap vulgarities. There are very phallic painters who put penises here and there and everywhere. I prefer to paint open and slimy vaginas, but only when necessary, like in “La Gran Vida”, a beautiful image about pleasures (although it doesn’t seem it, I painted it with bucolic scenes of 19^th century French painters in mind). I don’t think my work can be harmful, on the contrary. If friends appear in my painting with guts spilling out, they know that being in it is a sign of affection. That’s why I say that those who serve as models for my work are important people: be it because of a symbolic importance when dealing with public figures, or because of emotional importance when dealing with friends. The nastier the paintings are, the more at ease we feel with each other.

Has the rejection of your work from various people made you feel frustrated in some cases? Or does this, on the contrary, feed the spirit of your work and encourage you to make something even more garish?

It’s not very nice to send work to biennial exhibitions or competitions and find out that one has not been selected. Rejection is certainly frustrating, but it only lasts the time it takes to read the results. Rather than frustrating, it’s exasperating. Exasperating because exhibitions are a sign of the standardization of taste, where painting, the good drawing and virtuosity are becoming increasingly rare. Because the elite, who are supposed to pull up the taste of people, are increasingly ignorant and mix perfume and fashion with art.

I feel quite far from real frustration because I have also won prizes and received scholarships. And you are right, after every disappointment I want to paint even crazier images. Do you know what is really frustrating? That artists talk like soccer players. Even Cuauhtémoc Blanco has better grammar than any artist in the Júmex Collection.

How do you think your work has been evolving? What interests you more now and what have you stopped doing in your paintings?

I’ve always been interested in the same things. It’s just that I am better at them now: guts; food; poop; sex; politics; religion. I am increasingly concerned with the concrete aspects of painting such as composition, color and figure. As there is no doubt I am a good drawer, it seems as though I’m home free. However, every painting is a struggle and works differently than the previous one, despite it being the same technique, and hence is constant learning. I used to be very afraid of having my work labeled as illustration. I took it as something derogatory. Now I no longer try to hide that I once was a cartoonist, illustrator and even a musician at weddings with the superb Sibaris group, affiliated to the Sindicato Único de Trabajadores de la Música (a trade union for musicians). In fact, I like it to be noticeable. I hold many more resources than anybody who limits themselves to be purists in painting. It’s funny, but when I went to the editorial department of the Canard Enchainé in Paris to look for work, the editor told me my work was very pictorial. So it’s been a while since I stopped giving importance to labels. Those who really know about painting are able to decipher and truly understand my work. They don’t pigeonhole me. There’s also a problem with the public: people, young people are getting used to not seeing paintings. And the new generation of painters is increasingly bland and produces a sterile painting which is very “artistically” correct.

Waiting for THE call - cartoon

Leah — Sat, 19 Dec 2009 21:16:25 +0000

This cartoon is a classic ‘waiting for the call’ cartoon gag. It can have numerous captions, why not suggest some via comments!

Cartoon God - what God looks like

Leah — Sat, 19 Dec 2009 21:11:09 +0000

When we see cartoon pics of God, he is always portrayed as an elderly white dude with long beard.

BUT…….

They say that God created man is his own image. So surely (based on how early man looked) God really looks like this…….

Fat Snowman cartoon Christmas Card - Happy Christmas everyone!

Leah — Sat, 19 Dec 2009 21:03:06 +0000

I know my fat snowman cartoon Christmas Card is a tad offensive, but I really wanted to draw a humungous snowman and the gag kinda followed ! Happy Christmas everyone!

Morning Glory cartoon - caption competition

Leah — Sat, 19 Dec 2009 13:12:47 +0000

This is my cartoon entry for the cartoon forums latest gag cartoon caption competition.

The caption is ” Sometimes I think you take me for granted.” The idea of the cartoon competition is that we draw a cartoon to fit the caption. My entry is based on the ‘morning glory’ theme. I don’t think this cartoon gag requires further explanation!

Morning Glory \

Gathering of the Woods

Ako — Fri, 18 Dec 2009 11:34:46 +0000

Gathering of the Woods inspired by Tony Powell Worthing Pavilion BC Great Britain

Gathering of the Woods

Ako — Fri, 18 Dec 2009 11:12:15 +0000

Jingle bells

InkSplodge! — Thu, 17 Dec 2009 13:00:00 +0000

Fighting my way from beneath a mound of tinsel, herewith the last missive before Christmas whirls in …

None of my own art again (I’m currently covered in wrapping paper and sticky tape), but this card by genius Pulitzer Prize winning Cartoonist, Clay Bennett says it better than I can.

I’d like to take this opportunity to say thank you for visiting my blog this year – may all your baubles be shiny and your tinsel never droop…and once the sprouts have settled and the novelty slippers have lost their novelty, I hope that 2010 holds a plethora of artistic delectation for all of you.

ArtHype! ~ Admire and Inspire (featuring Various Artists)

velvetkitsune — Thu, 17 Dec 2009 05:50:26 +0000

Yes, I know I already said by “Goodnight”s but I completely forgot, tomorrow I will be too busy with my drawing for the Artists’ Potluck ! So with that, I would like to showcase to you an array of artists on the first edition of ArtHype! on CantsleepWontsleep :

* Mateusz Kolek : Illustrator and Designer (Portfolio)
* Alexis Ayala : “Fence jumper. Chronic doodler. Movie watcher. New York(er).
Zombie sympathizer. Frequent allegorizer. Word juggler. Tree climber. Instrument player.
Kitten petter. Abstract thinker. Wine lover. Death defier. Book devourer. Squirrel chaser.
Picture maker. Conflict eraser.” (Portfolio)
* Nozzman : Graphic Artist, Illustrator, Cartoonist (Portfolio)
* Ivan Puig : Designer, Conceptualist, Photographer, and everything else you wish you did (Portfolio)
* Medusateam : “Multidisciplinary Design Studio” (Portfolio)
* Monaux : Illustration, Typography, Design (Portfolio)

******

Hope you’re well inspired! The night is still young.
Now my anxious hands are ready for round 2!
This time fo’reals, good night!

Casual Sunday

ektachrome — Wed, 16 Dec 2009 17:50:24 +0000

Large churches usually have them — the “Casual” Sunday Service — that service were you can “come as you are”, no suit, no tie, no dress shoes – hey – no problem.

In other words, dress as though you were doing nothing important…

I don’t know about you, but if I seriously thought I was going to “worship God”, I’d wear the best I have — clean shirt, new shoes, silk suit, black tie…

NOTE: There is a real “Pastor Dave”. This is not based on the idiot preacher featured in That 70’s Show. The Pastor Dave I know now owns a successful carpet cleaning company — and rarely preaches.

Dept. of Too-Much-About-Me - Part 1

KOVALESKI — Mon, 14 Dec 2009 06:09:31 +0000

Here’s an on-line chat I did with the Washington Post in March of 2004 – about 10 months after Bo Nanas was launched.

(Actually, there is no “Part 2.” I was going to post a link to an interview – in Spanish – that was done for a newspaper when I visited Paraguay a couple of years ago, but it’s no longer on the web. Consider yourself lucky.)

Kevin

Ako — Sun, 13 Dec 2009 09:03:00 +0000

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The Weather Channel in Hell

ektachrome — Fri, 11 Dec 2009 15:14:46 +0000

Dedicated to those of you suffering through this latest blast of Global Warming…

So, what does Satan eat for breakfast? According to tradition, he consumes the souls of the damned.

I say he has doughnuts and coffee.

Sapajou: The Collected Works Ⅰ

punjapit — Thu, 10 Dec 2009 20:32:58 +0000

Sapajou was the greatest cartoonist of the China Coast’s heyday in the first half of the 20th century. A brilliant and acerbic political cartoonist, he also had a rare gift for capturing the character and feel of Chinese people, Shanghai street scenes and the chaos of China in the 1920s and 1930s.

In this, the first of three volumes, we witness the early years of Sapajou’s prolific career from 1923-1931. Warlords vie for control of the Republic while in Shanghai opportunistic politicians, radical student protesters and bloodthirsty gangsters fight for control of the streets. Jazz and kidnappings, heatwaves and typhoons, Sapajou’s brush documented the golden years of the Pearl of the Orient.

http://www.earnshawbooks.com/index.php?route=product/product&product_id=25

By Arthur

Preaching Las Vegas

ektachrome — Thu, 10 Dec 2009 15:34:35 +0000

Las Vegas has a great convention center — and, I wondered, if they ever hosted religious conventions? And, if they do, what it would be like if, say, 10,000 or 20,000 Baptists invaded the town…

A friend of mine said the only difference would be a shortage of beer…

On Location - Cartoonist feature.

Alex Taylor — Thu, 10 Dec 2009 11:37:22 +0000

I was recently sent out on a feature for one of the weekly papers I work for about a man who makes a living creating cartoon portraits for companies and individuals requiring a few pictures illustrating him and his work. This was all I had to go on originally and I set off to a house near Tern Hill where I met Norman and Doe Hood, actually Doe was standing on the doorstep jumping up and down and waving as people have a habit of driving past.

Once inside I was greeted with a scene filled with many twinkling lights and gurning Santa Clauses like a scene from a from a Disney Christmas movie, I then set about thinking ok these people are big kids really but no problem they seem very cheerful and they are offering coffee.

When on location always, always take your tea/coffee black, I learned this lesson to my cost a long time ago when I was presented with a lovely cup of tea complete with floating bits of curdled milk bobbing on the surface not ideal when you are trying to keep someone happy and take their photo.
After a drink and chat which confirmed my suspicion that these people were just a little nuts we moved into a large room they use as a studio for some pictures. This room was fairly dark, lit by two smallish windows and an orange lamp in a corner so I would be providing most of the light, not a problem as thats what I like doing anyway.

The first picture is always a general portrait, hopefully better than a mugshot but that is all that is generally expected. It has to bring the subject out to the front and will generally be a head and shoulders type shot. For this shot I moved Norman to a set of shelves which were covered with his pictures. We found a box for him to stand on and strategically arranged some pictures to act as a foreground and provide a little more interest and character to the shot.

Lighting was achieved by using two speedlights, the first bounced off a wall to my left and acting as a main light, the second moved in close, very low power and bounced off the surface of the shelves. The camera itself was set at 1/250 sec at f8 and 100 iso.

Moving on from this shot I moved to a wider angle to capture one of the areas he works in along with a few more colourful pictures. I also wanted to bring his wife into one of the shots, so I asked him to sit at a rather messy desk and strategically placed some pictures which would lead the eye through the foreground towards him (keeping only his eyes on the camera to be the first thing you notice), then letting you move on to his wife and the picture she was holding.

The picture was agin lit with two lights, one bounced off the ceiling as a main light, and the other hidden under a frame and zoomed in to their faces to make them stand out a little more. The lamp in the background added a little bit of warm light to the mix, but I resisted the temptation to turn it off instead thinking that it was not a distraction and made the picture feel a little more genuine.

I also wanted a final picture of the artist at work. He had a drawing board next to a window allowing some nice soft light into the area. To get this shot I had to squeeze myself into the corner of the room and lean on the windowsill to get the drawing and artist composed in the same frame. I had previously cleared my side of the board of clutter moving his pens over to the far side to allow a clear foreground.

Lighting this shot again demanded the use of two lights. On a shot like this I will often place one light outside the window to add a little punch to the quality of light, however I had been on this job for some time already and moving a light outside was a little bit more hassle I didnt need. Instead I turned the light around and bounced it off the window. I needed the power in this flash to be a lot higher than normal as a lot of the light would be wasted travelling through the window. The other light was placed slightly to my right close to the main light and bounced off the desk in a similar way to the first photo of this set.

That was that, enough pics for the feature, however on the way out I commented on some of the dolls houses Doe creates. Turns out that they are often made from recycled materials, food boxes, box files bits of old Christmas card and much more in the style of Blue Peter. This provides just enough of a tenuous link to the world of news to warrant me grabbing a picture of her with the miniatures.

To compose this shot I first moved her workstation arround to take advantage of a nice background of handmade dolls houses and to allow me to position my lights more effectively. I moved in close to an example of her work on the desk which I used as foreground interest allowing the eye to then travel to Doe then on to the background.

Lighting was achieved by bouncing a flash off a wall to act as a amin light, then using a second light zoomed in on her face to act as a fill.

After this I did finally leave. In total I probably spend nearly an hour at this place, which is far too long really, but I had a bit of time for a change so thought why not make the best of it.

p.s sorry about the really bad light diagrams.

more pics at http://www.flickr.com/photos/a_jphoto/

Worship -- who?

ektachrome — Wed, 09 Dec 2009 18:43:22 +0000

Bet you know a pastor like this… I could name a few.

(oops – I think I did)

All People go to Heaven

ektachrome — Tue, 08 Dec 2009 18:17:07 +0000

My kids watched a movie called All Dogs go to Heaven (or something like that). That’s where this cartoon came from.

I tried to make this a Leave it to Beaver scene – the Mom washing dishes, Dad reading the paper and “The Beaver” asking a simple question with no answer.

Some of my favorite elements: the newspaper is called Daily Hydrant (what newspaper isn’t full of piss), the food still-life (bone) and my parents had a floor lamp exactly like the one next to the La-Z-Boy recliner…

Tithe Sniffing Dog

ektachrome — Mon, 07 Dec 2009 17:46:37 +0000

Every Baptist preacher I know would love to have a dog like this one…

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