{"id":1053,"date":"2009-09-14T09:54:40","date_gmt":"2009-09-14T16:54:40","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/09\/your_fluid_face\/"},"modified":"2009-09-14T09:54:40","modified_gmt":"2009-09-14T16:54:40","slug":"your_fluid_face","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/09\/your_fluid_face.html","title":{"rendered":"Your fluid face"},"content":{"rendered":"

Fascism is not fascinating in art, the sole exception being Renato Bertelli’s  Continuous profile of Mussolini)<\/i> from
\n1933, manufactured by Ditta Effeffe with Mussolini’s approval. (Image credit plus story here<\/a>.)<\/p>\n

\"renatobertelli.jpg\"<\/span>Aside from the Linda Blair head spin in The Exorcist<\/i><\/a> (evil, evil, evil), the idea of a mind moving a head in directions its physical structure did not intend persists in art as philosophical speculation. Will the real head please stand up? (What real head?)<\/p>\n

From 1989, Buster Simpson’s Seattle George Monument<\/i> is an emblem of the city’s divided heart.
\nTwenty-eight feet tall and 12 feet in diameter, its base is a trellis
\nor open cube, above which hangs a Boeing 707 nose cone suspended on a
\ntripod. Just above the cone is a multifaceted monument head – 24
\naluminum profiles of Chief Seattle, an armature for
\nEnglish ivy. A sharpened template turning in the wind cuts the
\nivy into Washington’s profile, which, when the ivy thickens, hides Chief Seattle in the greenery.<\/p>\n

\"bustersimpsongrge1.jpg\"<\/span>
\"bustersimpsongrge2.jpg\"<\/span>From 1999, Kumi Yamashita’s Video of Dialogue<\/i><\/a>.<\/p>\n

<\/object> <\/p>\n

From 2005, Tim Noble & Sue Webster, Spinning Heads<\/i>, (via<\/a>)<\/p>\n

\"timnoblemussolini.jpg\"<\/span>Tony Cragg<\/a> (image via<\/a>)<\/p>\n

\"tonycraggface.jpg\"<\/span>To evoke a burning candle, Barry X Ball (via<\/a>)<\/p>\n

\"barryxball.jpg\"<\/span>From 2007, memory merges you with others. Sherry Markovitz, Mothers and Daughters<\/i>. (via<\/a>)<\/p>\n

\"sherrymarkovitzmom.jpg\"<\/span>Time’s inconsistent personal arc, Ari Young’s portrait of Michael C. McMillen, (via<\/a>)<\/p>\n

\"michaelmcmillenphto.jpg\"<\/span>Jackie Anderson, via<\/a><\/p>\n

\"jackieanderson.jpg\"<\/a><\/span>From 1996, sometimes the two of you are stuck with each other. Johan Urban Bergquist (via<\/a>)<\/p>\n

\"johanbergquistfce.jpg\"<\/span>Which makes it hard to get through the day. Harold Haydon, Untitled<\/i>, 1946. (via<\/a>)<\/p>\n

\"haroldhaydonredlips.jpg\"<\/span><\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Fascism is not fascinating in art, the sole exception being Renato Bertelli’s  Continuous profile of Mussolini) from 1933, manufactured by Ditta Effeffe with Mussolini’s approval. (Image credit plus story here.) Aside from the Linda Blair head spin in The Exorcist (evil, evil, evil), the idea of a mind moving a head in directions its physical […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1053","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1053","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1053"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1053\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1053"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1053"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1053"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}