-Wheeler had walked into two Pittsburgh banks and attempted to rob them in broad daylight. What made the case peculiar is that he made no visible attempt at disguise. The surveillance tapes were key to his arrest. There he is with a gun, standing in front of a teller demanding money. Yet, when arrested, Wheeler was completely disbelieving. “But I wore the juice,” he said. Apparently, he was under the deeply misguided impression that rubbing one’s face with lemon juice rendered it invisible to video cameras. read the rest in the NYTimes
This work of mine is called Sunset, though any sense of peacefulness that it conveys is ironic. I think I've made it obvious that the even rows of roast beef are a satirical comment on the 1931 Iowa Cow War. By referencing the unrest of the past, I comment on the uncertainty of our own times. In this way, the meat speaks to us all in a sort of bovine anthem: "We are all mad cows." The sandwich creates a constant tension between diametrical opposites: animal vs. vegetable, chewy vs. crisp, savory vs. sweet.
I haven't worked extensively in roast beef—I'm more experienced in turkey and ham—but recently I've learned a great deal experimenting in this new medium. I've been trying to push myself with new textures and colors. I love the way the meat has a sort of iridescence that dances across its surface like the dusk-red sun atop the stippled sea. But the most interesting thing about beef is that this glittering quality can also recall the fireworks of battle or the glint in a vengeful lover's eye. A single slice of beef can contain worlds.
When Jackson Pollock signed his first contract with collector and dealer Peggy Guggenheim in 1943, he was able to quit his job decorating ties to concentrate on painting. That first contract paid him a stipend of $150 per month, with guaranteed sales of $2,700 annually (if there were less than $2,700 in sales, Guggenheim would be paid the difference in paintings). His second contract with her two years later raised the stipend to $300 per month and gave Guggenheim ownership of Pollock’s entire artistic output for the year with the exception of one painting that the artist could retain. The terms of those contracts might not satisfy artists nowadays, but it was beneficial to both Pollock and Guggenheim then, reflecting her trust in his talents and allowing him to work unencumbered by financial constraints. This was a true partnership. link