Takiyasha the Witch and the Skeleton Spectre is a woodblock print by the Japanese artist Utagawa Kuniyoshi (1798-1861), who was especially renowned for his depictions of historical and mythical scenes. This print portrays tenth-century princess Takiyasha summoning a skeleton spectre to frighten Mitsukuni.
The princess is reciting a spell written on a handscroll. She summons up a giant skeleton which comes rearing out of a terrifying black void, crashing its way through the tattered palace blinds with its bony fingers to menace Mitsukuni and his companion. Princess Takiyasha was the daughter of the provincial warlord Taira no Masakado who tried to set up an “Eastern Court” in Shimōsa Province, in competition with the emperor in Kyōto. However, his rebellion was put down in the year 939 and Masakado was killed. After his death, Princess Takiyasha continued living in the ruined palace of Sōma. This print shows the episode from the legend when the emperor’s official, Ōya no Mitsukuni, comes to search for surviving conspirators.
Nora Holland, Eunice Yunurupa Porter and Dianne Ungukalpi Golding, Aboriginal person with painting Raffia, minarri (greybeard grass) and wool
An exhibition of unique works from a new Aboriginal art movement emerging from the Western Desert opened at the National Museum of Australia in Canberra on Friday 7 December, 2012 and be on display until November, 2013.
“Having filmed the seaside and the beach so much, I could be taken for a specialist. Here I show a photo of the sea and we can imagine the wind which, at that moment, whips the crest of a wave up into jets of water. I also propose that the movement which continues the image is cinema, another representation of the seaside, we hear the last wavelet that comes and flattens itself on the sand, well, the sand is real sand, it’s reality,” says the iconic New Wave film director Agnès Varda about her new exhibition at the Centro Andaluz de Arte Cntemporaneo in Seville, Spain. The exhibition, entitled The Twin Shores of Agnès Varda, presented in collaboration with the Sevilla Festival de Cine Europeo, shows short films, photographs and installations by the French filmmaker.
If you’ve not seen her autobiographical documentary The Beaches of Agnes, make it your business.
Mike Kelley Animal Self and Friend of Animal, 1987. Glued felt, 2 parts, 241 x 172 cm and 244 x 183 cm. Stedelijk Museum Amsterdam
“Mike Kelley’s brilliance was rooted in his ability to dig critically into a world of cultural productions, representations, and constructions in all their messy contradictions, using a combination of incisive wit, poetic insight and uncanny associative power,” Ann Goldstein commented. “Nothing is sacrosanct in his work—not so-called high culture, history, literature, music, philosophy, psychology, religion or education. In bringing together his interest in so-called low culture—from crafts to comic strips—with a reconsideration of identity and sexuality, he was nothing less than revelatory.”
Here’s a segment of Christian Marclay’s The Clock, which is comprised of several thousand film segments, all featuring a clockface. The entirety of the work runs for 24 hours and the clocks shown on screen match up with the time in real life. Wow.