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Nephew Breath
Breath of a Nephew
Created on 2004-11-27 02:58:19 (#5280191), last updated 2006-12-26
23 comments received, 32 comments posted
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25 Journal Entries, 8 Tags, 0 Memories, 0 Virtual Gifts, 3 Userpics
Basic Info| Name: | bowling_albinos |
|---|---|
| Website: | Mine |
Bio "The Albino Bowler" is considered the best representation we currently have of his works. An exquisite example of his ability to produce aesthetically pleasing works, rich in color and composition. It is also, in typical Ramirez fashion, politically evocative - brashly so. Without a touch of timidity, he condemns America's aggressive, imperialistic love affair with the concept of Manifest Destiny.
Note the subject himself - The Albino Bowler, the Whitest of all White Males engaging in a truly American activity, bowling. Consider the downy muttonchops and styled-down yet still elaborate "bowler's pompadour " - quite obviously, the bowler is an American. The silky softness of the hair represents Ramirez's disgust with what he believes to be the slippery softness of the morality and values of America and those who govern it: the increased softening of their capacity to reason.
Mark the nametag on the shirt of the bowler: "Dick." Ramirez, always the bold master, calls the spade a spade. The brilliance here is the contrast between the subtle manner in which the name is tenderly scripted upon the bowler's breast, and the crudeness of the name he gives the bowler.
The use of one large white ball to knock down a number of small pins is not unintentional. One of the masterstrokes of this piece, Ramirez makes plain his observation that America appears to allow a White Dick to wield its vast power to indiscriminately "knock down" smaller, less formidable entities by use of force. That the pins the bowler aims for aren't even visible in this picture further illustrates the "bully" stance Ramirez believed American government embraced.
This Dick is clad in green, the color of American paper money. Ramirez was rumored to have authored several political pamphlets from1955 - 1960 that asserted America's sole interest in Cuba was monetary. Ramirez takes this metaphoric opportunity to remind us that we are merely money-grubbing dicks.
But Ramirez wasn't merely a master of metaphor. Observe his bold use of kelly-green to carry his aesthetic theme throughout the entire painting. This same green is utilized in three different places within the work: the shirt, the shoes, and the signature of the master.
The eye is immediately drawn to the shirt. One's eye then naturally follows the soft curve of Dick's hip to the line of his chunky thigh, then down the supple softness of his jello-y calf. Then! Brilliantly so, the eye is led to his left foot, a foot ensconced in a shoe bearing the same green as his shirt. Note how Ramirez has delicately and subtly feathered this green into the shoe to address the wholeness, the head-to-toe acceptance, of his own money-grubbing ways. Ramirez completes the theme by sardonically signing his name in this same kelly-green. Perhaps an acknowledgment that we are all motivated by financial self-interest - that we are all money-grubbing Dicks in some respect.
Note the subject himself - The Albino Bowler, the Whitest of all White Males engaging in a truly American activity, bowling. Consider the downy muttonchops and styled-down yet still elaborate "bowler's pompadour " - quite obviously, the bowler is an American. The silky softness of the hair represents Ramirez's disgust with what he believes to be the slippery softness of the morality and values of America and those who govern it: the increased softening of their capacity to reason.
Mark the nametag on the shirt of the bowler: "Dick." Ramirez, always the bold master, calls the spade a spade. The brilliance here is the contrast between the subtle manner in which the name is tenderly scripted upon the bowler's breast, and the crudeness of the name he gives the bowler.
The use of one large white ball to knock down a number of small pins is not unintentional. One of the masterstrokes of this piece, Ramirez makes plain his observation that America appears to allow a White Dick to wield its vast power to indiscriminately "knock down" smaller, less formidable entities by use of force. That the pins the bowler aims for aren't even visible in this picture further illustrates the "bully" stance Ramirez believed American government embraced.
This Dick is clad in green, the color of American paper money. Ramirez was rumored to have authored several political pamphlets from1955 - 1960 that asserted America's sole interest in Cuba was monetary. Ramirez takes this metaphoric opportunity to remind us that we are merely money-grubbing dicks.
But Ramirez wasn't merely a master of metaphor. Observe his bold use of kelly-green to carry his aesthetic theme throughout the entire painting. This same green is utilized in three different places within the work: the shirt, the shoes, and the signature of the master.
The eye is immediately drawn to the shirt. One's eye then naturally follows the soft curve of Dick's hip to the line of his chunky thigh, then down the supple softness of his jello-y calf. Then! Brilliantly so, the eye is led to his left foot, a foot ensconced in a shoe bearing the same green as his shirt. Note how Ramirez has delicately and subtly feathered this green into the shoe to address the wholeness, the head-to-toe acceptance, of his own money-grubbing ways. Ramirez completes the theme by sardonically signing his name in this same kelly-green. Perhaps an acknowledgment that we are all motivated by financial self-interest - that we are all money-grubbing Dicks in some respect.
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