something is funky about the links, and blogger here...

http://50watts.com/2406579/American-Tint" AMerican Hand tinted tourist postcards from the Edwardian era

http://bhof.tumblr.com/">the burlesque hall of fame tumblr.

The major auction houses have no vested interest in keeping forgeries out, because of how their economics of risk work, the case of Wolfgang Beltracchi, who has been convicted of producing dozens of forgeries over more than a decade kind of proves that.http://www.theartnewspaper.com/articles/True+scale+of+alleged+German+forgeries+revealed/25235">art newspaper story here

http://www.creativereview.co.uk/cr-blog/2011/november/polish-cold-war-neon"> polish cold war neon

http://annyas.com/airline-logos-china-hong-kong/">2 dozen or so logos of China and Hong Kong airlins.

http://www.elijahwald.com/dozens.html">elijah wards new book on the Dozens and AAVE, due in June from Oxford UP works well worth reading

5 minute doc on the importance of punk to Indonesian teenagers.

http://www.irishcatholic.ie/site/content/choosing-electors-benedicts-choices-michael-kelly">michael kelly's run down on some of the new cardinals, is really smart, and points out many of the problems.

http://www.realclearpolitics.com/epolls/2012/president/us/republican_presidential_nomination-1452.html"this chart of the Republican road to the White House in the last year proves how much of a clusterfuck this has been.

http://www.christoph-engel.de/index.php?/fotografie/tugendhat/">the best thing about Christoph Engel's recent photos of the Mies residence in Brno, is that the tension b/w material fetish gorgeousness, which mies never really loses, and the entropy that perservation can never quite acheive, does not collapse into either fetish or mourning.

http://www.e-flux.com/journal/in-defense-of-the-poor-image/">and speaking of the problems of that tension this defense of the poor image, of the copy of the copy, of the half failed rendered file, by Hito Setyrl in E Flux pretty much nails my aesthetic:

The poor image is an illicit fifth-generation bastard of an original image. Its genealogy is dubious. Its filenames are deliberately misspelled. It often defies patrimony, national culture, or indeed copyright. It is passed on as a lure, a decoy, an index, or as a reminder of its former visual self. It mocks the promises of digital technology. Not only is it often degraded to the point of being just a hurried blur, one even doubts whether it could be called an image at all. Only digital technology could produce such a dilapidated image in the first place.

Poor images are the contemporary Wretched of the Screen, the debris of audiovisual production, the trash that washes up on the digital economies’ shores. They testify to the violent dislocation, transferrals, and displacement of images—their acceleration and circulation within the vicious cycles of audiovisual capitalism. Poor images are dragged around the globe as commodities or their effigies, as gifts or as bounty. They spread pleasure or death threats, conspiracy theories or bootlegs, resistance or stultification. Poor images show the rare, the obvious, and the unbelievable—that is, if we can still manage to decipher it.

From the Introduction, and it gets better from there.

http://www.npr.org/2012/02/12/146366682/first-listen-sinead-oconnor-how-about-i-be-me-and-you-be-you";the new Sinead listen to it in its entierity from NPR--trying to find a place to review it. http://www.popmatters.com/pm/review/154781-sinead-oconnor-how-about-i-be-me-and-you-be-you/"> my fellow singles jukeboxer Josh Langhoff's essential Pop Matters review of the same. (suitable for Decapo)

Stranded in Canton, early Eggleston Work, ca 73.

http://www.platformgallery.com/artist_pages/blind_blouse/bb2.html"Jesse Burke's work on Deer Blinds respects and riffs on the importance of them in rural western culture.