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"Method of this work:
I have nothing to say only to show."
(Passagenwerk (1927 - 1940) - Walter Benjamin)
2005, Apr 30; 23:51 ::: Drawing on Other People's Heads (2002) - Wevie Stonder
Drawing on Other People's Heads (2002) - Wevie Stonder [Amazon.com] [FR] [DE] [UK]
Wevie Stonder biography.
In the beginning, when horses were the size of rabbits, Wevie Stonder began their quest into the unchartered depths..
A first recording in 1979 (capturing the telephone conversations of a group of chickens), led Itchy Genius and M.C. Hat to begin the crusade. By July 1993 they were armed with an Amstrad 3 track studio 100, Johnny Guitar and a Casio pt82, resulting in a failed attempt to record a cover version of Stevie Wonder´s "I just called to say I love you" and marking the birth of Wevie Stonder. --http://www.weviestonder.com/pages/bio.html [Apr 2005]
2005, Apr 30; 23:51 ::: The Unrelenting Songs of the 1979 Post Disco Crash (2004) - Jason Forrest
The Unrelenting Songs of the 1979 Post Disco Crash (2004) - Jason Forrest [Amazon.com] [FR] [DE] [UK]
Jason Forrest used to make music under the moniker 'Donna Summer' (but now is just Jason Forrest). He has released records in the US, the UK, and Japan. He has been featured in periodicals such as Spin, Blender, German Rolling Stone, Muzik Express, The Wire, XLR8R, Urb, Crash, Muzik, Trax, The Village Voice, Style and The Family Tunes, Go Mag, Gonzo Circus, Grooves, De:Bug, and Vice. His music is a combination of many, many styles of music, all edited into a sort of new rock music. His live shows have garnered him a huge international audience, and involve much bad dancing, some blood, and a few shattered laptops.
His latest album "The Unrelenting Songs Of The 1979 Post Disco Crash" was released in the US and EU by Sonig records of Koln Germany in April of 2004. It received overwhelming positive support internationally in many periodicals, newspapers and even the occasional TV program. --http://www.cockrockdisco.com/DS-bio/bio-main.html [Apr 2005]
See also: post-disco
2005, Apr 30; 23:00 ::: Peter and the Wolf
Peter and the Wolf, image source unknown
2005, Apr 30; 14:07 ::: An A-Z of writers
Kathy Acker - Dante Alighieri - Martin Amis - Guillaume Apollinaire - Pietro Aretino - Aristophanes - Aristotle - AntoninArtaud - Henry Spencer Ashbee - Jules Barbey d'Aurevilly - J G Ballard - Iain Banks - Georges Bataille - Charles Baudelaire - Simone de Beauvoir - Ben Sira - Maurice Blanchot - William Blake - Giovanni Boccaccio - Bertolt Brecht - Restif de la Bretonne - Charles Bukowski - William S. Burroughs - Byron - Angela Carter - Louis-Ferdinand Céline - Miguel de Cervantes - Geoffrey Chaucer - John Cleland - Denis Diderot - Fyodor Dostoevsky - Bret Easton Ellis - Paul Éluard - J. Sheridan Le Fanu - Théophile Gautier - Jean Genet - William Gibson - Nikolai Gogol - Alain Robbe-Grillet - Knut Hamsun - W.F. Hermans - E.T.A. Hoffmann - Michel Houellebecq - Aldous Huxley - Joris Karl Huysmans - Alfred Jarry - Elfriede Jelinek - James Joyce - Franz Kafka - Jack Kerouac - Ken Kesey - Stephen King - Pierre Klossowski - Comte de Lautréamont - D.H. Lawrence - Gaston Leroux - Pierre Louys - H. P. Lovecraft - Leopold von Sacher-Masoch - Henry Miller - Octave Mirbeau - Alberto Moravia - Alfred de Musset - Vladimir Nabokov - André de Nerciat - Anais Nin - Joyce Carol Oates - Ovid - Edgar Allan Poe - Plato - Mervyn Peake - Samuel Pepys - Luigi Pirandello - Thomas De Quincey - François Rabelais - Pauline Réage - Anne Rice - Arthur Rimbaud - Jean-Jacques Rousseau - Marquis de Sade - Jean Paul Sartre - Arthur Schnitzler - Shakespeare - Mary Wollstonecraft Shelley - Jonathan Swift - Algernon Swinburne - Jim Thompson - Alexander Trocchi - Paul Valéry - Jules Verne - Gore Vidal - Boris Vian - Voltaire - Horace Walpole - Edgar Wallace - H.G. Wells - Oscar Wilde - Virginia Woolf
Related: Sylvia Beach - Maurice Girodias - Gutenberg - Eric Losfeld - Jean-Jacques Pauvert - Barney Rosset
see also: writer
2005, Apr 30; 10:04 ::: Woman in the Waves (1868) - Gustave Courbet
Woman in the Waves (1868) - Gustave Courbet
2005, Apr 29; 12:36 ::: Jahsonic.com index
To enhance the navigation of jahsonic.com, I am building an index. Next up are writers (novels, poetry) and music people, and a A-Z index.
2005, Apr 29; 11:14 ::: The Subculture of Violence (1967) - Wolfgang & Ferracuti
The Subculture of Violence : Towards an Integrated Theory in Criminology (1967) - Wolfgang & Ferracuti [Amazon.com] [FR] [DE] [UK]
In 1967, Wolfgang, along with Franco Ferracuti, published The Subculture of Violence, in which they presented their hypothesis that, based upon research conducted in inner-city Philadelphia. In the mid-1950s, violent values are uniquely widespread among African-Americans. --http://www.criminology.fsu.edu/crimtheory/wolfgang.htm [Apr 2005]
see also: controversial - subculture - crime - violence
2005, Apr 29; 10:58 ::: Criminology
Criminology is a sub-field of sociology dealing with matters related to crime and criminal behavior. It includes fields such as crime statistics, criminal psychology, forensic science, law enforcement, and detective methods.
Naturally, criminology must take into account that the definition of crime varies according to the cultural mores and, especially, laws of a given area. This is an area where caution is warranted; if one is comparing, e.g., violent crimes between nations, one must be careful that the actions counted in that category are similar for each nation; otherwise the comparison is meaningless.
Criminology has, over time, been developed by several schools of thought, including:
- Classical school
- Positivist school
- Chicago school
- Conflict theory
- Frankfurt school
- Statistical school
- Environmental Criminology
The number of undergraduates studying Criminology in some capacity is currently increasing, especially in the UK. This may be in part due to criminal and police television dramas that capture students imaginations, but could just as likely be due to an increase in universities offering such courses to a more socially aware body of students. --http://en.wikipedia.org/wiki/Criminology [Apr 2005]
In criminology, subcultures theories emerged as a way to account for delinquency rates among lower-class males, of these the infamous teenage gang. Subculture theories believe that the delinquent subcultures emerged in response to the special problems that the members of mainstream society do not face.
The strain theorists explained crime as a result of frustrations suffered by lower-class individuals deprived of legitimate means to reach their goals. Cultural deviance theories assumed that people became deviant by learning the criminal values of the group to which they belonged to. This laid down the foundation for subculture theories during the 1950s.
A subculture is defined as a subdivision within the dominant culture that has its own norms, values and belief system. These subcultures emerge when individuals in similar circumstances find themselves virtually isolated or neglected by mainstream society. Thus they group together for mutual support. Subcultures exist within the larger society, not apart from it. The members of the subculture are different from the dominant culture.
The subculture theories we will look at are extensions of strain, social disorganization and differential association theories. Subculture theories help to explain why subcultures emerge (extension of strain), why they take a particular shape (extension of social disorganization), and why they continue from one generation to another (extension of differential association).
For instance, Marvin Wolfgang and Franco Ferracuti's Subculture of Violence thesis argues that the value system of some subcultures not only demands but also expects violence in certain social situations. It is this norm which affects daily behavior that is in conflict with the conventional society. Here we will explain the subculture theories proposed by Albert Cohen, (Subculture of Delinquency), Richard Cloward & Lloyd Ohlin (Differential Opportunity), Walter Miller (Lower-Class Focal Concerns) and Marvin Wolfgang & Franco Ferracuti (Subculture of Violence).
To better understand and appreciate subculture theories one must first probe into the historical time period of the 1950s. The values of the middle class were dominant and anything else was not considered normal.
Peaking urbanization produced more and more deteriorated cities in America. The suburbs of the middle class were emerging. Delinquency was mainly perceived as a problem of the lower class. The middle class "we-they" separation led to seeing itself as the far superior class. --http://home.comcast.net/~ddemelo/crime/subculture.html [Apr 2005]
see also: subculture - crime
2005, Apr 29; 09:26 ::: Modesty Blaise
Cover of the first Modesty Blaise novel.
image sourced here.
Modesty Blaise is a character in a comic strip of the same name created by Peter O'Donnell (writer) and Jim Holdaway (art) in 1962. The strip follows the adventures of Modesty Blaise, an exceptional young woman with many talents and a criminal past, and her trusty sidekick Willie Garvin. It was adapted into films made in 1966, 1982, and 2003 and a series of novels and short stories beginning also in 1966.
Many critics see the early years of the strip as a classic of adventure comic strips. The novels are regarded by some as being among the classics of adventure fiction. --http://en.wikipedia.org/wiki/Modesty_Blaise [Apr 2005]
2005, Apr 29; 08:55 ::: Enki Bilal
La Ville qui n'existait pas (The Town That Didn't Exist) (1977)
image sourced here.
La Ville qui n'existait pas (The Town That Didn't Exist) (1977)
image sourced here.
2005, Apr 29; 08:24 ::: EC Comics
2005, Apr 29; 08:05 ::: The Rivingtons and Papa Oom Mow Mow (Doin' The Bird)
The Rivingtons were a doo-wop group noted for being one of the most loud and raucous of the genre. Their first hit, "Papa Oom Mow Mow" (1962), like many such songs, began with the bass chanting nonsense syllables (in this case the title), followed by the tenor singing over repetitions of it. "Mama Oom Mow Mow", an even more baroque rewrite of the theme, failed to sell, but they returned to the charts the following year with the similar "Do the Bird".
Later that year The Trashmen mocked them by recording "Surfer Bird" -- a song consisting of only the bass parts of their two hits. --http://en.wikipedia.org/wiki/The_Rivingtons [Apr 2005]
see also: 1962
2005, Apr 28; 23:35 ::: Ghoulardi and the Cramps
Ghoulardi was the irreverent movie host on a show entitled "Shock Theater" on Cleveland, Ohio's Channel 8 from 1963 to 1966. Ghoulardi was played by Ernie Anderson who later went on to wider fame as the "voice" of the ABC network. Shock Theater and Ghoulardi were immensely popular and helped launch a series of spin-off movie hosts still going to this day. --http://en.wikipedia.org/wiki/Ghoulardi [Apr 2005]
Once upon a time, Lux Interior was born in Akron, Ohio....a desolate industrialized part of America. Little Lux was heavily into EC comics, b-movies, TV and radio - especially the radio DJ the 'Mad Daddy' who introduced Lux to early rock n roll. He played an eclectic mixture of R&B, Doo Wop, crazed rock'n'roll and novelty songs. Also there was the Ohio character of Ghoulardi, a TV horror host. Some of Ghoulardi's catch phrases stayed with Lux and the Cramps...."Stay Sick!" "Turn Blue!" and "Purple Knif" (...which is fink spelled backwards.)
Ivy was born and raised in Sacramento, California and was the youngest of three children. Ivy's course in life was set when she bought her first record, Sheb Wooley's "Purple People Eater". She was fanatically obsessed with primal rock n roll and loved the instrumentalists Link Wray and Duane Eddy and surf bands. She taught herself guitar as she listened to old records, watching b-movies and horror movies....much like Lux Interior who eventually found himself in Sacramento.....
He picked up Ivy hitch-hiking around 1972 (or did they meet in an art class? )-- and they have been inseparable ever since. The records they voraciously collected would be the basis of the band they would be forming. They survived by selling "illegal stuff", second-hand clothes on market stalls and taking part time jobs that would never last long....eventually they moved to Ohio. Lux first adopted the name of Raven Beauty, and then Vip Vop, but settled on Lux Interior --from a Cleveland car advertisement which was illustrating the latest features! Ivy's name came to her in a dream....Poison Ivy Rorschach. Lux and Ivy decided to move to N.Y.C. in 1975 to begin their musical career. A lot of revolutionary bands were playing at the time: the Heartbreakers, Television, Dead Boys, Ramones, Suicide, Talking Heads, and Blondie. Lux met Bryan Gregory as they both worked in a record store, and quickly became friends. Bryan quickly bought a cheap guitar--not realizing Ivy was the guitarist! Since no one was willing to play bass, they became the first rockabilly-influenced band in history with no bass player! --http://members.shaw.ca/thecramps/bio.html [Apr 2005]
I noticed your last album was dedicated to Goulardi…He just past away, right?
Out here Zacherly is pretty much THE Horror Host. Can you explain to our readers the difference between the two, I don’t think most people are too familiar with the horror hosts and that whole phenomenon.
Lux: They were different people, Zacharly and Goulardi. To say they were just Horror Hosts, they were much more than that, they were somewhere between a horror host and Hitler. Goulardi, he was just way out of control, always causing trouble, always in trouble but he was so powerful that he could get away with it. Kind of like Elvis Presley shaking his hips on television, he was so powerful he could get away with it, everyone was upset about it but they couldn’t do anything about it because it was bringing in too much money. When Goulardi was on TV in the 60’s crime just plummeted because no one was out, they were all watching Goulardi. He was just a totally rebellious character. A good model for young people and was one of the forerunners of what later became youth counterculture type thing.
They had a lot of audiences based on television more than let’s say the movies themselves.
Lux: Yeah,oh yeah. The movies were, of course those movies were great and everything and that’s part of it, but the part where they played music it was like a party, just the chance to go nuts, the music like Goulardi played "Poppa Ooh Mao Mao" by the Revingtons, wild great rock’n’roll records that he played during the time that he was on. He would blow up things. He was just a role model.
Have you seen any tapes of Zacharly’s show that he had in the 60’s with the house and the Standells and the Young Lions, they always used to play. I used to live near there when I was little.
Lux: Yeah, I’ve never seen Zacharly, I’ve seen the video tape of Zacherly introducing trailers and stuff which is great. I never saw his show but I’m always a big fan of Zacherly in the monster magazines. He was just an amazing. I think that Goulardi and Zacherly were probably really the best ones. I’ve always loved Goulardi and as a matter of fact we often play his hit single.
Our band did "Coolest little monster" with Zacherly on the B side of one of our singles. He got a new record deal so he redid that song. He originally was going to sing it with us but he couldn’t do it because of his contract, he was still signing by contract so he let us take from the original record the intro and the middle so on our record it’s him doing the intro….We see him all the time. Have you ever gone to the Chiller Theatre conventions. --http://www.gravyzine.com/LuxInteriorInterview.html [Apr 2005]
Ernie Anderson was born Nov. 12, 1923 in Lynn, Massachusetts. He began working in radio at Burlington, Vermont's WSKI-AM in 1946. He met Tim Conway at WHK-AM in Cleveland and began writing with him. They were hired by Cleveland's WJW-TV in 1961 where they created "Ernie's Place", a daytime show of movies and comedy sketches. He created the beatnik character "Ghoulardi" for himself, wearing a lab coat, fright wig, fake goatee beard and moustache and became popular introducing WJW-TV's Friday night horror movie show "Shock Theater". Rose Marie, best known as "Sally" on The Dick Van Dyke Show, recommended him to Steve Allen who recruited him for his own show. He had many run-ins with his management in Cleveland and moved to California full time in 1966. He appeared in two episodes of Conway's TV series, "Rango" in 1967 and then formed a comedy act with his old friend. More television followed and in 1970 he revived the Ghoulardi character for the Cleveland TV station, WBMX-TV. He was hired as 'the voice of ABC' in the late '70s where he continued to work well into the '80s. He died of cancer on 6 February 1997. --http://www.imdb.com/name/nm0026700/bio [Apr 2005]
Ernie Anderson / Ghoulardi: http://www.imdb.com/name/nm0026700/bio
John Zacherle: http://www.imdb.com/name/nm0951650/
see also: The Cramps
2005, Apr 28; 22:40 ::: Exploitation film
Bruce Lee in Enter the Dragon (1973)
Bruce Lee (November 27, 1940 - July 20, 1973) is widely considered to be the greatest martial arts actor of the 20th century. His films, especially the last performance in Enter the Dragon, elevated traditional Hong Kong martial arts film to a new level, so that artists like Jackie Chan and Chuck Norris were able to work from this platform. He was married to Linda Emery, with whom he had a daughter, Shannon, and a son, Brandon. Brandon was also a martial artist and an actor. --http://en.wikipedia.org/wiki/Bruce_Lee [Apr 2005]
Though it has only recently shown up on Film Studies’ radar, exploitation cinema has long been a site of inordinate interest at the levels of moral and legal discourses on the one hand, and ritualised moviegoing, grassroots publishing, connoisseurship, and other forms of fan activity on the other.
The central focus of the course—American exploitation cinema from the late 1950s through the late 1980s—allows for a detailed analysis of some of the more famous and/or influential texts in the history of the American cinema, texts that broke new ground for filmic representations of violence and sexuality.
The core themes of exploitation cinema—youth, the family, modernity, race, class, the body—are constituted as sources of both anxiety and visual fascination in a host of cycles that reached a peak in this period, including juvenile delinquency/drugs, sex hygiene, mondo, gore, softcore, hardcore, artsploitation, and rape revenge.
Detailed analysis of both the films and the writings produced on these cycles will demonstrate the ways in which, as one scholar puts it, exploitation films “crystallize, exaggerate, and expose the ‘ground rules’ from which mainstream films are built.”
This study of exploitation cinema as an aesthetic, industrial, and sociological phenomenon works towards, then, a fuller understanding of mainstream contemporary cinema culture, which has mirrored, copied, or otherwise benefitted from exploitation cinema at the same time as it has distanced itself from it. -- Dr Mark Betz via http://www.kcl.ac.uk/humanities/cch/filmstudies/courses/exploitation/exploitation=syllabus.htm [Apr 2005]
2005, Apr 28; 20:07 ::: Peter Walker
Making Mischief The Cult Films Of Pete Walker () - Steve Chibnall [Amazon.com] [FR] [DE] [UK]
Britain's Greatest Exploitation Film Director!
'I deliberately rub people up the wrong way,' Pete Walker once remarked, 'I want them to come into the cinema and be shocked.' And shock them he did. No other British film-maker achieved the level of transgression that Walker regularly delivered to cinema-goers in the 1970s.
Beginning his career by making 'skinflicks', Walker went on to direct a trio of bona fide horror film classics. House of Whipcord, Frightmare and House of Mortal Sin probe beneath the glossy surface of the permissive society to expose a malevolent underworld of madness, obsession and vindictive violence.
Making Mischief is the first major critical study of the controversial director, and it has received the full cooperation of Pete Walker and his screenwriters. Extracts from a five hour interview with Walker appear throughout the book which also contains a wealth of previously unpublished photographs and, for the first time, reveals details of the Sex Pistols movie A Star is Dead, which Walker was about to direct when the Pistols split.
About the author
Steve Chibnall teaches Film and Cultural Studies and co-ordinates the British Cinema and Television Research Group at De Montfort University, Leicester. --http://www.fabpress.com/perl/search.pl?CO=FAB016 [Apr 2005]
The Company of Wolves (1984) - Neil Jordan [Amazon.com] [FR] [DE] [UK]
Making Mischief The Cult Films Of Pete Walker () - Steve Chibnall (FAB Press).
Pete Walker is one of England’s more interesting directors. From the late sixties until the early eighties he was responsible for some of the wildest stories ever to hit the silver screen. From sex comedies to horror (often combining the two), Pete Walker had a flair that thrilled fans and sickened mainstream critics. This is an outstanding overview of his colorful career. Excellent observations of his classics, House Of Whipcord, Frightmare, and Flesh & Blood Show, as well as his little seen (on our shores, unfortunately) sexploitation gems. With Pete Walker helping Chibnall get the facts straight, this is a very informative book and an excellent overall look at the British sex/horror scene. Add in the mix nearly every page has photos from one of Pete Walker’s films and this is as much fun to look at as it is to read. --http://videocrypt.com/BOOK.html [Apr 2005]
The suppression of female sexuality is the critical subtext of the British exploitation horror film The House of Whipcord (Peter Walker, 1974.) In the film a woman and husband, banished from their positions in the British court house because of corruption, run their own secret court-prison for women of lax moral conduct. They rid the world of sexual liberation by sending out their attractive son to swinging London as bait to return with young, sexually active women, who are then detained as prisoners. Punishment for not abiding by their ridiculously strict prison rules escalates from solitary confinement (1st offence), flogging (second offense), to death by hanging (third offense). The film was made as an unabashed exploitation film, complete with sadomasochism, incest, and (slight) female nudity, but below the exploitation is a social critique of what director Walker saw in the late 1960's, early 1970's as an increasingly sexually and politically repressive British society. --http://www.horschamp.qc.ca/new_offscreen/final_girl.html [Apr 2005]
2005, Apr 28; 17:02 ::: Juvenile delinquency movies
The Loneliness of the Long Distance Runner - Clockwork Orange - Dead End - The River's Edge - Rebel Without a Cause - The Wild One - Blackboard Jungle - Spetters - West Side Story - First Time Felon - "187" - Pixote - Kids - Scum - Salaam Bombay - Boyz 'N the Hood - Lord of the Flies - The Shawshank Redemption--http://www.angelfire.com/or/sociologyshop/PRISON.html#jdm [Apr 2005]
Rebel Without a Cause is a 1955 film which tells the story of a rebellious teenager who comes to a new town, meets a girl, defies his parents, and faces the local gang. The title is a reference to psychiatrist Robert Lindner's 1944 book, Rebel Without A Cause: The Hypnoanalysis of a Criminal Psychopath.
Rebel Without a Cause became a movie which spoke to a generation: the teenagers of the early 1950s. Although James Dean had already become a star with the release of East of Eden earlier in the year, this movie solidified his role as the voice of the generation. The film has been deemed "culturally significant" by the United States Library of Congress and selected for preservation in the National Film Registry.
The Griffith Observatory is featured prominently in the film, and is the site of the movie's climactic scene. --http://en.wikipedia.org/wiki/Rebel_Without_a_Cause [Apr 2005]
see also: youth
2005, Apr 28; 14:38 ::: Study after Velazquez's Portrait of Pope Innocent X (1953) - Francis Bacon
Study after Velazquez's Portrait of Pope Innocent X (1953) - Francis Bacon
image sourced here.
Francis Bacon (October 28, 1909 - April 28, 1992) was an Anglo-Irish expressionist artist and painter.
Early life and works
Bacon was born in Dublin, Ireland to English parents. The family moved back and forth between Dublin and London several times while he was growing up. He was a sickly child, and his father attempted to "toughen him up" by having his son horsewhipped. He was expelled from his family in 1925 when his homosexuality was discovered.
Bacon then spent a few months in Berlin, then a year and a half in Paris, before returning to London and starting out as an interior designer. Bacon never attended art school, he began work in watercolor about 1926–27. He began to use oils in the fall of 1929. An exhibition of works by Pablo Picasso inspired him to make his first drawings and paintings. The influence of the biomorphic figures in Picasso's works is apparent in Bacon's first major painting of his mature period, Three Studies for Figures at the Base of a Crucifixion (1944). This painting is also representative of some of Bacon's methods and subjects: the triptych, the scream, and the lone figure against a stark backgroud.
Bacon was largely self-taught as an artist. His influences included:
- Pablo Picasso, whose work decisively influenced his painting until the mid-1940s.
- Diego Velázquez, namely Velázquez’s portrait of Pope Innocent X (1649–50). Bacon was obsessed with the portrait, according to his own admission, and made a famous recreation of it in 1954 called Figure with Meat .
- Vincent van Gogh’s The Painter on the Road to Tarascon (1888).
Bacon’s work also reflected the influence of the Surrealist movement from the mid-1940s to the 1950s. He once said that his most important surrealist influence was not a fellow painter but rather the films of Luis Buñuel. Bacon also drew inspiration from photographs (especially those of Eadweard Muybridge), the poems of T. S. Eliot, the plays of Aeschylus, and the chaos of his famous studio. About the studio, Bacon remarked: "for me, chaos breeds images."
Bacon was an eccentric individual. In 1964, he began a friendship with Eastender George Dyer, who he met (he claimed) while the latter was burgling his apartment. Their relationship was stormy and in 1971 Dyer committed suicide. In 1974, Bacon met John Edwards, a young, handsome East-Ender with whom he formed an enduring, paternal relationship. Bacon died April 28, 1992, in Madrid, and bequeathed his entire estate (valued at £11 million) to Edwards after his death. Edwards, in turn, donated the contents of Francis Bacon's studio to the Hugh Lane gallery in Dublin. Bacon's studio contents were moved and the studio carefully reconstructed in the gallery.
Bacon painted relatively little after his solo show in 1934. Bacon was disdainful of his work from before 1944 and destroyed the majority of it. He also destroyed an unknown number of works throughout his lifetime. --http://en.wikipedia.org/wiki/Francis_Bacon_(painter) [Apr 2005]
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