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I am sorry it has come to this. I have to write an article for Star Magazine about Elvis movies—a task which requires me to watch all 31 Elvis movies in a short amount of time. Naturally I’ll write a post about the, um, insights into celebrity, aesthetics, and the national character which the experience has afforded me. However, at the moment, I am neck deep in go-go girls, guitars, and musical routines about water skiing. Today, therefore, I am simply posting a photo of contemporary pop princess Katy Perry wearing a beautiful crown and a Byzantine-themed Dolce & Gabbana gown at the 2013 Met Gala. I am sorry to do this to you (and I am stunned that Miss Perry has somehow sneaked into my blog by putting on a crown a second time). I will shamefacedly admit that she looks very beautiful and Byzantine in her jewels and beadwork. This year’s fashion theme at the Met Gala was “punk” and anyone who regards Byzantine royalty as fitting into that criteria cannot be wholly bad (maugre the gossip evidence).
Here’s another strange painting from contemporary master of surrealism, Mark Ryden. The subject is the “tree of life” a subject which comes up in religion, philosophy, science, and art. A tree of life from Greek myth even found its way onto this blog several Octobers ago. In Ryden’s interpretation, a princess with a bouquet and a baby sits suspended in a sentient tree. Hidden among the boughs are the seven platonic solids. Beneath her a bear and a monarch symbolize some unknown dualism.Somehow this painting combines Crivelli’s creepy diagram-like realism with half of the topics from Ferrebeekeeper. Seriously there are hymenopterans, crowns, trees, mammals, a snake, and garden flowers (not to mention all of the colorsfrom a master’s palate). The only things missing are a Chinese spaceship and an underworld god (and even the latter is hinted at by the death’s head and the tree’s occult eye).
As always I am moved by Ryden’s realism and by his eerie milieu, but I am at a loss as to the cohesive meaning. Perhaps there isn’t one and the piece is meant to convey atmospheric mystery and sacredness of a renowned tree which does not actually exist anymore than does platonic perfection.
The Magic Circus is a bizarre contemporary gothic painting created in 2001 by Mark Ryden, the king of the pop surrealist painters. Ryden was born in the Pacific Northwest and grew up in Southern California. At the beginning of his career, he was a commercial artist who created magazine illustrations, book covers, and album covers, but due to the outlandish visionary intensity of his work, he has successfully broken into the rarified top echelon of contemporary painters. His works have sold very successfully for over a decade (although he is regarded as a bizarre outsider by the unofficial “academy” of curators and critics).
The Magic Circus is an eye popping juxtaposition of cartoonlike hybrid animal/toy characters, science book illustrations, and delicate vulnerable children. The upbeat but sinister pastel circus landscape has been rendered with the precise and exacting realism of the finest illustration. As with 16th century Flemish art, dark horrors lurk among the details. Looking past the dazzling crown and jewel-like bees and cheery dancing octopus, the viewer notices a striped winged demon with a shrunken head drinking a chalice of blood. Jesus and Abraham Lincoln are rendered as toys and lifeless sculptures while a plush stuffed animal capers in the foreground with lively malice.
Many of Ryden’s works involve the idea that our icons and consumer goods are springing to malevolent life and taking over. The Magic Circus has the visceral appeal of a child’s nightmare. The toys are coming to life and putting on a show, but there is a dark and horrible side to the carnival. Within the interlocking “rings” of childlike delight, scientific materialism, and commercial exploitation, Ryden includes symbols and themes which he reuses again and again in his paintings.
Pop Surrealism takes kitsch elements from everyday life and arranges them in a way to maximize the emotional, sentimental, and psychological aspects of everyday symbols. The narrative focus, realistic technique, and psychological intensity of this diffuse school have all been disparaged by “high-brow” art schools and abstract/conceptual artists for the past few decades. Yet as the visual language of the internet becomes more pervasive (and as mainstream art languishes in a conceptual rut), Pop Surrealism has been finding broader acceptance