Need Cheering Up?

[Iamkindacool]

List of funny links – not for the faint hearted or easily offended...

http://politicalhumor.about.com/gi/dynamic/offsite.htm?site=http://minibytes.mondominishows.com/enron/main.asp%3F

http://politicalhumor.about.com/gi/dynamic/offsite.htm?site=http://minibytes.mondominishows.com/alqaeda/main.asp%3F


http://politicalhumor.about.com/library/weekly/aa021902a.htm

www.holylemon.com

www.wastednetwork.com

The University of The Bleeding Obvious- http://www.obvious.fsnet.co.uk/index.html

A Sampler Below From the Bleeding Obvious Site –

ART The University of the Bleeding Obvious: Poncey Scribbles

One of the more controversial artists of recent years is Guy Parker, the latest enfant terrible to disrupt the art scene and divide opinion with his radical and shocking new interpretations of form and content. Parker first came to our attention four years ago when he quite literally set the art world ablaze by torching the National Gallery in an installation entitled simply 'Pyromania'. More recently he simultaneously caused outrage and astonishment by displaying his ******** at the Tate Modern. In his latest work, which has been nominated for this year's Turner Prize, he has surprised everybody by bucking the trend for bucking the trend and produced a markedly less newsworthy 'event' - a series of paintings entitled 'Wordpictures'. We sent along our arts correspondent, Selwyn Peach, to talk to Parker about this new work.

SELWYN PEACH : Guy, thank you very much for allowing us this opportunity to speak with you. Your new 'Wordpictures' exhibition would seem to represent a deliberate shift in style - a decidedly less vociferous and, indeed, less incendiary approach. How would you describe the collection?
GUY PARKER : Well, I think the title kind of sums it up pretty well, actually. It's a series of pictures of words. If you like, it's 'words' in 'pictures'. What I'm basically driving at here is that it's a sort of word-picture kind of deal. Words in pictures - pictures of words. We're talking words, we're talking pictures, and we're talking about a combination of the two.
SELWYN PEACH : I see, I see. So, essentially what we're driving at here is that it is 'Words in Pictures'.
GUY PARKER : I don't think I could have put it better myself.
SELWYN PEACH : Wonderful, wonderful. And in doing this, one presumes your intention is to heighten the meanings of these words, so that by isolating them you throw their definitions into sharper relief. You increase the power of language by taking it out of the normal, everyday context in which we take it for granted and lock it within the borders of the picture.
GUY PARKER : Something like that, yes.
SELWYN PEACH : Of course, of course. So paradoxically, by confining language in this fashion you are in fact setting it free. You could say that because it is liberated, it therefore becomes more meaningful, more significant, more effective. This is language with a capital 'L'; words rendered in bold type.
GUY PARKER : Yes, you could say all of those things, if you like.
SELWYN PEACH : Gorgeous. Well then, let's take a look then at the first example of these 'Wordpictures', as you have so intuitively titled them. This one is called simply 'Elephant'. A curious title: what does it signify?
GUY PARKER : I like to think that it signifies what it actually is. By 'elephant' what I basically mean is 'elephant'.
SELWYN PEACH : Astonishing, absolutely astonishing. It is the simplicity which is so refreshing. The simplicity and the honesty. And the boldness of it. The simplicity and the honesty and the boldness - that's what is so wonderfully striking. When I look at this picture, do you know what I see?
GUY PARKER : Elephant?
SELWYN PEACH : Yes, yes. That's it exactly! I see 'elephant'. Not just the word, not just the bold strokes upon the canvas. But I truly see 'elephant' and all that the word conveys.
GUY PARKER : A big grey thing with tusks?
SELWYN PEACH : Exactly. Because what we hav