A tour of Springfield, Mass., where Ted Geisel, better known as Dr. Seuss, was raised, suggests that some of the images from his books were inspired by things he saw growing up.

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On Education: Dr. Seuss Book, ‘Mulberry Street,’ Turns 75

Seeing Harry Callahan ’s work on the wall, as opposed to reproduced in a book, brings you face to face with how small many of the images are that have had such an outsize influence on American photography. In honor of the 100th anniversary of Callahan’s birth, and to display some of the 45 Callahan prints that were recently given to the museum by the photographer’s family, the National Gallery of Art has mounted a centennial retrospective of his work. Read full article > >

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Review: Harry Callahan photography exhibit at the National Gallery of Art

The season begins with a burst of Andy Warhol, as two shows in two major museums explore very different aspects of the pop pioneer. An exhibition at the National Gallery of Art called “Warhol: Headlines” arrives in the late afterglow of the Rupert Murdoch scandal and explores the artist’s fascination with tabloid media, celebrity and appropriation (Sept. 25). Billed as the first comprehensive exhibition to explore Warhol’s use of headlines and newspapers, the show will include some of the source materials on which he based his images, allowing viewers to analyze the road from cheap scandal sheet to high art, via the ironies of pop and the subtle improvements of an artist who was uncommonly good at tweaking the ordinary into something visually compelling. Read full article > >

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Fall arts: Two Warhol exhibits and the (E)merge Art Fair kick off the season

By Kimihiro Hoshino/AFP/Getty ImagesThe Wall Street Journal reported Monday that Twitter is in talks to buy TweetDeck, the popular Web and mobile app generally associated with Twitter power users.

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Report: Twitter in talks to buy TweetDeck

New Head-to-Toe Green Lantern Images You’ve seen the extended trailer for Green Lantern that was born out of WonderCon, and now Warner Bros. has released some new Green Lantern promo images that show us Ryan Reynolds in the full Green Lantern suit. One of the more talked-about facts about this suit is that it’s been created with computers and is not a practical suit that Reynolds wore during production. While the reasoning behind it makes sense (it’s an alien suit that takes over his body, and should look as such), word is still out on how hardcore fans will react once they see the completed movie. It’s fairly safe to assume we’re in a “So far, so good” zone in terms of Green Lantern, and I can’t be the only one anticipating its June 17th release date. What do you think of… Read More Read Comments

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Fanboy Fix: Green Lantern, The Wolverine and Man of Steel

Chip Somodevilla/Getty Images

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Rand Paul’s historical misfire in the debate over Libya

To the untrained eye, the images from two hundred million miles away don’t look much like a crater. But scientists say it’s there, no question about it.

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Comet crater ‘partly healed itself’

Polaroid’s newest creative director, pop phenomenon Lady Gaga, made an appearance at CES in Las Vegas to roll out her new line of cameras. The Gray Label line incorporates Polaroid’s Zink printing technology (zero ink) into sunglasses and other picture-taking gadgets. The glasses, which are huge enough to look geriatric, capture and display images and video on the lenses. The data is also sent to a USB earpiece. Images (not video) can be sent to a printer via Bluetooth And what better printer to send the images to than Polaroid’s GL10, a paperback-sized mobile printing unit that can print pictures sent wirelessly from camera phones, camera sunglasses and what have you? It prints 3-inch by 4-inch photos in about 40 seconds, with or without the traditional white Polaroid frame. The GL10 is compatible with all Bluetooth-enabled mobile phones with the exception of the iPhone. Read the full story at Mashable .

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Lady Gaga Debuts New Gray Label Polaroid Products at CES

by Jamelle Bouie Via Sociological Images (by way of the Economic Mobility Project ) is an interesting chart showing downward class mobility among blacks and whites. Each bar represents the percentage of children who end up in the bottom fifth of income earners by race and income of the parent: Fifty-four percent of African Americans born into the bottom fifth of income earners remain there as adults (compared to 31 percent of whites). Likewise, 46.5 percent of blacks born into the second and middle fifth of income earners—the lower-middle and middle class, respectively—end up in the bottom fifth of income earners by adulthood. The reasons for widespread downward mobility are complicated, but here are a few possibilities: on the whole, African Americans have few assets and are more likely to be in substantial debt. Moreover, middle-class African Americans are more likely to work in lower-income jobs and careers—nursing, teaching, etc.—and less likely to live in areas with rising or high housing values. This all comes in addition to the massive destruction of the financial crisis, which wiped out billions in black wealth and erased decades of progress. “As of December 2009,” according to The New York Times , “median black wealth dropped 77 percent, to $2,100.” The truth is that most blacks only began to accumulate wealth in the 1960s and 70s, after federal laws opened the mainstream economy to the mass of black America. Before then, the black economic experience was marked by low wage labor, sharecropping, and—until the Second World War—outright slavery . Simply put, the last three years constitute a huge setback in the African American community. The black middle class certainly hasn’t disappeared, but it is far from firm ground.

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Race and Economic Mobility

Some of the images that grabbed the headlines in 2010

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A year in pictures

David Hockney’s new show is alive. Every few days he creates a painting with his iPad’s Brushes application, then emails it to identical devices on display at Paris’s Pierre Berge-Yves St. Laurent Foundation, where his “Fresh Flowers” exhibition runs through January 30. As of this writing, there are over 300 pictures and counting. Story continues after the gallery. Please use a JavaScript-enabled device to view this slideshow Throughout his career, Hockney has managed to constantly reinvent himself while retaining his artistic DNA. Famous for his crisp, languid depictions of poolside California, he has forayed into photomontage, fax art, art history, and, in the 80s, digital drawing on the computer program Quantel Paintbox . This latest, ever-evolving exhibition reflects his protean character. Twenty of the images on display are animated from start to finish, and on the foundation’s website you can watch the deft finger-strokes accumulate into a fully-realized product, a dynamic still-life. Like most of us, these paintings were conceived in bed. Two years ago, watching the dawn tread across the North Sea and toward his Bridlington home, Hockney realized he could quickly catch the moment on his iPod (he has since then upgraded to the iPad). As he tells Lawrence Weschler in The New York Review of Books , “in the old days, one never could [capture the light], because, of course, ordinarily it would be too dark to see the paints; or else, if you turned on a light so as to see them, you’d lose the subtle gathering tones of the coming sun.” Brushes frees the artist from the constraints of time and supplies. The iPad’s backlight lets you paint at any time of day, the app’s color wheel provides every pigment, and its very nature renders set-up and clean-up obsolete. How this device would have simplified life for Monet, who was so attuned to changes in sunlight that seven minutes was the limit for one of his Poplar series , and so attuned to the elements that he traveled with separate canvases for all types of wind and weather. For weeks he awoke at 3:30 a.m. and trundled off to the Seine, a canvas under each arm, to catch the transient, raking dawn. With an iPad he could have loafed until six before ambling to the river with a device no larger than his sketchpad. Brushes would certainly have expedited his draftsmanship, but whether it would have improved his paintings is another question. Even Monet would be hard-pressed to achieve that soft, dappled look on an iPad, which lends itself more to razored precision. You can tailor your line any way you want — by color, thickness, opacity, even by the correlation between the speed of your finger and the evanescence of the mark — but there’s only one way to draw, and that’s with the line. In its shortcomings, the app reminds me of Facebook: just as the social networking site lets you explore limitless friendships in a limited way, so Brushes gives you an infinite palette to be used in finite ways. The commercial art world seems to think the jury’s still out about Hockney’s iPad period, according to Charlie Scheips, the show’s curator. Some have dismissed it as his latest dalliance. Yet for Scheips, the opinions of the art world miss the point of a show about the creative use of a new, intimate medium. “Fresh Flowers” began with Hockney creating an image and zipping it off to a dozen friends. Though the paintings look like fluorescent Matisses, in spirit they’re descended from Mail Art, the absurdist movement pioneered by Ray Johnson and his New York School of Correspondence in the 1960s. That band of artsy pranksters made works out of anything — rubber stamps, postmarks, signatures, photocopies — as long as it fit on a postcard they could send to the world. Their philosophy rebelled against the haughty hierarchy of galleries, but in 1970 Ray Johnson organized an exhibition at The Whitney . Hockney’s current exhibition presents a similar paradox: this everyman’s app art, which inherently can’t be auctioned off, is on display in the former studio of Yves St. Laurent, the home of Haute Couture and the height of exclusivity. While his digital exhibition challenges the norms of commercial art, Hockney still has to make money. There are no originals to sell for ungodly sums. You could print the images, but on regular paper, without their luminous screen, they look wan and watery. The best option for selling them, Scheips suggests, might be an app catalogue, which would let us browse Hockney’s entire iOeuvre. That way, each new image would come to us–with no gallery or curator required — as the latest course in a moveable feast.

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Art in the Age of Digital Reproduction: Hockney’s iPad Paintings

Your images as strong winds and heavy rain disrupt parts of the UK

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Storm tossed

After decades of reminding people about the dangers of cigarettes, offering nicotine gum or patches and making smokers huddle outside, the government is turning to gruesome pictures.

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Updated tobacco warnings could feature graphic images

Artists band together in an altruistic exhibition to help close the American education gap The creative and influential group of artists and activists behind Re:Form School have a very specific goal—to transform public schools and help students flourish. Their desire to reinvent the American public education system has inspired countless hours and tireless determination to create a major group art exhibition, as well as a public awareness campaign. From 9-11 October 2010, the Re:Form School show will bring together the work of more than 150 artists including Gary Baseman, Michel Gondry, Simone Legno, Mike Perry, Phil Lumbang III, Ron English, Jermaine Rogers, Joe Ledbetter, Lisa Congdon, Sage Vaughn and Shepard Fairey. A myriad of school-themed pieces fill the exhibition space, a school building in Manhattan. Eric Anderson is busy filling a chalkboard with his images and words. Mixed-media artist Erik Otto decided to build a school bus created from reclaimed materials. With wheels he brought from San Francisco and driver’s seat is fashioned from a wooden school chair, Otto is creating a structure that can be rolled around during the show. Sonja Rasula from Unique LA is turning the principal’s office into a store filled with handmade items and unique crafts. The Re:Form School mission statement offers these words of hope: “We believe every child should be allowed the opportunity to shine and thrive. They should feel safe, challenged and excited to learn. They should be encouraged to bring creativity, imagination and innovation into our future.” Re:Form School is a REDU project aiming to find ways for rethinking, reforming, and rebuilding the education system. They hope this weekend’s art show will galvanize communities and encourage support for Urban Arts Partnership , Teach for America , Donors Choose and Rock the Vote . Ultimately Re:Form School hopes the show this weekend will motivate people to find teaching and mentoring opportunities as well and to donate their time and money and help transform the education system. Re:Form School is open to the public beginning 9 October 2010 through 11 October 2010 between the hours of 10am-6pm.

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Re:Form School

Tom Liljenquist, 58, a McLean jeweler, last year began giving the Library of Congress almost 700 Civil War-era ambrotypes and tintypes that he and his three sons had amassed over the past 15 years. Civil War – United State – War – History – Shopping

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Images of the Civil War