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Holy Water, Robert Rauschenberg, 1954/81

"Much of Rauschenberg’s painting utilizes assemblage, and here he has captured a sort of found collage of seemingly disparate elements: a public water fountain, “Holy Water” sign, free pamphlets, and a small, hanging bell. With deadpan humor, the image singles out these offers of salvation found by chance on an urban street."

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funeral

The world becomes a sum of lifeless artifacts; from synthetic food to synthetic organs, the whole man becomes part of the total machinery that he controls and is simultaneously controlled by. He has no plan, no goal for life, except doing what the logic of technique determines him to do. He aspires to make robots as one of the greatest achievements of his technical mind, and some specialists assure us that the robot will hardly be distinguished from living men. This achievement will not seem so astonishing when man himself is hardly distinguishable from a robot. The world of life has become a world of ‘no-life’; ­ persons have become ‘nonpersons,’ a world of death. Death is no longer symbolically expressed by ­ unpleasant-smelling feces or corpses. Its symbols are now clean, shining machines.

Erich Fromm, The Anatomy of Human Destructiveness

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MADONNA for THE FACE | JEAN-BAPTISTE MONDINO [1991]

the source photograph [left] popularized a decade later by Crystal Castles commonly referred to as Black-Eyed Madonna [right], first appearing as their cover art for Alice Practice EP in 2006—eventually getting sued by original graphic artist Trevor Brown for failure to gain permission prior to usage of the image. the case was eventually settled... to partial satisfaction.
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