Luca Rubbi / The Pornography of Melancholy

Photographer/ Milan, Italy



"The sense of melancholy pornography takes a different tack from the meaning of the purely pornographic, that is to induce sexual arousal. Pornography is flat and insignificant, as to say that it only evokes the erotic, and the... picture is redundant in the expression of its use, which is all on the surface."


"I am always direct and explicit; I do not play on fiction, I do not seduce... my love for the female creatures is evident, and it is always in the direction of primary energy, the form itself, the abstract of the nude was never in question... what I want to welcoming are feelings, postures and gentle movements of the girls with the feeling of melancholy pornography which has much to do with the meaning of life, and photography itself; a kind of Brazilian saudade, as the moment of pleasure sneaks a note of sadness because this moment will pass, because everything is lost and at the end we can not have that awareness."

Official Site
Luca Rubbi- Muse Erotike


Handiedan / collage

Originally trained as a photographic designer at the Academy for Fine Arts and Design in Breda, The Netherlands, Dutch artist Handiedan started working in collage in 2007. Her style involves a complex cut and paste mixture of illustration and graphic design, computer montage, and highly detailed sculptural hand cut collages culled from international currencies and stamps, antique sheet music ornaments, playing cards, cigar bands and Asian papers combined with personal items and drawings.

Collage art enables Handiedan to combine all her visual fascinations on a single backdrop, where she can portray and explore her personal interest in the era's of life and time. Using of multiple classic pin-up body parts, the female form stands out over a backdrop of baroque and Victorian Neo-Classicism designs. Handiedan first builds up her digital design out of the gathered collage material and drawings, then she rebuilds the design in multi-layered hand cut collage. A complex labyrinth of collage and paper layers stands out in relief, representing the gradual accumulation of layers in both her work and process.

Handiedan works in series; this suffices as an eclectic personal exploration or review of her main design's journey and process. With each piece on either paper, antique wood or rusty metal, or a different size, containing different collage elements and details result in a different story, emotion and time dimension within each piece. The main aesthetic and erotic female form works as the carrier of the stories that lie underneath and on the surface.

Complimented by antique ornamental frames, her artwork has been shown throughout the world including her last year's sold-out solo show at Thinkspace Gallery, Spoke Art/Hashimoto Contemporary, Roq la Rue, Phone Booth Gallery, Black Book Gallery in the US, Unit 44 in the UK, and Mondo Bizzarro Gallery in Rome and Musée La Halle St. Pierre in Paris. Her art has been featured in several books, magazines and blogs including Victionary, Die Gestalten Verlag, HEY!, BISPublishers, Delayed Gratification, IdN Magazine, NowThen, Monday Inspiration, DPI, Fefe, HiFructose and Juxtapoz.

More Handiedan:
handiedan.com (official site)
Handiedan prints are available at Opus Fine Arts.


The Politics of Geisel

 Theodor Seuss Geisel was born on March 2, 1904 in Springfield, Massachusetts, to Theodor Robert and Henrietta (Seuss) Geisel. Best known for his world-famous children's books such as Green Eggs and Ham, The Cat in the Hat and The Lorax published under his pseudonym Dr. Seuss, Geisel achieved early fame in 1928 for his artwork in a hugely successful advertising campaign for Flit, an insecticide manufactured by the Standard Oil Company. The campaign's catchphrase, "Quick, Henry, the Flit!" became a part of popular culture in the United States for almost 17 years, spawning a song and punch lines for famous comedians such as Fred Allen and Jack Benny. Soon Geisel's work was appearing regularly in magazines like Life, Liberty, and Vanity Fair, and he was drawing advertising for General Electric, NBC, Standard Oil, Narragansett Brewing Company and many other companies.

In 1941, Geisel was hired to draw political cartoons by the New York City daily newspaper PM. Published  by Ralph Ingersoll (New Yorker & TIME magazines) from June 1940 to June 1948 and financed by Chicago millionaire Marshall Field III. The PM was politically left-leaning, supportive of the New Deal, and highly interventionist.

 In the two years Geisel drew for PM, the nearly 400 political cartoons he produced dealt almost exclusively with the political and social aspects of American society during the prelude to, and involvement in, the Second World War. Sometimes gentle, sometimes jagged, the cartoons had a political tone that would not have appeared in almost any major newspaper of the time. The illustrations showed strong opposition to American isolationism; portraying the lack of action toward German and Japanese aggression as either heartless, cowardly or appeasing. His drawings were intemperate toward those he felt were either intentionally or unintentionally leading America to doom, such as Charles Lindbergh, Burton Wheeler, members of America First, and the American Bund.


Geisel supported the Japanese American internment during World War II, and his attitudes towards Japanese and Japanese Americans has struck many people (responding with hindsight) as a moral blind spot. One cartoon depicted all Japanese Americans as latent traitors or fifth-columnists: but at the same time other cartoons deplored the racism at home against Jews and blacks that harmed the war effort. After the war Geisel overcame his feelings of animosity and used his book Horton Hears a Who! (1954) as an allegory for the Hiroshima bombing and the American post-war occupation of Japan, as well as dedicating the book to a Japanese friend.

His cartoons were strongly supportive of President Roosevelt's handling of the war and also featured frequent attacks on Congress (especially the Republican Party), criticism of aid to the Soviet Union and the investigation of suspected Communists, and strong statements against any other offenses that he felt lead to disunity and support for the Nazis, intentionally or inadvertently.


In 1943 Geisel joined the Army as a Captain and was commander of the Animation Department of the First Motion Picture Unit of the United States Army Air Forces. Under a military film production unit headed by Frank Capra he wrote the film "Our Job in Japan", aimed at American troops in the 1945-1952 Allied Occupation, and presenting the problem of turning the militarist state into a peaceful democracy. The film focused on the Japanese military officials who had used the traditional religion of Shinto along with the educational system to take over power, control the populace and wage aggressive war. At the time the film was considered sympathetic to the Japanese, and its distribution was apparently suppressed by Douglas MacArthur. While serving in the, Geisel's superior officer wrote in an evaluation of Geisel that he was a "personable zealot."

Theodor Seuss Geisel died of oral cancer on September 24, 1991, at his home in La Jolla at the age of 87.

Dr. Seuss goes to War (Docstoc preview)
Dr. Seuss Went to War: a collection of political cartoons; The Library at U.C. San Diego
Dr. Seuss Goes to War: The World War II Editorial Cartoons of Theodor Seuss Geisel by Richard H. Minear (Amazon.com)