Apocalypse House Web-Log

I had mentioned that I was creating a flip-book titled "Fabricate Your Idol."

Although some references do call this type of presentation a flip book (a true flip-book is usually an animation) this mix-and-match format is more commonly referred to as a split-page book, where you turn different parts of each page to arrange various combinations of pictures and text.

A split-page book split into three, with 12 spreads, yields 2666 different combinations <http://twisted-genius.squarespace.com/journal/2007/12/23/digital-dream-team.html>

My split-page book, split into three, with 7 spreads, should present well over 1000 different combinations.

The night that I documented the finished book, I photographed 58 different variations and had hardly gotten started.

This exhibition will include the newest collaborative painting by Norbert H. Kox and William Thomas Thompson. Title, "Apocalypse," 2012, acrylic on canvas, 8.5-ft x 12-ft. If you saw the "Babylon 2012," exhibition at Lawton Gallery, UW-Green Bay, July 27, 2012, you saw the under-painting of "Apocalypse" in-progress. Come to This is the End My Friend... and see the finished work! Believe me this is something you do not want to miss.

Crossman Gallery, UW-Whitewater: October 17 – November 17, 2012. Opening reception: October 17 from 5-7 pm

Over the past few years, many have pointed to the supposed end of the world as seen in the Maya calendar that seems to show an end point of December 21, 2012. This exhibit, scheduled to take place before that end, will look at both historic and contemporary artists who have illustrated The End. We are fortunate to have in our Permanent Collection a number of works created in Post World War I Germany. Internationally renowned collectors Marvin and Janet Fishman donated the items and the work demonstrates the depth of the devastation that took place in Germany following the end of the Great War. This group of drawings and prints by George Grosz, Rudolf Schlichter and Wilhelm Höpfner depict macabre scenes reflecting the post war chaos and destruction of lives and property. In work by more contemporary artists we will see evidence of another round of anxiety brought on by fears of global conflicts and economic collapse.

The exhibit will include examples from the Permanent Collection, and special loans from artists and collectors. Proposed artists include John Balsley, Tom Berenz, Eugene Von Bruenchenhein, Warrington Colescott, Jeffrey Bogartte, Karl Jahnke, Maxim Kantor, Käthe Kollwitz, Norbert Kox and William Thompson, Richard Notkin, Jean-Pierre Roy and James Stephens. Other artists are also under consideration.

Opening reception date: October 17 from 5-7 pm

Dates of start and finish of show: October 17 – November 17

Crossman Gallery, 950 West Main Street, Whitewater, WI 53190http://blogs.uww.edu/crossman/ This blog functions as our web site and will have more details about the exhibit.

Crossman Gallery
UW-Whitewater
262-472-5708
Skype: emichaelflanagan

This writing connects the last remaining speck of Atlantis with a tiny island in the Atlantic called Bimini, and presents many of the artworks (including esoteric energy paintings) created by Kox on the Island over a period of eleven years, along with the Apocalyptic Visual Parable paintings inspired directly by the Bimini setting.

The Picture Perfect Jesus series was created in Bimini (2003-2004). Many of those images are included in A SPECK OF ATLANTIS - BIMINI: THE TOP OF GOD'S MOUNTAIN. Several of the images have appeared in the Raw vision article mentioned below, along with a detailed description of how they came to be:

"Masquerade" is an article by Professor David Damkoehler, in the Raw Vision 2008 Winter Issue #65 (December) about Norbert H. Kox's artworks depicting Warner Sallman's Head Of Christ. Damkoehler offers insights into understanding the subversive imagery in Kox's paintings: "In 1992 Norbert H. Kox inherited a framed print, a portrait of Christ that had hung in a prominent position in his parents' home in Green Bay, Wisconsin. This portrait was to inspire a series of skillfully executed works that exploit visual and textual puns to illustrate Kox's deeply skeptical attitude towards organized religion. ..." http://www.rawvision.com/resources/norbert-kox