jimprov

@jimprov.sendusyourmoney.com

1341 Followers 527 Following

Chimpanzee dealer He/him | R0BERTC0P av by @carl.bsky.social hats /shirts /stickers - https://shop.sendusyourmoney.com

On ilo saada teidät koneeseen. -Onnittelut vlennyksen johdosta
Moo Bear, the Staffordshire pit bull terrier, alongside my legs on the sofa recliner wigging out in her sleep
Nirvana CUM
"Hercules and the Hydra" gilded bronze on marble base ----- [from the Smithsonian American Art Museum] ----- Paul Manship modeled many sculptures of Hercules, the son of Zeus and the mortal Alcmena. Zeus’s wife, Queen Hera, was jealous of Hercules and tormented him so much that he murdered his own family in a fit of insanity. As punishment, he was sentenced to serve twelve labors for his cousin and enemy, Eurystheus. These included strangling the Nemean lion, whose skin was impenetrable, destroying the many-headed Hydra, and stealing the belt from the Amazon queen Hippolyte. His final labor was to capture Cerberus, a three-headed dog from the kingdom of the dead. Hercules had many more adventures after these tasks were completed, including stealing the Delphic tripod from his half-brother Apollo, and killing the giant Antaeus. Antaeus gained strength every time he touched his mother, the earth, so Hercules defeated him by lifting him high above his head.
Jimothy 3D pring on a small rising platform I combined with his model
line reading of the above text with record scratch sfx from my mouth
"Hasta la Gloria" screenprint on paper ----- [from Luis Guerra -September 20, 2019 on Facebook] ----- The Smithsonian American Art Museum has recently acquired three of my works [...] which I created in 1976 for the National Migrant Referral Project, Inc. (now, the National Center for Farmworker Health, Inc.). It is with great humility that I make this announcement. It’s an honor that rightfully belongs to the Texas Farmworkers, who sacrificed themselves to extend human rights to all the people that work so hard and suffer so much to place food on our tables. [...] There were many people who marched, and there was a logistics support group that made it all possible. My intent was to honor all of them, and I designed the poster accordingly: the marchers fill up the entire image area, even flowing out the front—and, in the back, Rita Martínez is entering the frame, suggesting that there are many others behind her. I wish I could have included everyone. I will be forever grateful to the people of the TFW for asking me to document their heroic march from San Juan, in the Rio Grande Valley, all the way to Washington, D.C. They also inspired me to create this image, and have been a lasting influence on me and my work. The central motif in “Migrant Health” was derived from a plant-like symbol that I had created for a painting five years earlier—though here I gave it seven segments, representing the chakras. I utilized a printing technique known as split-fountain, which allowed us to produce a six-color print from a two-stencil run. The poster—which was printed by Richard Mercado, under the name Silkscreen Machine—received an ADDY Award Certificate of Merit from the Austin Advertising Club. I am grateful to Dan Cárdenas, founder of the Referral Project, for asking me to make the poster. It was displayed in health clinics throughout the country that served migrant farmworkers. Whenever a farmworker saw this poster in a clinic, they knew they were welcome!
DINSDALE!!! (from Monty Python's Flying Circus)
rough draft Jimothy 3D printed model that has some blocky attachments beneath his paws
"Recording Sound" plaster and oil on wood ----- [from the Smithsonian American Art Museum] ----- Theodore Roszak celebrated the new recording technologies of the 1930s with this light-hearted painted relief. The horn of the phonograph resembles the ear of a listener, who hears the music and imagines the world of the opera, pictured with comical plaster figures on a tiny stage. Even the turntable, with one mechanical device resembling a costumed figure, evokes the stage where the performance occurred. A tiny balloon at the upper right suggests the fantasy and escape that music can provide. Circles and spirals throughout the image evoke the motion of sound waves and the grooves of "sound" cut into the master recording. Recording Sound is in many ways a self-portrait. Roszak studied music, but chose to pursue a career in art. He was making the transition from painting to sculpture when he created this work, which has elements of both. Roszak imagined himself as a kind of machine that absorbed experiences, recreated them, and transmitted them to others, just as the new recording technology replayed real events for new audiences.
"Mercado (Market)" gouache on paper with wood matte ----- [artist biography from the Museo de Arte de Puerto Rico] ----- Painter, printmaker, assemblage artist, and designer. Of Puerto Rican parents, Quijano came to the island in 1967, at the age of thirteen. He first studied architecture at the University of Puerto Rico, but his experience with printmaking under José A. Torres Martinó pushed him instead toward painting and the graphic arts. In the late eighties, Quijano was a visiting professor at the Art Students League in San Juan. During this same period he did several large-scale still lifes and flowers and became interested in the design of furniture and decorative accessories. In the early nineties he completed his degree in architecture and obtained a bachelor’s degree in environmental design from the University of Puerto Rico School of Architecture. Among the distinctions he has received are the Award in Drawing in the UPR’s Plastic Arts Competition in 1979 and the first and second prizes at the American National Miniature Show in Wyoming in 1983. His paintings and constructions are very colorful and have a certain naïf air; they portray Quijano’s childhood memories of Puerto Rican life with humor and a certain tongue-in-cheek quality.
Will Forte on the October 18, 2008 episode of Weekend Update on Saturday Night Live portraying his candidate character Tim Calhoun who originally said the line: ``` “Drill, baby, drill.” No way! Not on my teeth! I hate baby dentists! ```
Moo Bear, the Staffordshire pit bull terrier, swimming her little brains out in the lake
"The Throne of the Third Heaven of the Nations' Millennium General Assembly" mixed media ----- [from the Smithsonian American Art Museum] ----- The Throne of the Third Heaven of the Nations' Millennium General Assembly is a complex work of art created by James Hampton over a period of fourteen years. Hampton made the array based on several religious visions that prompted him to prepare for Christ's return to earth. His reference to the "third heaven" is based on scriptures citing it as the "heaven of heavens" -- God's realm. Hampton created his masterpiece in a rented carriage house, transforming its drab interior into a resplendent world. He hand-crafted many of the elements from cardboard and plastic, but added structure with found objects from his neighborhood, such as old furniture and jelly jars, and discards like light bulbs from the federal office buildings in which he worked. Hampton selected shimmering metallic foils, purple paper (now faded to tan), and other materials to evoke spiritual awe and splendor. The Throne embodies a complex fusion of Christianity and African-American spiritual practices overlaying themes of deliverance and freedom; it is both astonishingly splendid and profoundly humble. The Throne derives coherence from parallel rows of components arranged on two levels. A cushioned throne at the rear is a focal point for the highly symmetrical array. Objects on the right refer to the New Testament and Jesus; those on the left to the Old Testament and Moses. Hampton also left texts written in an arcane spiritual script that he may have understood as the word of God as received by him. Praised as America's greatest work of visionary art, Hampton's Throne reveals one man's faith in God as well as his hope for salvation. Although Hampton did not live to initiate a public ministry, his commanding phrase -- "FEAR NOT" -- summarizes his project's powerful message.
successively larger explosions beneath a copper pot
my high score of a measly 58mil when I need 100mil in a single hand to unlock the Stuntman joker
"Cotopaxi" oil on canvas ----- [from the Smithsonian American Art Museum] ----- Frederic Church was an ambitious painter and enthusiastic amateur scientist. He had read Darwin's books and Alexander von Humboldt's descriptions of Cotopaxi,"the most dreadful volcano...its explosions most frequent and disastrous."The fabled Ecuadorian mountain provided both a poetic symbol of God's creation and an exciting window into the planet's natural history. Geology was a new science in the nineteenth century, and Church was among those who believed that volcanoes offered clues to the age and origins of the earth. On his first visit to Ecuador, the artist waited an entire day near the hacienda pictured here, hoping that the clouds would part to reveal the peak. American critics complained that Church's paintings of the volcano did not capture the soft atmospheric haze that they were used to seeing in landscapes. Those who had never traveled to the high country of the Andes did not understand that in the thin, clear air, Cotopaxi's icy flanks gleamed just as Church had painted them.
These fumes aren't as fun as beer. Sure, I'm all dizzy and nauseous
[Naked Gun scene] "Everywhere I look, something reminds me of her."
poster for the film STOP! THAT! TRAIN! (2026)
Moo Bear, the Staffordshire pit bull terrier, making a groggy face after waking up
GET-A-LOAD OF THIS GUY CAM
"Black Knife, an Apache Warrior" oil on canvas ----- [from the Smithsonian American Art Museum] ----- Black Knife, also known as Baishan, or by his Spanish name, Cuchillo Negro, was a celebrated Apache chief. His raids on Mexico made him a nominal ally of U.S. army battalions sent to the area following the outbreak of the Mexican War (1846--48). The Apache sought to protect their ancestral lands, which had become disputed territories between Mexico and the United States. In 1845, John Mix Stanley joined Colonel Stephen Watts Kearny's expedition through Santa Fe to California to put down Mexican uprisings. In late October 1846 Kearny's troops encountered Black Knife, here seen scouting the position of the army troops, near what is now the Tonto National Forest in Arizona. In the distance, Stanley portrays the Rio Gila, which runs through Arizona and New Mexico. Stanley based his painting on sketches he had made of the area's geological features and native plants, lending authenticity to his narrative.
Dr. Amigo using a caulk gun to deliver medication to a patient
Morbo delivering important information
some jerk replying to that pencil neck geek with his own rap sheet
the SACyclopedia entry for Paradol Ex
"Top of the Line (Steel)" mixed media: enamel, unbraided canvas roping, and metal on plywood ----- [from the Smithsonian American Art Museum] ----- Thornton Dial Sr. uses scrap metal, wood, carpeting, and house paint to make his art. Having worked most of his life as an industrial laborer, he is also a social critic; his paintings raise issues of class and race and refer to current events and key moments in African American history. This piece is Dial’s response to the social outbreak of the Los Angeles riots in 1992—among the largest civil disturbances in American history. Painted figures loot parts of air conditioners, cars, and other consumer goods. His frenzied brushstrokes convey the intensity of the mob. The title has a double meaning, referring to the quality of the stolen merchandise and the socioeconomic struggle for equality. "Steel" also plays on the word "steal," pointing to Dial's experience as a steelworker and the looting that took place during the riots. "I make art that ain't speaking against nobody or for nobody either. Sometimes it be about what is wrong in life." —Thornton Dial Sr.
vapoknight
Mr. DNA
"Don't Tread on Me, God Damn, Let's Go! - The Harlem Hellfighters" cottons, silk, wool, and velvet ----- [from the Smithsonian American Art Museum] ----- In this monumental quilt, Bisa Butler brings to life the history and emotions of nine members of the 369th Infantry Regiment known as the Harlem Hellfighters, a segregated unit of the American Expeditionary Force in World War I. Drawing from the wellsprings of African American quilting traditions and the coolade colors of the Black Power art movement, Butler pieced together layers of dazzling textiles to connect this present moment to the past. “I look to their example to see for myself that the triumphs we experience today will outlast tyrants and that nothing can ever erase them—not time, not death. These protectors of our nation fought and put their very bodies and their lives on the line. My work is to continue to lift them up in history so they can be seen in public spaces, where their heroic sacrifices become part of the American quest to fight against oppression and for freedom.” —Bisa Butler
Bears B
"Blue/Purple Ombre with Rocks" porcelain ----- [from the Smithsonian American Art Museum] ----- Linda Lopez calls these lively porcelain sculptures “furries.” At first glance, the furries look soft and fluffy. A closer look reveals their hard porcelain surface, prompting viewers to slow down and take notice of the textures of life. The charismatic furries were inspired by a walk in New Zealand in search of glow worms. Lopez recalls, “There was not even a glimmer of a glow, so we decided to walk the trail again. We walked slower, we didn’t talk, and we practiced seeing. Then, all of a sudden, the forest was covered in thousands of glow worms. It was that moment that made me realize that I wasn’t seeing the things around me every day.”
Moo Bear, the Staffordshire pit bull terrier, posing before I throw her big ball in the back yard and she goes complete apeshit chasing it and launching into a pounce to retrieve it
A painting of Walker (PBUH) by the talented Dr. Wifeprov, above two paintings of Moo Bear, where mine looks like a boxer after taking one right in the jaw and Dr. Wifeprov's looks incredibly better, as always :D
"Surrender of a Confederate Soldier" oil on canvas ----- [from the Smithsonian American Art Museum] ------ At the age of fifteen, Julian Scott lied about his age to enlist in the Union army. He rose from drummer boy to infantryman, and for his service he earned the Congressional Medal of Honor. After his discharge he became an artist, initially focusing on images of heroic moments of sacrifice during the war. He painted this Confederate soldier with dignity. The raised white flag is simultaneously a surrender of the individual, his family, the Confederate cause, and the Southern way of life. The soldier’s wife cradles their infant child, while the enslaved man with them looks away, perhaps envisioning the changes in his own future. Scott imbued this work with respect for his Confederate counterpart, sounding a hopeful note for the future.
crunchwrap form on a paper plate
buc-ee's demands that a moose looks like its awful rat character
"Travelling Carnival, Santa Fe" oil on canvas ----- [from the Smithsonian American Art Museum] ----- Here, the diverse inhabitants of Santa Fe gather for an evening of fun. The carousel whirls with bob-haired flappers aboard, while the Ferris wheel's lights glitter in the background above the crowd. Best known for his sympathetic portrayal of urban life in New York in the early twentieth century, John Sloan began spending four months every summer in Santa Fe, New Mexico, starting in 1919. The Southwest offered a fresh landscape and novel experiences that inspired a new body of work.
Steak and a chicken kebab on a grill with a can of Miller Lite in the foreground
Chris Farley being informed that he is not drinking any ordinary coffee crystals in a commercial from Saturday Night Live
"Zen for TV" manipulated television set; black and white, silent ----- [from the Smithsonian American Art Museum] ----- In a 1963 exhibition in Germany, Paik displayed a room full of electronically altered and arranged televisions, making him one of the first artists to use actual TVs and broadcast content to make art. One set arrived broken, compressing all received signals into a thin line of light. Paik embraced its broken state and titled it Zen for TV, playfully and profoundly linking its accidental minimalism to the meditative focus of Zen Buddhism, a religious reference he often used to signify an Asian perspective in Euro-American contexts. Zen for TV became one of Paik’s signature works, and over the years he created select versions like this one.
blue car with anime goku
Mitch McConnell performing the classic R. Budd Dwyer pose with a revolver
"Biodiversity Reclamation Suit: Carolina Parakeet" suit: cotton, silk, bamboo, wool, and acrylic blended yarn / mannequin: basswood, acrylic paint, gouache, glass, pewter, and walnut ----- [from the Smithsonian American Art Museum] ----- Hope uses humor to address the serious subject of species extinction in her Biodiversity Reclamation Suits. These suits allow common rock pigeons to masquerade as extinct North American birds -- if not actually to "reclaim" biodiversity, then at least to give the appearance of it. One can't help but smile, imagining these birds clad in their bright, borrowed feathers roaming our city streets, even as we note that the damage we do to our environment cannot always be undone.
Moo Bear, the Staffordshire pit bull terrier, lounging comfortably in my lap on the recliner couch
"George Bush Getting His Dick Sucked By An Alien While Painting Kids Killing Cops" -9x12" - $80 Acrylic on Stretched Canvas
auto-text response when told to stop: 'NETWORK MSG: You replied with the word "stop" which blocks all texts sent from this number. Text back "unstop" or "start" to receive messages again.'
instagram says I can't share links to sendusyourmoney.com because it is an obvious scam to take people's money (duh)
"Sudden Salami" oil on canvas 100x100cm -- [artist statement] -- Lately, I’ve been exploring a wider range of subjects in my work, with a stronger focus on composition and colour. When it comes to imagery, I find inspiration in all sorts of places - from social media, film, and magazines to poetry and dreams. Sometimes I’ll come across a strange visual combination that doesn’t logically make sense, but feels emotionally precise. Most of all, I’m drawn to the everyday, ordinary objects or fleeting moments that might go unnoticed. I like transforming those into something slightly surreal, as if they’ve passed through memory or a dream. I want the paintings to feel both familiar and off-kilter, like they’re holding something quietly emotional underneath the surface. My influences come from everywhere: film stills, poetry, fragments from social media, dreams, and the quiet drift of my subconscious. I’m drawn to visual pairings that don’t quite make sense logically but land with a very specific emotional clarity. I like it when ordinary things start to feel slightly surreal, as if caught in that suspended moment just before or after something unknown. Certain symbols return to me again and again: fish, snakes, flowers, eggs, mirrors, the moon. They each hold different meanings depending on the moment. A flower might bloom or wither. A fish might comfort or unsettle. Mirrors fascinate me; they distort, they reveal, they blur the line between what’s real and what’s imagined. And the moon, it’s always there, a quiet, rhythmic force, tied to cycles, femininity, and time. I hope my work encourages people to slow down. I don’t build clear stories or linear narratives; I want to leave room for uncertainty, for intimacy, for emotional resonance. My paintings feel to me like small personal myths; they unfold gently, just beneath the surface, in that soft space between clarity and mystery. -- https://www.minyoungkimwork.com/
Moo Bear with her favorite back yard ball and her tongue all agog
"Sun Raid" screenprint on paper ----- [from the Smithsonian American Art Museum] ----- Twenty-six years after her original, Hernandez reimagines her classic Sun Mad poster as a condemnation of U.S. Immigration and Customs Enforcement. In addition to changing the title from Sun Mad to Sun Raid, she outfits the calavera (skeleton) with an ICE wrist monitor and a huipil, a traditional indigenous garment. This latter reference suggests how indigenous people from Mexico and Central America represent a segment of undocumented immigrants in the U.S. Hernandez issued this print at a time when the George W. Bush administration was being widely criticized for its high level of workplace raids. -- [en-ES] -- Veintiséis años después de su obra original, Hernandez reimagina su clásico cartel Sun Mad para condenar al Servicio de Inmigración y Aduana de los Estados Unidos (ICE). Además de cambiar el título de Sun Mad a Sun Raid, le agregó à la calavera un monitor de pulsera del ICE y un huipil, que es una prenda de vestir indígena tradicional. Esta última referencia muestra que los pueblos indígenas de México y Centroamérica representan un segmento de los inmigrantes indocumentados de los Estados Unidos. Hernandez publicó este grabado en un momento en que se criticaba mucho al Gobierno de George W. Bush por el gran número de redadas en los lugares de trabajo.
moving a picture in Microsoft Word [pie graph showing 98% blue with a thin slice of red] It [] actually does what you want [] You mess up the whole document
"Mamakadendagwad" oil on canvas ----- [from the Smithsonian American Art Museum] ----- As an accomplished birdwatcher, conservationist, wildlife photographer, and hiker, Uttech (born 1942) has spent his life engaging with the unspoiled wilderness of his native Wisconsin and the neighboring woodlands of northern Minnesota and Quetico Provincial Park in Ontario, Canada. Yet while Uttech's experience of the landscape is grounded in firsthand knowledge and close observation, his paintings do not represent specific scenes. Instead, he uses his understanding of the ecosystem's animals, plant life, light, and atmospheres to conjure fantastic reconstructions of the natural world. Mamakadendagwad, translated as "it is astonishing" from the Ojibwe language, is part of the artist's Migration series. In these works, throngs of birds and animals travel across the canvas from right to left, spurred by a mysterious force or unknown threat. In Mamakadendagwad, finely rendered falcons, hawks, and owls join wolves and caribou in a swarm at sunset; a lone bear, upright in the center of the scene, turns to face the onslaught, calmly observing the charge as well as, perhaps, its cause. [...] Like most of Uttech's paintings, Mamakadendagwad presents a fraught view of nature and humans' place in it--almost impossibly alive and fertile yet ultimately alienating. As well as being denied the knowledge accorded to the bear, viewers are prevented from immersing themselves in the environment. Fallen tree trunks and tangled branches clock access to the foreground, and abrupt shifts in scale of the incredible volume of birds represented foil any sense of visual mastery over the scene. Despite the exquisite detail laid out for us, the landscape ultimately remains impenetrable. At once agitated and calm, idyllic and charged with danger, Uttech's painting is--like nature itself--characterized by its multitudes and contradictions.
[Jackbox Quiplash answer screenshot] Jimmm: RUPAUL WALKER Keith: RU PAUL
drive-in burgers & rootbeer from dog-n-suds, one of the greatest treasures of the Midwest, parked on a car driver-side window.
Hamburglar says "Only God can Judge Me"
"Waterfront Scene" oil on canvas ----- [from the Smithsonian American Art Museum] ----- Pino Janni's depiction of New York City's East River docks is all about hard work. The viewer looks over the shoulders of two burly longshoremen about to unload or load freight from a cargo ship. Towering cranes and booms are ready to lift the heaviest cargo ashore. A nearby tug boat works with ship pilots to guide the enormous vessels to and from the piers. The hawser looped around a bollard shows that a ship is tied up just out of view, bringing employment to these men. During the Depression dockworkers were desperate for scarce jobs, despite their low hourly wages. In January 1934, at the time when Janni was making this painting, a fight broke out among hundreds of longshoremen competing for work. The red band around the tug's funnel is the only note of bright color in this work-a-day painting. Heavy black outlines define the powerful forms of the men and the harbor. Janni's painting of the noisy, dirty waterfront is as vigorous and straightforward as the longshoremen's labor. The artist could identify with his subjects; as an article about the PWAP stated, "the administration has determined that work must be found for artists as well as for longshoremen."
cheddarwurst and vienna beef hotdogs on a grill with a hat that says "BAD DAY TO BE A [Chicago dog]" embroidered on it
thumbs down my ass