#tom armstrong

[oh-bother-stickers]

[oldschoolfrp]

“Better living through alchemy” -- Roger Raupp art for Tom Armstrong’s article on “Potions and poisons: the alchemist NPC class” (Dragon 130, February 1988)

[hellboundhorrormovielover]

ball games at lunch

[nofatclips]

Evoe by Behemoth from the A Forest EP - Video by Tom Armstrong

[cinematic-literature]

Late Night (2019) by Nisha Ganatra

Book title: 200 Years of American Sculpture (1980) by Tom Armstrong; Plenty More: Vibrant Vegetable Cooking from London's Ottolenghi (2014) by Yotam Ottolenghi; Rad Women Worldwide (2016) by Kate Schatz

[thefugitivesaint]

José Inéz Herrera, 'Death Cart' (La Doña Sebastiana), ''200 Years of American Sculpture'' by Tom Armstrong, 1976 Source “Not much is known about artist José Inéz Herrera. He worked in El Rito, New Mexico, from the late 1800s to the early 1900s. He is known as either El Rito Santero or Death Cart Santero. Santeros, artists who created holy images, learned from local Pueblo Indians how to make paints from plants and minerals in the area. They combined these regional paints with imported oil paints from Mexico to create distinctive sculptures and paintings for Catholic New Mexican churches, homes, and worship spaces. This sculpture is made of wood, gesso (primer paint), silk, and animal hair. The skeletal figure represents a long religious tradition within the Catholic Church. Images of Death were associated with Holy Week rituals in Spain, Italy, Mexico, and New Mexico. In Catholic tradition, Holy Week is the week before Easter, the day Jesus rose from the dead.” .... “The image of Death is an image from the Catholic tradition of the Passion of Christ. The Passion story includes all of the events leading up to the Crucifixion of Jesus Christ, as well as the Crucifixion itself. The skeletal figure in this cart represents Death. The artist exaggerated different parts of the figure to create a sense of drama. He gave the skeleton long, thin arms and legs and carved out deep-set, hollow eyes. The skeleton’s neck and torso are also very long, and its chin comes to a dramatic point. The large crooked teeth have been arranged into what looks like a smile. The Saturday before Easter, carts like this one would have been pulled in a procession, symbolizing the brief period of Death’s triumph on Earth before Christ rose from the dead, escaping Death’s clutches. Sometimes a Death Cart would follow Christ on the road to Crucifixion, haunting the last stages of the Passion. During the rest of the year, these figures were used as a reminder of the inevitability of death.” (Source)

[doomandgloomfromthetomb]

Tom Armstrong - The Sky Is An Empty Eye

[[bandcamp monday]] Last year’s Imaginational Anthem: The Private Press, was one of the best compilations in quite some time, bringing to light a host of extremely obscure guitarists from the 1970s and 1980s. Over on Aquarium Drunkard, I wrote: “The knee-jerk reflex is to point to Fahey, Basho, Kottke and Bull when casting about for comparisons — and those dudes do loom large occasionally. But each track feels more like listening in on an artist’s own personal universe.” Tom Armstrong’s track on The Private Press was especially unique and strong -- and now Tompkins Square has brought out his entire 1987 LP. On The Sky Is An Empty Eye, Armstrong layers both electric and acoustic guitars that spiral and spin in beguiling, unexpected directions. It’s accessible, absorbing stuff, but doesn’t really fall into any American Primitive or new age-y category, as far as I can tell. Check it out, decide for yourself. 

[postcardsexciteme]

Illustration by Tom Armstrong