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CARTOON, YOU LbSE, TATTOOS!

tabletop game for 3§:r more players. 2

{—WHAT YOU NEED.
+Apencil or pen far everyone (if you use pens, theyshould be the same)
+ Astack of paper {a quarter of a regular sheet works well)
+ A computer or srart phone o look upicharacters (optional)
+Atattoo gun, or 4 stick and poke set Up, or a sharpie.

HOW TO PLAY;
+ The fist thing yoli need to do is decidb on a cartoon characior
WITHOUT looking it up, or looking at itin any other way, to draw from
‘memory. Everyons playing must agree pn the character, and have a
vague idea of what they look like. Be cooperative and honest.
. +Once you have d characier picked o], overyono arab a shoet of
A paperand secretlj draws the nharamer}hm the best of their ability. The &
:

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quality of the drawing is not important, the details of the character are. &~
When someona figishes their drawing, they place itin the center of the ¢

table, face down. {Vhen everyone has done that, someone shuffes the 5
drawings and flpsithem over, one at a time. E
+Then everyone sprulinizes the drawings and votes on the one that they

4 think looks THE LEAST lie the characier. Voling is done by placing you'5,
. pencil on the one E«?n you think is the most wrong. Remember, do not 3
judge the drawings for their arlistic qualty, but instead for their accuracy s

DO ria'r LOOK UP THE imuucrek YETH! H

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+ When you have & loser, everyone mugt reveal which drawing is theirs. &
Now you can lookup the character if yo want to. The loser must write
their name on their drawing (for the halllof shame) and write down what
they were attempting to draw (sometimes you can't tell) Then the loser
gets their drawingtaitooed on themselvps, with the name of the cartoon
character under iie tattoo. Some people woni't be willng (o get a tattoo,
or o even play the game ifthey know ey might end up with a tattoo, so
You can also play With a permanent matker instead. In either case, one
of the better arist3 at the table wil either tattoo or draw the losers

rioon, just as they drew it, on the losdrs skin, preferably in a highly

le place. Thef) you pick a new character and play again.

you try it It really fun,
) except for the loser.

&, WE Did (YN
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DTLA'S INSTITUTE OF
B ConemporaRY ARI
WELCOMES TS FIRST
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» MARTIN RARIREZ, &
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dignosad with schizophe
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hospitals for 30 years it
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September 5-December 21
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Longhauser Givesus 3 peck

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time.Its journey through
mountains and tunnels and
architecture and fekds

1 Which pleces do you find:
the most extraordinary? 1

essential grounds o hs wor

are these linear patterms Th
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the space and the prspect
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AT UAPENS . To &0\ Bu7 of the mind isenlighteded visdom and compassions
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15 Thecs ANY Covip
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" This monthi... Rob Weychert explains how his alter-ego,
\Windhammer, provides a liberating contrastto his day job]

G T plush righty 1t green roomat the
HouseofBiues on Sunset Boulevardin Los:
Angeless clan, colourful and carpeted, ith two
v couches, a bathroom with ashower and an
3bundance of mirrors. Between orgarisers,
pertrtners tiends and photographers, the oom
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tonftt, The oom s buzzing it nervous energy,
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breparations:strategically snpping aT-shirt neck
for easy teaing testingthe attery pack nside an
J LED-saturated vest; stowing blood capsules;
5plying eyeliner; sietching. s August 2013 and
i clventhannual Us Ai Guitar National Finals
areabout tobeg
. yaler-ogols named Windhammer. Insx years.
éompeting, thisis his ffth time on the natonal
| stage, having ciaused isway to th topof regional
<hamplonships n Philadelphia, Boston and New
York ity Windhammer's glariog, silent stocism
ditines him
More than winning and losing, Windhammer
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maclstrom and exprassing it with a forceful
| shysicaity Hes wid but pacise,and construct

“ndeavours, making spacefor he spontaneous
withinthe systematic. And et Windhammer's
mavements have an entrly different purpose than
mostother things shaped by my creatve process.

By day, design content and Intrfaces for
software and websites. My work s ntended tohelp
peaplelearn,find information and/or complete
tasks. The measure for s success s tsinvisibilty,
since conspicuous design, whether overelaborate
orundercooked, il distract the user fram the goal
tisintended tohelp themachieve.

Butby night, Windhammer s designed tobe
oticed. Athis best, h can make your dayor un it
buteitherway,you wil remember i Likeany art
form, air gitaris ahways ridiculous and occasionally
sublime. Every performer who takes thestage at
the House of Blues tonght does so witha wink,
evenifthat wink, ik thelr guitar, s invisible. And
Hopefully each performer willbealiving eminder
thatthefe s noreasontoresist being moved by the
musicyou love. @

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Federal Bureau of Prisons
(Insezt Inmate Name]

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By D. W. McMilan, I
Copyright®2017

Agentle kiss from the lips of a memory,
Drifting in time.

Encasing, enclosing, and sheltering.....
In lfe without lfe, a hope without hope,
Spinning endlessly.

1 wonder, question and seek.

T QoNT wAvT
7o bk

Alone, | stand within a vast point of space,
Overflowing my mind.

Shuddering, shaking, and trembling....

In a time without time, a place without place,
Reaching tirelessly.

i stumble, humble and meek.

Rise not upon the cries of anguish the heart makes,
For fear is but a shadow cast upon the wall.

Only silence echoes in the deep, hollow place,
While revelry dances around them all

Cast thy crown upon the ground,
And lsten to its tinkling sound.
For once the fire has begun to lash,
The metal has all been tumed to ash.

Cry not upon the rise of anguish the heart takes,
Forlove is but a fear cast upon them all.

As revelry echoes within the hollow taste,

And silence dances around the walls.

in a fe without e, a hope without hope,
Reaching tirelessly.
In a tme without time, a place without place,
Spinning endlessly.

1 stumble, humble and meek...
‘Shuddering, shaking, and trembling.
1 wonder, question and seek.

Encasing, enclosing, and sheltering.

Alone, I stand in a vast point of space, .’E‘IS'A'PRODU A
Drfingn e, " ~OEOUR.
With a gentle kiss from the fips of a memory, - DESPERATE
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may be merely a device to put us in ]
contact with the mystery, and we long for|
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Once upon a time ot the guise of faryale s NN

Am Em
gifs and women believed in happily every after
N} om F

Believed good would always win T
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m!ean " Wyatt (Wilimanti, C1

at resity become 8 dolusion

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you always told her the heartlives in home sweet home
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i \l;hen Grandpa visits and gets her alone Smells of mothballs tastes of sin
om F
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o

ignoring him all night long and he roars, "only whores waar‘ glass shppers
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in, the prince strikes her she thinks to leam and {reat mm

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Am Em
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} Ponjong to him now and forever then he watches witha grin
c G -

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| | Sleeping beauty is noddi o ’

y ling chimera in her veins The queen slams back gin afraiorg

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I outta here said Lil Red granny's il and can'tleave her bed

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F
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c
€ | sony, but I just better of deadr your oving grandkid Lil red

Am
Ao rested a barrel up to her head took her Jast breath of cordite and lead

Em
e angels opened their arms 1o the innocent robbed

om
o family and friends choked back theit sobs

F
Singing an old hymn about god, saivation and sin
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c
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—————— ¢ re forgotien ang
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Arts Movement

icon Betye Saar created as

semblages that challenged
racist and sexist African

American stereotypes. To

paraphrase a popular sign

from this year's many wom.-
en's marches: It hard tobe-

Tieve she sull has to protest

hisstufr.

AL90, Saar has made
eareer of empowering the
denigrated and vulnerable,
most notably black wom-
en. Her pieces often de-
pict mammy dolls in acts
of defiance: Aunt Jemima,
n Saar's representation, is
a warrior and revolution-
ary freed from her status as
hé face of a pancalke mix,
(In 19726 The Liberation of
Aunt Jemima, one of Saar's
most acclaimed works, the
maminy stands in front of
syrup labels,carryingarile
in one hand and a broom
in the other) Washboards,
100, e prevalent in Saar's
art Since the '90s and ase-
ently'as this year, she has
turned the ribbed panels
into emblems of struggle,
€ach festooned with Jim
Crow-era imagery. Nearly
two dozen of them are on
display in Betye Saar: Keep-
i It Clean, which opens
May 28 ai the Craft & Folk.
Art Museu.

Born in Los Angeles in
1926, Saar grew up in Pas-
adena but spent the sum--
mers with her grandmoth-
2 in Walts. There she watched as Simon Rodia
sorled through scrap materias and debris, carefully
hoasing pieces (o construct his Watts Towers. Ro-
Jia's methods, along with those o other assemblage
Metists like 1. A’ Tohn Ontterhrides and Nesh Buri.

WASHBOARD ASSEMBLAGES
BY BETYE SAAR
ON DISPLAY AT THE
CRAFT & FOLK ART MUSEUM,
CONFRONT RACISM HEAD-ON

foy as well as New York
Joseph Cornell influence
the aesthetic that Saar |
Known for today. Her scul
tares are In the collectior
of many major America
‘museums, from LACM

and MOCA to the Smiths
nian and the Metropolit
Museum of Art

‘This month's CAFA?
exhibition i the first e
(Coast survey of her was}
board collages. As curats
Holly Jerger explains, t
assemblages are as muc
‘about poorly paid labor &
they are about the determ
nation to support onese
despitethe income inequa
ity that exists “historica
Iy and today” Saar mines
collection of found object
‘and loaded imagery—ph
tographic pieces, say, po
traying black women ¢
‘work or black men playin
‘banjos—piled high in he
Laurel Canyon studio an
24ds them 10 the vintag
metal toos.

“Betye Saar is a grio
says Karon Davi, cofoun
er of the Undergroun
Museum art space in A
lington Heights. (She's Il
ening Saar to the trave
ing West African barc
who were keepers of co
lective memory) “Her a
semblages are as rich
5umbo and will always
as sacred as our Sout
ern hymns” Saar mig!
agree; she's described h
work as a way of “delvin
Into the past and reachir
into the future simultaneously” In the sculptur

lining the walls of CAFAM, reics of an unjust s
tem are turned into a Kind of Incantation, th
active and insistent variety that we might call d

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