Art Caribbean Concept End Pirate World

"The Double-D Avenger" is the brainchild of party animal William Winckler, a writer/producer in Hollowood who got tired of pitching movies to studios. One day he decided to just take all his money out of the bank, pull three Russ Meyer Bosom Queens out of retirement, and build a movie around them that would be pretty much based on the concept of...if the bazoomas are huge enough, the people will come. Kitten Natividad, possessor of two of the most famous dinglebobbers in the western world, IS the Double-D Avenger, tossing off knocker jokes at a faster clip than any entertainer since the late, great Benny Hill. Joining her are Raven De La Croix and Haji in a plot that centers around Kitten being diagnosed with terminal breast cancer - yes, that's what I said - causing her to journey to the wilds of South America, which looks a lot like northern Los Angeles County. Here she hooks up with an Amazon tribe called the Ta-Tas, consumes the mysterious crockazilla plant, and ends up with superpowers requiring her to don a Wonder Woman ripoff costume and king fu murderous strippers. This is also the first movie in which Raven De La Croix snorts like a pig, and the only movie in which the legendary Forrest J. Ackerman brilliantly enunciates the words "humongous hooters." You'll thrill to the Lapdance Jubilee section, in which three sleazy strippers - Hydra Heffer (Haji), Pirate Juggs (Mimma Mariucci) and Ooga Boobies (Sheri Dawn Thomas) - turn an entire topless bar into a den of slobbering lust monsters so they can relieve the gentlemen of their cash, then equip themselves with jerry-rigged portable hair dryers so they can zap the Double-D Avenger and send her to Hooter Heaven. What they're not counting on is Kitten's Thermonuclear Whoppers, which allow her to dispatch the worthless slut squad with the kind of Breast Fu not seen since Chesty Morgan starred in "Deadly Weapons." In other words, it's a European-style art film shot in the style of Truffaut.

This is the third in a series of four books about art and its interpretation from the mid-nineteenth century to the end of the twentieth. The books seek to explain the most important issues confronting any study of modern art, without attempting exhaustive coverage. They present a range of approaches characteristic of current art-historical debates. The authors of the present book address debates in, and about, the avant-garde in the years between the two world wars. The first chapter, '"This liberty and this order": art in France after the First World War', considers responses by artists, primarily in France, to the First World War. The emergence of a 'School of Paris', and the competing avant-gardes of Purism, Dada and early Surrealism, is related to the wider social conditions existing in the wake of both devastation and victory. However, there is also a concern to indicate ways in which art can achieve independence from its framing conditions. Chapter 2, 'The language of construction', looks at the emergence of a concept of construction art. The focus is the post-revolutionary Soviet Union, though work in France and Weimar Germany is also considered. There is an examination of why construction proved so powerful a metaphor for artists at this time, and this leads to a consideration of ideas of utility and decoration in art and design. Chapter 3, 'Surrealism, myth and psychoanalysis', considers aspects of Surrealism, with an emphasis on questions of sexual difference. It looks at Surrealism's use of the legacy of Freud, and studies a wide range of textual and photographic sources in addition to paintings. In particular, there is a review of Surrealist magazines and the contributionof Georges Bataille. The final chapter, 'Realisms and realities', addresses the widespread debate over the question of Realism in art.