In this week’s Design post, we are going to step out a bit and have some fun exploring the world of the X-Men comics, checking out what all the cool Mutants wear when they head out to do some serious partying!
This June, the Hellfire Trading Company invites readers everywhere to the inaugural Hellfire Gala to announce the first team of Krakoan X-Men to the world and unveil the startling plans that mutantkind has in store for the Marvel Universe. The Hellfire Gala will unfold in issues of your favorite ongoing X-Men series as well as Planet-Size X-Men, a special double-sized one-shot. These twelve issues will all center around a single night that will go down in Marvel Comics history and while it’s too early to reveal the world-shattering steps mutantkind is about to take, one thing is for certain: the X-Men have never looked better!
Salvador Dalí utilized his theory of “nuclear mysticism,” a fusion of Catholicism, mathematics, and science, to create this unusual interpretation of Christ’s crucifixion. Levitating before a hypercube — a geometric, multidimensional form — Christ’s body is healthy, athletic, and bears no signs of torture; the crown of thorns and nails are missing.
The artist’s wife, Gala, poses as a devotional figure, witnessing Christ’s spiritual triumph over corporeal harm. Several dreamlike elements from Dali’s earlier Surrealist work feature in this painting: a levitating figure, vast barren landscape, and a chessboard.
Painted in 1954, Crucifixion (Corpus Hypercubus) By Salvador Dali is part of the permanent collection at the Metropolitan Museum of Art in NYC.
Painted in the summer of 1929, The Accommodations of Desire is a small gem that deals with the twenty-five-year-old Dalí’s sexual anxieties over a love affair with an older, married woman. The woman, Gala, then the wife of Surrealist poet Paul Éluard, became Dalí’s lifelong muse and mate. In this picture, which Dalí painted after taking a walk alone with Gala, he included seven enlarged pebbles on which he envisioned what lay ahead for him: “terrorizing” lions’ heads (not so “accommodating” to his “desire” as the title of the painting facetiously suggests), as well as a toupee, various vessels (one in the shape of a woman’s head), three figures embracing on a platform, and a colony of ants (a symbol of decay).
Dalí did not paint the lions’ heads but, rather, cut them out from what must have been an illustrated children’s book, slyly matching the latter’s detailed style with his own. These collaged elements are virtually indistinguishable from the super-saturated color and painstaking realism of the rest of the composition, startling the viewer into questioning the existence of the phenomena recorded and of the representation as a whole.
Photographed in the Metropolitan Museum of Art in NYC.
Atalie’s Hope will host its second annual gala, Thursday June 26, 2014 in New Hyde Park, NY. Cost is $150.00 per person and all proceeds will go towards the foundation. Atalie’s Hope was founded in honor of Atalie Bernic, a young mother who lost her battle against triple negative breast cancer when she was 39 years old. She is survived by her daughter Julia, age 9, who inspired the formation of this organization.