The general consensus is that people dig the Bubble Bobble Foogo. (Bubble. Bobble. Foogo. Sounds like a hibachi steakhouse appetizer.) I had a feeling that would be the case, and I’m already working on the follow-up, another Ninetendo-based gum creation. (If anyone wants to make a donation, I accept all Trident, Bubblicious, Bubble Tape, Bazooka, mysterious gumballs, Chiclets, and Wrigley’s. Please refrain from teeth-whitening gum. I’m not Kazimir Malevich.)
If you don’t know who Malevich is, I’ll give the Foogopedia version, which is like Wikipedia, only less reliable. He was a Russian artist around the time of the Russian Revolution, was the father of “Suprematism,” and ultimately made the monstrosity on the right, a revered painting known as White on White, which, for obvious reasons, was my mortal enemy in Modern Art History class. I have stared into the cold, dead eyes of this vanilla beast many times over the past year on my frequent visits to the Museum of Modern Art. Somewhere along my travels, we (the painting and I) have developed a mutual, grudging respect for one another. Still, I don’t trust it one bit.
Now, for a more mainstream education (passe!) on White on White, the gallery label text directly from MoMA:
Malevich described his aesthetic theory, known as Suprematism, as “the supremacy of pure feeling or perception in the pictorial arts.” He viewed the Russian Revolution as having paved the way for a new society in which materialism would eventually lead to spiritual freedom. This austere painting counts among the most radical paintings of its day, yet it is not impersonal; the trace of the artist’s hand is visible in the texture of the paint and the subtle variations of white. The imprecise outlines of the asymmetrical square generate a feeling of infinite space rather than definite borders.
The following text, also from this MoMA page, is the best example I can give of art scholars being artists themselves, except their medium is predominantly bullshit:
Malevich was one of the first artists to create works that stepped away completely from trying to make images of the visible world. And in this work you can see that Malevich is pushing the limits of the possibility of abstraction. A white form glides on a white expanse at the very threshold of visibility. And color is minimized although it’s still present. You can see that there’s two very different forms of white in the composition. And the surface is very worked. So white is a way of taking away, minimizing color itself and actually focusing on the material of painting.
Sorry. That Malevich (shaking fist menacingly)…
You know when you get those questionnaires, Who would like to dine with? I would thoroughly enjoy some General Tso’s chicken at the Grand Buffet in Whittier, CA, with Kaz, just to watch the glee on his face at duping the world into falling in love with a painting he started one day, only to be distracted by a chirping tea kettle and never bother to return to the canvas again.
That was quite a tangent. Anyway, the whole point of this post was to tease the next 8-bit Foogo while I figure out how to solve the Kings issue.
Not bad, but we’ll talk when this guy can beatbox the theme to Nickelodeon’s Doug backwards.