a camping trip was lost due to the effects of whiskey.
Unable to wake up to close the shutter before sunrise,
all the information of the night's exposure was destroyed.
The intense light of the rising sun was so focused and
intense that it physically changed the film, creating
a new way for me to think about photography.
should try to acquire if you wish to become a fiction writer:
1. You should have a lively imagination.
2. You should be able to write well.
By that I mean you should be able to make
a scene come alive in the reader’s mind.
Not everybody has this ability.
It’s a gift, you either have it or you don’t.
3. You must have stamina.
In other words, you must be able to
stick to what you are doing,
for hour after hour, day after day,
week after week, and month after month.
4. You must be a perfectionist.
That means you must never be satisfied
with what you have written until you
have rewritten it again and again,
making it as good as you possibly can.
5. You must have strong self-discipline.
You are working alone. No one is employing you.
No one is around to fire you if you don’t
turn up for work, or tick you off if you start slacking.
6. It helps a lot if you have a keen sense of humor.
This is not essential when writing
for grown-ups, but for children, it’s vital.
7. You must have a degree of humility.
The writer who thinks that his work
is marvelous is heading for trouble.
From Lucky Break: How I Became a Writer
an elegant brand of abstraction quavering with muted
sonorities of light and color, elicited from a
searching, anxious hand. The canvases garner attention;
the artist a considerable reputation, particularly
among fellow painters. A subsequent and surprising
turn to figuration alienates peers and admirers;
the artist, or so it is said, has turned away from
history’s inexorable march. Eventually, however,
the late paintings are seen as a triumphant
culmination of determination and individuality.
History vindicates the transition.
Philip Guston’s heroic transformation from sensitive
adjunct of the New York School to figurative painter
of garish intensity is deservedly the most well-known instance.
It’s also the story of his friend, Rosemarie Beck (1923-2003).
Study for Sun with Face Mirror, 2009
Four Generations of Bacterial Growth on a Picture of Black, 2009
Attempting to Paddle Straight at the Moon, 2010
pyromaniac antics, artistic lab tests
This picture, above, is one of my favorites of Frank Lloyd Wright by Pedro Guerrero.
Dapper, scoffing, scrutinizing and always tea-sipping,
the photo strikes at the heart of the man --
looming over his projects, a sophisticated overlord.
Cross’s structured ceramics cull from his background in printmaking, asserting highly graphic qualities over the common curvilinear functions of a ceramic pot, referencing geological formations: cliffs, plateaus, and icebergs, as well as man-made, architectural formations such as towers. In that, Cross’s work, though small, suggests the monumental, resonating with a rigid and formidable presence that echoes back both nature and technological might. There is also the undeniable influence in his work from the artists for whom he printed while at Gemini – Richard Serra’s brawny and stalwart shapes find many iterations in Cross’s pots, as do Kelly and Shapiro’s geometries.
If you are in Dallas, please come see the wonderful work of my friend Jonathan in a little show I've curated of about 70 of his small pots, at Bows and Arrows. The opening is Saturday, June 18, 2011 from 6-9pm. More info here.