/ 'femme aux bras croisés' picasso 1902, the blue period
24 July 2010
'pure as a lake boredom
i hear its harmony
in the vast cold room
the nuance of light seems eternal
all is simple i admire
the full totality of objects.'
/'5 november' by french photographer, poet, painter & muse to picasso, dora maar
went to moma today & was reminded of dora maar in an exhibition of picasso prints.
also, the new matisse exhibit was really well done& worth checking out if you can get to it.
23 July 2010
22 July 2010
'whenever i give a talk about my work i am invariably asked who my influences are. not what my influences are, but who. as if the gutter, misunderstandings, memories, sex, dreams, and books matter less than forebears do. after all, in terms of influences, it is as much the guy who mugged me on tenth st, or my beloved dog who passed away much too early, as it was giotto or diane arbus.'
/ quote from artist robert gober, found in the summer 2010 issue of aperture
20 July 2010
'don't worry they'll still be a lot of suffering
for now you have the right to cling to the sleeve
of someone's blunt friendship
to be happy is a duty which you neglect
a careless user of time
you send days like geese to the meadow
don't worry you'll die many times
until you learn at the very end to love life'
/ 'don't worry' by anna kamienska from the book silences 1979
19 July 2010
the visuddhimagga, a fifth century indian text, poses a riddle:
"precisely where is what we call a 'chariot' located? is it in the axles, the wheels, the frame? is it in the poles that connect to the horse?"
the answer: nowhere. what we mean by the term 'chariot' refers to the temporary arrangement of its component parts. it's an illusion.
the ancient text uses that insight to illustrate the elusive nature of the self, which resides neither in our memories nor in our thoughts, perceptions, sensations, or actions (an analysis that anticipated modern philosophy's deconstruction of the self by 1,500 years).
/ excerpt from 'tricycle' from the buddhist review, summer 2009
15 July 2010
13 July 2010
11 July 2010
"sometimes i look at my work and how people read it, and it has no relationship to what i might have experienced in taking the picture or what i might get from it. there's no absolute truth in what a portrait can convey. the way i view photography is closer to poetry than to documentary. it's one thing to portray something and to give an inventory of facts, and another to use those facts to your own ends, to achieve something that filmmaker werner herzog defines as an ecstatic truth, an experiential truth.."
/ excerpt from an interview with pieter hugo from artist profiles magazine
10 July 2010
i write in order to comprehend not to express myself
i don't grasp anything i'm not ashamed to admit it
sharing this is not knowing with a maple leaf
so i turn with questions to words wiser than myself
to things that will endure long after us
i wait to gain wisdom from chance
i expect sense from silence
perhaps something suddenly will happen
and pulse with hidden truth
like the spirit of the flame in the oil lamp
under which we bowed our heads
when we were very young
and grandma crossed the bread with a knife
and we believed in everything
so now i yearn for nothing as much
as for that faith
/ the lamp, from silences by anna kamienska, 1979
08 July 2010
07 July 2010
'standing on the bare ground, - my head bathed by the blithe air, and uplifted into infinite space, - all mean egotism vanishes. i become a transparent eye-ball; i am nothing; i see all; the currents of the universal being circulate through me; i am part or particle of god.'
/ ralph waldo emerson, nature chapter 1, 1836