Saturday, July 30, 2016

Our strange unsettled history of mourning

The book is aligned with the so-called death-positive movement, which seeks, as Shillace puts it, to “reclaim ground that has been lost—particularly in the West—during a century and a half of sanitisation and silence.”- Death’s Summer Coat: What the History of Death and Dying Teaches Us About Life and Living, by Brandy Schillace, a medical-humanities historian.
Full New Yorker Article here.

Friday, July 29, 2016

Japanese pattern book

Dating from the early - mid 19th century , cataloguing all the different stencil patterns that could be printed onto fabric to make into a kimono
Ashmolean Museum, Oxford

Thursday, July 28, 2016

Sister Mary Corita

Thursday, July 21, 2016

Being There

Tuesday, July 19, 2016

Object Lessons

Wilson Bentley’s snowflake patterns.
 “The Keeper,” the New Museum’s summer show, a four-floor exhibit that opens on Wednesday, July 20, is a museum blockbuster of a different kind.
With over 4,000 objects representing more than two dozen collectors, including contemporary artists making art conceived by collecting, Massimiliano Gioni, the museum’s artistic director, and his team of curators have mounted a remarkable series of object lessons about what it means to “keep,” the relationship of possession to loss, the madness inherent in love, and the undeniable importance of the individual’s voice in recording and interpreting history and its sweep.
Times article here.
Wilson Bentley photographing snowflake patterns under a microscope

Saturday, July 16, 2016

The Cost of Diane Arbus

Was Diane Arbus the Most Radical Photographer of the 20th Century? A new biography and Met exhibit show how she sacrificed her marriage, her friendships, and eventually her life for her career as an artist living on the edge. -Alex Mar NYMagazine
Double Self-Portrait With Infant Daughter (1945)
"I was surprised, in looking closely at her work again, by how much of it is about age, the young straining to be adults and adults gripping the relics of their younger selves: preteens competing at ballroom dancing, a little boy with his toy gun drawn, an older woman in her prettiest “negligee.” It’s as if the physical contortions and costumes that this requires were as “freakish” as those of the professional freaks she gravitated toward, as if we were all victims of so much learned behavior. In a note to Israel, Diane writes of a day spent observing people on the street and finding them “all odd and splendid as freaks and nobody able to see himself, all of us victims of the especial shape we come in.” Her images show us, again and again, people striving to become what the viewer knows they will never be — a phenomenon she famously described as “the gap between intention and effect.” Diane recognized that the official freaks, the permanent outsiders, have a self-awareness most of us don’t possess. They know they are destined to lose the game of public appearances."

Thursday, July 7, 2016

Mamie Till Mobley at the funeral of her son, Emmett Till, in Chicago in September 1955. Credit Chicago Sun-Times/Associated Press

 ‘The Condition of Black Life Is One of Mourning’ 
The murder of three men and six women at a church in Charleston is a national tragedy, but in America, the killing of black people is an unending spectacle. -NYTIMES article here.

Sunday, July 3, 2016

“We are like the twins in old fables, each of whom has been given half a key.
She will have her own version. I am not the center of her story, because she herself is that. But I could give her something you can never have, except from another person: what you look like from the outside. A reflection. That is the part of herself I could give back to her.” 

— Margaret Atwood, Cat’s Eye

“You just have half-angel and half-devil in you”
- Days Of Heaven

Friday, July 1, 2016

Au Hasard Balthazar

au-hasard-balthazar from Galerie Ceinture on Vimeo.

The seventies

Such a good series particulary episode 1 on 1970's TV