call me old fashioned but we rather like birdsong
That's the wise thrush; he sings each song twice over,
Lest you should think he never could recapture
The first fine careless rapture!
Is the blackbird takin’ over? Come on…There will always be room for the forlorn seagull or hapless pigeon without a 'love in'. That's OK: where there is truth there will always be beauty. Didn't internet poet Bei-jing write that;)
我的房子自己的家
What the...: that hapless penguin is flying. Impossible. Incroyable!
What the...not another...what now? ...oh my g: I never liked Gertrude. Ever. But: if that old chick can rise like that above it all, wow- let's all go then you and I...! And if the forlorn and hapless can catch up then more power to THEM!
Let's make magic. Let's make truth. Let's make a wwwwwww.strauss.pigeon (they blackmailed after all;)
Such is life.
...the old gal almost made it. Ah! Almost there. Almost. What a brave dear heart. (and shush the seagull producer that wants to dramatize this for a name not its own.) The eagles have been watchin' all the way and been sus of you. Back off!
Tomorrow.
faites de beaux rêves little sparrows.....
Twas a very fascinatin’ confluence/coincidence at The Met Breuer this morning. The Marsden Hartley media view had to be postponed a week due to the SNOW and became re-scheduled in a double-bill with Brazilian artist Lygia Pape exhibition. Why fascinatin’? Because, in a very unusual way, both artists tried to avoid being part of ‘art’. And yet the very word ‘art’ was an anvil from which to shape the times for both artists. And both artists believed in an art that arose from their natural surroundings and the people. There really is no polemic there. When the polemic o'takes art then the latter simply dissipates. More: simply truth and beauty.
Had a thoroughly illuminating conversation with a writer (so much serendipity this morning;) –sorry sparrows I can’t give you credit☺ ! She was quote “furious” that there was no curator walk-though explanation of the Lygia Pape show (almost always there is at the Met media views. Otherwise I would have very little to film apart Thomas P Campbell's talking head and his merry curator band of men and women.) Nothing wrong with that, of course, but the world doesn't gravitate towards..... I was Met supportive very ‘we all wish bamboo would bend knowing it cannot break’ yet equally in sympathy with her. She totally knew how important Lygia Pape was to Brazilian art. And most media there (unless Latin American) could not possibly know how revolutionary Pape was to Brazilian art. Why would they? And Lygia Pape’s family were all there to tell the tale. It’s always difficult. And time is always ever present in the mind of institutions. Yet we are talking of what museum institutions are there for to educate, delight, inform, cajole: make us crazy for art. So the media are your first point of call. Let’s be honest: Lygia Pape is not a ‘big sell’ for media to flock to. They barely know Hélio Oiticica. The Met have very clearly thought thru (or if not g dammit let’s take a plunge) their acquisition of the old Whitney Museum building. No point in bravely jumping into the water that others have already into plunged. And The Met Breuer's intelligence about showcasing Latin American art now and into their future is an example of this.
This is not apropos the Met Breuer really (well it is-always -equally), but you know what I mean when I say this follow on. May I say something.: Just how under appreciated are inter-museum loans! The Met Museum director Thomas P. Campbell and Met curators constantly re-iterate the importance of this fact every major show. It seems like nothing, really. I know. And yet: these loans are like children to the relevant museums throughout the world. They think long and hard before ….and with the best will in the world there is no guarantee that their children will return safe and sound back to their homes. So next time you see/hear/are told that. PLEASE take notice. It is a child. Children die everyday in the world. Antiquities die everyday in the world. But does that make it somehow OK? Somehow OK to forget and move on? Of course not! They are just objects. Of course not. They are just children. They are just mensch! If one ever descends down that highway then there really is nothing left….
Not wishing to leave you with horrendous dreams but: supposing there were a park full of hundreds of sparrows. And a park, hundreds of pigeons. And a plane spread petrol on them all. Igniting them. Does that matter? There are millions more pigeons. Millions more sparrows. Tomorrow who cares? I'll try finding the link to a doc on Syria bombardment. The most traumatizing image not a human: a cat burned to the skin almost legless crying in pain- an innocent victim of....
Marsden Hartley. What a strange, wondrous American painter. That’s basically all he did. Paint. Some work is lauded historically most other relatively not. Reason for this Met Breuer exhibition. It really is a wondrous exhibition that quite honestly asks more questions than it could ever beg to answer. Hoping I pull myself together to video edit the comments I recorded of the exhibition curators. Cause: Hartley, as many comrades, fell foul of latter day Clement Greenberg hierarchy of high/low art. Anything figurative/narrative, WPA, provincial was relegated to a back water of American art. Thereby hangs a tale. A very VERY important American tale to be told...
My Ship....Goldfinger had no influence in this. Truly. Even, ever, be offered a free office in Washington;) Bad cell phone ..what's the address again.....(Mexicans only remember grass not buildings, sir). [professor at ...the Sorbonne...in Mexico...f u]
Irma la Douce (1963)
midnight...Uccellacci e uccellini
Tbc….
per-haps...
In Camera-9 (© Andrew Lucre 2017)
