You have not experienced motorbike riding until you have tasted your first digger wasp or worse — caught one in the eye! You have only to look at a Vespa to see the obvious resemblance. Anyway Mike,a punk kid like me, cut quite a manly pose atop his Vespa -- and so I had to have one too. I presented my case to my parents. I week later Mike and I both had look-alike white Vespas. In the ensuing months we rode side by side down many sunny suburban streets deluding ourselves into believing we were tough bikers atop Harley choppers.
Figure 2. I'm a hoochie-coochie man! His house was northwest of the Piggly-Wiggly and I lived due south. Neither of us ventured far from home on our Vespas, and frequented a local Dairy Queen on Sherman Way. We XTV And The Pacoima Rats - I Hate New York (Vinyl) ventured east of Reseda Boulevard to what was one of the first of the first McDonald hamburger drive-in restaurants in the world.
It was and I remember they built a sign on top of the building that announced how many hamburgers the young McDonalds chain had sold as their business branched out boomed. Everyone in town was obsessed with mystique of such an unprecedented achievement in the local fast food industry.
Anticipation had been building for weeks. The media buzz was phenomenal. It was inevitable that meganumerophobia fear of large numbers would raise its ugly head. He claimed, for example, that liquor sales were surging as zero-hour approached. Was this the harbinger of Judgement Day?
There were too many zeros to fit on the signs anymore, and too many updates were required. My Dad may have purchased a lemon. But it was my lemon and partially paid for with my money saved from mowing lawns, cleaning swimming pools, selling Christmas cards door to door, and servicing several newspaper routes -- plus cash gifts accumulated over the years from my generous Aunt Barb.
Anyway, my Vespa shook so much at top speed that the wall of protective fairing that shielded my knees from occasional rain and debris-bearing headwinds had begun to crack. As that crack grew longer, it issue a shrill whistle beginning at about 30 m. This ear-piercing shriek stopped sidewalk pedestrians in their tracks, as they stared at me passing them by on the pavement.
When I tried to paint the tape white to match the fairing, the paint failed to adhere to the tape. My enthusiasm for being seen atop my Vespa declined. Mike suggested that I should fix these flaws if I wanted to ride next to him in public. That Vespa was the first and therefore the most significant ride-of-passage experience of my young lifetime.
I was no longer a virgin so-to-speak, having broken through the initial barrier along the Detroit Generation Road of Life by acquiring a license to drive XTV And The Pacoima Rats - I Hate New York (Vinyl) internal combustion engine on wheels. It was a big deal: my Vespa launched me dramatically from the two-legged tyranny of the sidewalk to the two and four-wheeled freedom of the road.
I was young, skinny, and always had a silly shit-eating grin on my face during my Vespa days. I was a far cry from a Gregory Peck and must have looked damned ridiculous behind the handlebars.
Mike looked as if he had been shot from the loins of Zeus somewhere between the creation of Adonis and Apollo. I had only my little sisters to bus around in those days: Figure 2. The scooter was in near-new condition at the local Sears Roebuck and Company outlet.
In retrospect I should have lobbied my parents for the Cushman Eagle instead of the Vespa. I was unaware that the Cushman Eagle in was a helluvalot faster than a Vespa. I learned this the hard way. It so happened that a schoolyard bully in junior high school at Birmingham had a Cushman.
He must have seen me putt-putting around the neighborhood on my Vespa, and so, one day in the school cafeteria, in front of ten or twelve of our schoolmates, he challenged me in dramatic fashion to. I had a lot of face to lose. My picking up a gauntlet throw at my feet, in public, by a classmate I disliked, was a freighted matter.
From my perspective a race between our scooters it amounted to a no-win scenario. These were my thoughts at the time, and perceptions seemed to be everything back then no matter how childish those perceptions now appear through the rear-view mirror of my present-day reality.
White Oak dead ended at that time, which is why we would both have to throttle down at Hamlin or risk overshooting the end of the White Oak pavement and barreling into a barley field. Wild barley grew thick and tall there in the rich floodplain of the Los Angeles River. It was shortly after dawn when our two scooters rendezvoused there and faced south.
I was shaking with excitement in anticipation of the race. We revved up our engines. I had expected a crowd of our classmates to show up at curbside on both sides of the street.
Rebel Without a Cause had obviously shaped my expectations for the day. How self-deluded was I at the time of the race? But on arriving at the starting line I observed that he also wore a white T-shirt with a pack cigarettes rolled up in one of his shoulder sleeves. No students had cared enough to come out and cheer us on. I imaging there might have been some early risers among the household residents along White Oak Boulevard who were holding hot cups of coffee and staring out their kitchen windows, squinting into the morning sun, wondering what the two idiots on their noisy motor scooters up to out there on an otherwise quiet Saturday morning.
So we raced, and I lost. There was no small talk between us before or after the big race. No handshake. Come Monday, at school, nobody was even the slightest bit curious about the outcome of the race. Nobody at school asked me about it ever.
It was as if my big race with the bully — lost or won -- had never occurred at all. I must have been a very confused and delusional kid to think at the time that anyone but me really cared about the event. The bully, who had won the race and was probably eager to assert his bragging rights, must have been even more disappointed than me. I was by then already thinking of four wheels and a steering wheel. But then fate stepped in. My Dad had a homestead property out in Twentynine Palms in the high inland Mojave Desert, and had a local contractor built a bare-bones cabin there.
He had also purchased a recreational vehicle to drive there and back on weekends. Gas was cheap at the time and the lengthy drive, once you broke through the smog after clearing the San Gorgonio gap, was beautiful. One day, just on the verge of one of these weekend trips Dad put the Vespa inside the RV and took it to the cabin and never brought it back to the house on Victory.
My younger sisters and brother loved these desert cabin trips. They could all drive the Vespa there across the desert pavement and up and down the arroyos and bajadas without bothering with licenses.
The Vespa served the entire Nemeth family well out there, in the middle of nowhere, and it ran for another ten years before the cabin was seriously vandalized and the Vespa stolen. Then, a year or so after that, the cabin was burned to the ground. I had many adventures there myself before I began dating and thereafter had less time for weekends at the cabin. Even so, in graduate school at UCLA I went back as a college student to conduct a physical geography field project focused on a remarkable sand dune I discovered near the cabin.
I still retain some fond memories of that desert cabin in its pristine environment during the s. Some nights the marines would be conducting night combat maneuvers on the reservation, and it would be a real fireworks show: tanks, planes, artillery, all blazing away underneath the stars. In perfect weather, which was nearly always, we would sit about on lawn chairs or on top of the RV watching the action play out on the military reservation.
The base was of course off-limits to the public. One weekend at the desert cabin I was in a reckless mood and feeling adventurous I decided to sneak onto the Marine Base and have myself a closer look around. I mounted the Vespa early in the morning and headed downslope from the cabin toward the distant margins of the Base. My cross country jaunt was unmapped and guided by intuition.
The desert sands grew softer and deeper as I slowly progressed on my downslope trajectory. My guess was that the federal government in those days did not anticipate any civilians sneaking onto this, one of its more remote, government-owned properties outside of Alaska.
The Vespa had a small tool box area inside of one rear fender. Inside carried a few bottles of RC Cola and an aluminum-cast fake 45 caliber pistol with me. It was still downhill all the way, and the sand was getting even softer and deeper. Gravity carried us downhill. I began to realize with some slight panic that returning uphill by retracing my tire tracks would be neigh impossible, and that I might have to eventually abandon the Vespa amidst the sand dunes. Gravity was also my enemy.
The small tires on the Vespa were increasingly becoming mired in the sand as I negotiated that seemingly endless field of dunes. War machine debris, both small and large, was strewn about these dunes, mostly half-buried or completely covered with sand. I encountered blown-up tanks there and other large smashed-up vehicles.
I could not determine how long these vehicles had been mired there in the sand. There was not a speck of rust on any of them. Previously, during WW2 the airport facilities were managed by the Army. Pilot training was conducted there and both airfield and hangers were purposed mainly for training glider pilots. No one is sure. I began to worry about myself dropping dead from the heat. My panic was intense. I drank the last bottle of cola and began pushing the Vespa through the soft sand because it could no longer plow ahead under its own steam Suddenly I rounded a dune and encountered a perfectly wide, empty highway in the middle of nowhere.
I had no sooner rolled the Vespa onto that highway when a camouflaged Jeep with two military policemen speedily appeared out of nowhere and pulled up alongside my Vespa. They disembarked their jeep and searched me and my vehicle. They quickly found my fake pistol and reported it to headquarters on their walkie-talkie.
After they received orders they stowed my replica pistol in their Jeep. They told me they had been observing me for several hours and had been making bets on whether or not I would make it through the dunes and the mine field. That got me to thinking about how bored they must be, assigned to the middle of nowhere and reduced to scaring kids about fake mine fields. I must have made their day. What were they going to do? Shoot me? On the other hand, the Vietnam War was underway and these marines probably were rightfully intolerant of cheeky little bastards driving Italian scooters onto their secret base.
So, at headquarters I was interrogated in a small room by some sort of officer, who threatened me several times with prosecution for the crimes I had committed, which he had written down on a clipboard that then read to me. I must have been more trouble than I was worth and maybe an embarrassment they did not want to report to higher authorities, because after a while, and with the sun descending on the horizon to the west, they simply let me go.
As the interrogating office walked me out to a fenced compound where they had secured my Vespa, I asked him to please return my pistol. When I arrived back at the cabin my family it was nearly dark and they were concerned. I was too embarrassed to tell them the convoluted story of where my stupidity had taken me that day, and just apologized for driving off, having a swell time, and losing track of the time.
Since a five-acre parcel of sagebrush, lizards, snakes, spiders, scorpions and desert turtles seemed a huge responsibility to my Dad, he sold half of it off to our neighbors, Roger and Bobbi Bonz. They never built their own cabin, but my Dad invited them to share ours whenever they felt the urge to drive into the wilderness.
I remember the first time my Dad drove out to the property accompanied by Roger, Shirley his daughter and me to inspect the desert property. Right about where he wanted to build his cabin there was a huge unexploded rocket embedded deep in the sand from its impact; only its tail fins visible above the surface of the sand. Being in the middle of nowhere, its location was undiscovered by anyone before we found it.
When we returned home, I immediately wrote a letter to the Congressman of our district that revealed the topographic coordinates of the location of the rocket and also asked for advice on what to do next. My congressman did not respond do they ever? However the next time we visited the desert property there were deep tire tracks indicating that some large vehicles had converged at the location of our rocket, whereupon it had been removed.
I complained to my Dad because it was our rocket located on our property. The trauma of the unfairness of it all cut me deep. I took the time to write a detailed letter to my elected representative and paid for a stamp to mail it -- and for what? Obviously I had much to learn about government, and the rocket experience may have inspired me to subsequently delve into political science as my academic specialty and undergraduate major in college.
Adding insult to injury, the same or different criminals burned down the entire cabin. Then, when my parents died soon after the turn of the century, my sister Kathy inherited the desert property. Unfortunately she lived far from the property and could visit what was left of it only rarely, and in the end she finally sold it for peanuts. All the glorious memories of that portion of her childhood spent in the great, dry and pristine out of doors had through decades of neglect finally reverted into a cement slab serving as a landing pad for bot flies from an illegal foul-smelling chicken farm that a family of Mexican squatters had built about fifty yards upwind.
So much, then, for the Nemeth Camelot, now lost in time and forgotten, and mostly buried beneath shifting, whispering sands overlooking a military desert warfare training reservation and a few miles northwest of Twentynine Palms, California. A man I never met face-to-face, whose last name was Kayser, gave my father this classic Pontiac back in Dad was also a newly certified hypnotist at that time.
Never underestimate the power of hypnosis. At first my father was vocationally a licensed professional self-employed physical therapist there, and yet avocationally he was by fast becoming an avid amateur hypnotist. And I was his primary practice dummy throughout all my coming of age.
Nevertheless, I had a sneaking suspicion -- even at the age of twelve -- that we were drifting -- father and son, hand in hand -- from a middle-class suburban normalcy into the unknown realm of occult practices. Now that I teach philosophy of science and its applications at my university it is clear to me that the boundary between science and the occult as experience is a zone, and that zone can be as wide as you want it to be.
So my Dad assured me that hypnosis is a science so we could proceed with his experiments at a rapid pace and without doubt or hesitation. And I kept reassuring myself that I was not at risk, meanwhile inspired by his confidence, throughout my teenage years. There have been many famous practitioners of the science of hypnosis: Freud was a hypnotist; Pavlov was a hypnotist.
My own father, though not yet famous when I crossed the threshold into my high school days, was a serious student and practitioner of the science of hypnosis and was, in my mind, also bound for greatness. I was sure of that. From what I could tell, once my Dad introduced a handful of his patients to the power of hypnosis as a supplement to their physical therapy treatments, beginning in aboutthey were most grateful.
Like Freud and Jung, my Dad was a pioneer healer pushing the envelope of his licensed therapy practice into an adventurous frontier. After Dad built up his own confidence in the healing powers of applied hypnosis, his experiments on me and on his physical therapy clients became bolder, more exploratory and even more adventurous.
Instead, he was the renowned Leslie M. LeCron of Beverly Hills; an expert in not only hypnosis, but a clinical psychologist -- and author of some leading books on parapsychology. I recall how Dad, once he had embarked on his carefully considered path to becoming a healer-hypnotist, would happily drive from our home in the heart of San Fernando Valley through the tortuous Sepulveda Pass on consecutive Saturdays for nearly two years in order to attend hypnosis classes and workshops with LeCron.
Dad never took me there. LeCron believed with certainty that those powers could be systematically deployed to influence nearly every aspect of human behavior. For example, LeCron taught Dad Freudian insights into human nature. He taught Dad how to use mesmerizing pendulum techniques to induce the deep hypnotic trances necessary to succeed in the healing of others.
He then taught Dad deep and a select few other students self-hypnosis and how to discover and use secret skill sets of auto-suggestion necessary for him and they to locate and apprehend any hidden, repressed and unresolved issues in order that these issues might be successful engaged, subdued, corrected and transcended. What seemed most important to my Dad was that LeCron taught him in credible ways that mind could overcome matter in a positive way, hasten the repair of damaged psyches and bodies, and strengthen self-confidence and resolve.
He taught how Dad how humans could help other humans systematically empower themselves through hypnosis and succeed to overcome adversity and improve the human condition. This all added up to a lofty sense of achievement and source of pride for my Dad at that time. Sly was looking for enhanced stamina and confidence at the time, which, in retrospect, he not only achieved, but radiated from the silver screen to his Rocky fandom.
Hypnotism works. The fad also included hypnosis acts on stage. Collins occasionally brought her show to a stage adjacent to a local Reseda bowling alley. But when my Dad, Mom, Roger and Bobbie saw her live on stage in the mids her career was just getting rolling. My Dad was by then already hooked on the healing powers of hypnosis. In fact, he and my Mom quit smoking cigarettes as one of his experiments. He hypnotized himself to quit smoking. My Mom never let my Dad hypnotize her, but when he quit she quit.
Sadly, Roger Bonz did not quit and the last time I saw him he had a hole in his throat attached by a tube to an oxygen tank -- and he was still smoking Chesterfields. Among the many practical reasons that astral projection that rewards an adept like myself is the tremendous amount of money saved by my not having to physically move from A to B, or to and from C, D, and F, if one so desires.
I can astral project to all those places, and to infinity and beyond, if I take up the notion. Believe me, if you succeed to learn astral travel well, you will actually be able to taste of immortality. Anyway, this present book can only introduce tangentially the promise of astral projection, and allude in passing and through example to its underlying premise and vast promise.
It was a five-year love affair, enduring all through my high school days and a bit afterwards. Within a month after Mr. Not a Saturday went by after that without my washing and waxing my coal-black ride. I suppose every high school car club lad of my Detroit Generation did the same thing. My Pontiac and I were approximately the same age born It was love at first sight! After I had my Pontiac painted black I bought four fake white walls at Pep Boys to clamp under its stock inch steel rims.
My ride see Figure 1. Figure 3. The Mexican upholsterers also replaced the seat covers, the headliner, and the side panels. We were tight till she hit puberty, then and thereafter Roger began to get paranoid; fearful that I might take liberties with his daughter since our homes were adjacent. Fast forward to My buddy Bob Wood, who was low on cash at the time and between jobs, sold Roger a big, black Ruger Western-style. I had fired that pistol once in the direction of an old porcelain toilet inside a dump in Sylmar once.
I missed but the kickback from that pistol nearly broke my wrist. Then Bob fired it and blew the toilet to smithereens. I was present when Bob and Roger sealed the deal and money was exchanged, giving Roger ownership of this small cannon.
I remember Roger staring me in the eye at the very moment he took possession of the pistol in his palm. Roger, to my dismay, was still obsessed with protecting the virtue of his daughter, who was still living at home at the time. In his parental paranoia he obviously perceived me as a most proximate and probable predator. My Dad has built a nice swimming pool in the back yard and so I decide to drive there in the middle of the night for a swim. Since everyone around except Roger seems to asleep I quietly slip into the swimming pool naked.
What can go wrong? Everything seems copasetic. But then she hears her Dad, who was just seconds before sitting, drinking beer and smoking in front of his television set, loudly cursing my name; so she runs back into the trailer and again slams the door behind her. A bit bewildered, I am standing near the trailer when Roger Bonz bursts out the back door of his house still cursing loudly. In the face of this clear and present danger I run up his driveway toward the street wearing only the towel.
Roger is also barefoot and he is wearing a Japanese silk robe. He is shouting my name and threatening to shoot me. He claims the pistol is loaded and he chases me up the driveway.
Meanwhile, I have reached the sidewalk and am headed east but tripping over my towel. I expect at any second to feel the heavy blow of a. But Roger never pulls the trigger and that is my next near-death experience as a young man.
The police never showed up do they ever? For years after that night Roger and I were estranged and we were civil to each other but hardly spoke.
The strange events of that night were quickly and conveniently hushed up by all the principal parties as if they had never occurred. This was during the decade just before the onset of silicone breast enhancements invented in -- but by then it was already too late to save burlesque. Burlesque was in rapid decline at that time, but still entertaining. We Saracens usually arrive in advance of the show in order to claim seats front-row and center XTV And The Pacoima Rats - I Hate New York (Vinyl) the only thing that separated us from Miss Bell on stage one a narrow aisle where the soles of our shoes would stick to the floor on a summer night.
I can only imagine what mayhem his iron claw might have wreaked had he used it instead. There was both bad luck and good luck associated with the violence that night. We Saracens in our front-row-center seats emerged from the brief episode blood-splattered. My sports jacket, shirt and tie were specked with sprayed crimson from the blunt-force impact of the sap to the head of the drunk.
She had screamed than swooned during the dustup, when the whole damned place had erupted into pandemonium for a good thirty seconds. Nobody noticed my good luck in landing her pastie on the fly, so I slipped it into my pocket. It was warm, damp, sequined, shaped like a star-fish and waxed up to stick to her flesh under normal circumstances. The rest of the show was cancelled and we did not get any refunds. Talk about a conversation piece!
The assault was reported in the LA Times. The story was that the world-famous Miss Bell was hospitalized with shock by the bloody attack and that she would miss a week of performances. Also she reported that she had lost parts of her costume, and right away word got around at my high school that some Saracens were in the audience and were witness to it. Were the two all that different?
Remarkably so; for example, unlike my Pontiac, my Model A Ford sports coupe had a running board -- and a rumble seat. It also had mechanical instead of hydraulic brakes. The engine ran well, but I had trouble bringing the chassis to a safe and reliable stop sometimes.
I look like a ninja minus the mask. I have always liked the color black. Many of my classic automobiles were also black. Of course all Model A Fords came out of the factory painted black. I remember those shoes I am wearing in the photo: they were very uncomfortable but had nasty metal biker-like boot buckle appendages that appealed to me when the shoes were new and unsold and gathering dust on the shoe shop shelf.
I might have worn them twice; three times at most. Lo and behold in this photo the dumbest dog in the world, staring mindlessly off into the distance. She is straining perhaps to look intelligent but, tragically, she was already inbred to maximize beauty at the cost of her having no brains.
And this, her pedigree, came at great cost to my Dad. All she had to do was sit, and she needed no command to do that. My sister Patricia took thousands of photos of this dog sitting. Patricia also took this dog to obedience school — once. It traumatized the dog so much my Dad had to take her to the vet.
Too bad that she was genetically-destined to remain totally clueless day after day about every object in the world, both far and near, large and small, mobile and stationary.
She would chase neither an automobile nor a rabbit, but she would sit in the same place for hours while watching a caterpillar cross a sidewalk. Patricia would slam the door whenever I said that. And they were all these names written down on her birth certificate as proof that she was worth the arm-and-a-leg that my Dad paid for her. I figured that each name cost my Dad about a hundred dollars.
Her veterinary bills were of course extra -- and they were constant. This dog had issues. Sheilawhatever was neither an indoors nor an outdoors dog. My Dad and Roger Bonz took an entire weekend to install a big dog door in an otherwise perfectly good door designed for humans, and the dog refused to enter or exit the house through it. She once stole a freshly-cooked family dinner pork roast off the kitchen counter next to the stove where it was cooling down.
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What do these images have in common? The show spans four decades, 20 countries, and artists, and covers areas as diverse as fashion, journalism, and avant-garde art. The works are united by one common theme: they are all by women photographers — modern, but not necessarily modernist.
That it achieves such breadth is a testament to both its curator, Andrea Nelson of the NGA, and the staggering suppression of female artists over the last century. Europe and America, however, are still overrepresented. In broadening its geographical boundaries, The New Woman expanded its temporal limits as well: although the year is typically considered the end of the Modern period in Europe, more recent scholarship has demonstrated that Modernism continued to develop abroad well through the s.
The New Woman also unearths quite a bit of buried treasure. Each photograph is accompanied by a biographical text, which illuminates certain recurring themes: forgotten work found by accident, famous husbands who eclipsed them, avant-garde circles that celebrated the work but then moved on. Niu Weiyu is another standout. In one of her photographs, taken on assignment, three women sit around a table in near-chiaroscuro, painting and assembling dolls.
Part photojournalism, part metaphor for the act of creation, it is a sort of microcosm of The New Woman exhibition itself — women at work, in rapt concentration. The image was never selected for publication, another unfortunate commonality within the show. Helen Levitt is represented by just one work, which is surprising since she has recently been the subject of several major retrospectives and, inwas the first female photographer ever to receive a solo show at the Met.
The show also breezes past one of the most influential and infamous female photographers of all time: Leni Riefenstahl. With her bobbed hair and empowered attitude, Riefenstahl embodied the New Woman that this exhibition so valiantly strives to rescue from obscurity.
She was also a leading Nazi propagandist whose films were instrumental in carrying out the Holocaust. What do we do with women artists who engage in morally reprehensible acts?
The New Woman casts a wide net, which is both its triumph and its downfall; the show should dig deeper, and not settle for passing glances. In that book, Guston gets mentioned twice in passing. The authors have collectively ignored his groundbreaking show at Marlborough Gallery, where he exhibited his paintings of hooded figures for the first time.
Hopkins for the San Francisco Museum of Modern ArtI wondered if we have not gotten stuck in some predictable responses to the paintings, especially those depicting the hooded figures which he did only for a brief period.
Six paintings of the men in hoods are included in Philip Guston: — This is the wall text posted by the entrance to the first of two gallery spaces, in which they are exhibited:.
Prompted by the violence and civil unrest in America in the s, Guston explores motifs that harken back to his earliest figurative works of the s. In his new world of clunky Ku Klux Klansmen, evil is disguised in the deceptive banality of everyday life. The hooded figures in the six works in this first room are engaged not in acts of terror but in everyday pursuits, smoking cigars, making plans, driving around in cars.
Guston painted over one of his earlier pink abstractions by demarcating a pale blue area. Against the sky, he has rendered a black rectangle with rounded edges, and the outline of the side view of a spare tire.
This is a car that seems to have no wheels. Two hooded figures sit in the roofless car smoking cigars. They face toward the part of the painting that Guston did not cover over. Behind them are boards, one of which has nails protruding from it.
I see it as a stretcher bar from which a painting has been torn off. The hooded figures each have two vertical eye slits but nothing to suggest a mouth. I perceive myself as being behind the hood. What would it be like to be evil? More than 35 years later, when Guston returned to the motif of the hooded figures, he identified them as painters who cannot speak, having decided to join a club in which thinking and seeing for oneself is forbidden. Instead, they smoke cigars, remain mute, and sit in wheel-less vehicles that are not going anywhere.
Those artists who elected to join the club willingly gave up their right to speak, but gained the privilege of smoking cigars. He recognizes that he has been one of them. That club might have changed members and ideologies, but it has not gone away. This is one of the points I suggest we think about when looking at these paintings: the persistence of self-righteous individuals hiding behind ideologies both inside and outside the art world.
In doing so he questions what gets taught, even in an art school. By facing up to who he was — someone who had given too much credence to those who claimed you had to be an abstract artist whose practice was devoted to underscoring paint as paint — he knows he is on his way out of the club. What is interesting about these paintings is that Guston never points at anyone else. What emerges is not a hero. After his show at Marlborough Gallery, Guston spent a year at the American Academy in Romea period this exhibition skips over.
While there, he received a strongly positive review from Harold Rosenberg, which he did not expect, and he was inspired by sites of antiquity and by visiting Giorgio de Chirico, whose post-metaphysical paintings had been largely dismissed by American critics and museum curators. I cannot think of another American artist who went as far as he did without a safety net.
It was in the company of younger poets who were mainly associated with the New York School that Guston found his greatest champions, who he provided with drawings for book covers and magazines, often printed inexpensively on mimeograph machines, and collaborated with, and whose poems he read and letters he answered. I was in this latter group. A large clock is visible behind him, its bottom cropped by the sheet.
If this is a vision of a sleepless artist who does not know what he will do next, what follows is astonishing for the places he goes in his work. An outlined orange sun is either rising or setting in the ocean, which is painted in streaks of red. Guston knows he cannot paint a generic subject as he moves forward. Almost all the 10 paintings that comprise the rest of the exhibition are scenes set against a black background or an interior.
These are haunted hypnagogic views that Guston explored rather than dismissed, no matter how unlikely and inexplicable they were. That is one reason why I think these works are great and powerful; he places the uncanny before us in creamy strokes of viscous paint. He makes his visions palpable. He knows his visions are inseparable from his body. A thin gray-pink line runs unevenly along the lower fifth of the painting, rising slightly as it crosses from the left to right edge.
A little more than halfway across the line is a narrow, empty boat, neither a dory nor a canoe. This is a vision of bleakness that has no other context but the painting. It tells a story that has no beginning or ending, only its insistent and palpable present. How do we explain the long, skinny, hairy pink legs hanging over the red brick wall beneath a black sky?
Why do some of the soles we see rising from the bottom of the black pit along the bottom of the painting resemble horseshoes? How do we explain the cadaverous gray leg directly above the eye? Why has it been nailed to the wall? Aware that time is catching up with him, he paints without trying to rationalize or explain these visions. In the s, when he was producing the pink paintings made of vertical and horizontal strokes dispersed across the center but never reaching the edge, Guston never stepped back to see the work in its entirety.
He concentrated only on what was in front of him. This is what he did in the late pieces as well: working wet into wet, he let himself be carried along by the painting and he never blinked. Beginning at age nine, he left his family in Missouri to join the circus.
Although it is frequently reported that he was impelled by a dream to begin to draw inat the age of 71, there is evidence that he first started working with ceramics in the s and then took up drawing in the s.
We do know that byhe was discovered by the art world. After his first show in a church cafe, artists and historians affiliated with the School of the Art Institute of Chicago began to seek out his work. Joseph E. Yoakum: What I Saw presents drawings, an overview of the 2, drawings one a day or more that Yoakum made during his decade as a professional artist. His daily production served as an extension of his travels, a way to keep moving and remain in awe of nature as his fingers roamed mountainous terrain with pen in hand.
The pencil, pastel, ink, and sometimes watercolor drawings, done in recognition of the places he had traveled, appear like vignettes out a train window. Scenes flit by, translations of sensations and recollections seen through a scrim of distanced, nearly faded memory. Instead he works within a highly developed style, first drawing large shapes with his pen, then adding patterns of undulating lines, repetitive tree forms, and occasional boats and trains, and finishing the works with tenderly applied color washes.
One can sense the time of day in each drawing, their skies ranging from crisp blues to smoky oranges and sunset pinks. Mountains, devoid of humans or animals, are his anchoring motif. His worlds are animated, alive, but also remote, as distant memories collide with distant places. His early years, amid circus banners, railroad travel posters, and hand-tinted postcards, may have influenced the ways in which Yoakum recorded these places.
In many of the drawings, he wrote the location in neat cursive, followed by his signature in the upper left corner, sometimes with a rubber-stamped date.
This tidy conjoining of pictorial majesty with the specific data of place and time personalizes the images and makes them feel like a hand-hewn atlas. Occasionally a boat or train might appear within the larger crags of rock formations. When he included them, houses tend to be stylized and emphasize the human imprint as minuscule. It is easy to imagine the artist sitting at his table in his byfoot urban storefront where a clothesline hung near the front window to display the work.
Many of his drawings are around 12 by 18 inches, or small enough to hunch over. This seriality generated individual works that in a large exhibition can appear repetitive; a section of the exhibition that dips into portraits is a nice departure. Yoakum worked in dialogue with his faith. The exhibition catalogue gently prods this aspect of his art. Adler explains that in Christian Science thought, matter, or what we might see as a mountain, is not real.
The exhibition is curated by Mark Pascale. The six artists in the show are the pentaprism, filtering their gaze through their creative vision. I am drawn to both Smith and Minnis, the first pair I encounter on entering the gallery they are also paired in terms of having similar approaches to image making because they use photographic self-representation to discuss the ways and means of Caribbean womanhood.
It is the sensual and gentle antidote to the caricature of the mammy figure. Leanne Russell takes places her figures in present-day and historically documented landscapes of the smaller island Green Turtle Cay, part of the Abaco islands.
She colorizes and overlays archival images and prints the juxtaposed images on aluminum, which gives the images a shimmering and iridescent shimmer, particularly in the late afternoon sun, which I caught on my first of two visits to the gallery. Pentaprismcurated by Coulson, who was previously the director of the National Gallery of the Bahamas, feels like it continues the work she had been doing there: looking at the ways that Bahamians and the greater Caribbean culture sees itself and helping those outside the culture see us fully as well.
It was curated by Amanda Coulson. The School of the Museum of Fine Arts at Tufts University SMFA is furthering its leadership in the realm of humanities and social justice in the arts by bringing aboard a trailblazing group of faculty from diverse fields of artistry and scholarship.
Not only are they top-tier established artists and academics who bring with them fresh perspectives and international experience, but their work and scholarship also explore topics that are of deep importance to our students and the larger world.
Cristobal Cea is a Chilean artist whose work focuses on the relation between digital media, history, and memory. Kate Conlon is a multidisciplinary artist whose work explores the various ways that we make sense of the world.
Guadalupe Maravilla is a visual artist, choreographer, and healer. Claudia Mattos Avolese is a scholar whose recent research focuses on indigenous arts in Brazil, the imaginary of the forest, and ecology. Triton Mobley is a new media artist and researcher; his interests include interventionist works, guerrilla performances, and installations. Rick Moody is an award-winning author of six novels, three collections of short stories, a memoir, and a collection of essays.
She specializes in critical-race curatorial analyses. Laurel Nakadate is a photographer, filmmaker, video, and performance artist. Mike Smoot is an artist who focuses on past, present, and future social-political-economic-ecological interactions, phenomena, and potentials. You fill a plate. In the last two years alone, the project has involved hundreds of creatives—see the massive, eclectic collection ranging from abstract portraits to whimsical cityscapes on Instagram —totalingmeals provided to those in need.
The curated selection is wide-ranging in date and location, documenting a fuzzy seal pup lounging on a glacier in Canada, a school of bar jacks swimming in the Grand Caymans back in the 90s, and blacktip reef sharks under a French Polynesian sunset in The book follows Hedda, a Norwegian in her early 20s, over the course of five years as she travels between Oslo, Buenos Aires, and Bangkok to undergo cosmetic surgeries and a vaginoplasty.
This is not the first time that Serck-Hanssen documents the body under transformation and stress. In this project, Serck-Hanssen photographs Hedda as she faces intense, and at times excruciating, change. Together, Hedda and Serck-Hansen decided to pair his lushly detailed, medium-format portraits with her informal iPhone selfies.
In a series of photos, Serck-Hanssen captures Hedda as she examines parts of her body with hand mirrors and her phone before and after surgical procedures. They also point to the ways we define ourselves in the 21st century, where asserting ourselves aspirationally through social media is a constant occupation.
His softly lit, classically composed images have a painterly, art historical tone. This story of a cunning artist and an unsuspecting museum will make you rethink what conceptual art can get you. But what did he do instead?
He kept the money to himself and renamed the series Take the Money and Run. According to a written agreement between the two sides, Haaning was expected to utilize the banknotes from the payment to recreate two pieces he made in and The original artworks represented the respective average annual incomes of Austrians and Danes using cash bills.
But for his latest, Haaning delivered two empty frames, with no banknotes to be seen. It is a breach of contract, and breach of contract is part of the work. Is it mere provocation or an act of protest against the work conditions of artists? The artist claimed that the stunt was in reaction to the low fees offered to him by the museum.
Showing no remorse, Haaning said that he has no intention to return the money. The museum seems to be enjoying the publicity, at least for now. However, the museum is planning to claim the loan back when the exhibition ends in January. If the money is not returned on 16 January as agreed, we will of course take the necessary steps to ensure that Jens Haaning complies with his contract.
Nestled between brick warehouses and metal depots, a new and surprisingly nondescript art campus has opened in Brooklyn. I was expecting Amant to be incongruous at best, a gaudy symbol of gentrification at worst. But Amant looks to be at home alongside its neighboring structures, which house a mishmash of practical and creative enterprises: a meat market, truck repair shop, and restaurant supply store sit comfortably among a craft brewery, photography studio, and two separate recording studios.
Since officially opening its doors on June 5, the 21, square-foot, the SO-IL-designed campus has billed itself as an art center that will host exhibitions, public events, archival projects, performances, and an on-site residency program. Amant was founded by art collector and MoMA trustee Lonti Ebers, who has expressed that she has no interest in using the space to showcase her collection of contemporary art, which ArtNews estimates comprises over works.
One of collaboration, or conquest? Amant also plans to host a performance by local dance artists Silas Riener and Rashaun Mitchell. Through this, we hope to bring perspectives not currently exhibited in New York, as we continue to build our relationships with local artists and institutions. She cited the upcoming series Brooklyn through the eyes of artistswhich will invite New York-based artists to choose a locale in the borough and lead a guided tour of the site.
After even a brief visit to the Amant, one can sense that the center is dense with possibility. The exhibition is extraordinary, showcasing an artist who works with refreshing directness. Across various mediums — photography, film, the written word — her vision, rooted in a desire for colonial and racial reckoning, remains clear and uncompromised.
After a chat with a couple of enthusiastic staffers, potential energy seemed to radiate off the place. I was, admittedly, quite taken by it. But like any shiny new installment in an underserved community, Amant is also a potential site for conflict. How will it dispense of its copious resources, and to whom?
The opinions of the local art community are divided. In addition to its unique red-rock landscape populated by jackrabbits, coyotes, and eagles, the square-mile park in North Central Arizona is home to more than 5, Indigenous archaeological sites. One of them, the Wupatki Pueblo, is a year-old, multi-room stone masonry complex that once housed the ancestors of the Hopi, Zuni, Navajo, Yavapai, Havasupai, Hualapai, Apache, and Paiute.
But this important symbol of human history and Native culture — which attracts somevisitors annually — is at risk. The funds will support the development of a conservation and management plan for the site, which will celebrate its th anniversary within the National Parks Service NPS in To that end, the Penn team and their partners will rely on a network of local Indigenous community members and professionals.
The story follows former porn star Mikey Saber Simon Rexwho returns to his crumbling hometown of Texas City, claiming to have given up his crazy LA life for his humble roots.
He cooks, he cleans, he mows the lawn … until he meets Strawberry Suzanna Son. Feisty, freckled, and extremely unchaste, she seems like a dream come true.
Over the next few weeks, Mikey seduces her with dreams of love, fame, and adventure, hoping to eventually launch her to adult video stardom. Two novice actresses shine here: Son as the naively eager Strawberry and Brittney Rodriguez as June, her strictly celibate friend. The latter especially stands out as a non-professional actor, feeling like one of the few natural people in a film driven by outsized personalities.
The forbidden fruit is both erotic and morally distressing. What does the audience really want? Cinematographer Drew Daniels does his best to mesmerize anyway. Extreme long shots capture the sheer expanse of this small Southern town, where houses are far and few between among the winding roads.
All along, Daniels embraces a noticeable textured film grain, furthering the retro erotica look. The film is in dialogue with the state of sex in US cinema, which is currently quite squeamish.
In LithiumKaiya Shunyata notes that when sex scenes do appear, the characters featured are usually white and heterosexual this applies in Red Rocket too. Today sex is explored more on TV and the internet than in theaters. What do — or should — we desire? Sex sells, it tells us, unless we choose not to buy.
People were upset — likely because Brzezinski did not take seriously the delicate presence that the gallery and museum space requires of the viewer. He was hungry. Using a pen, she filled the crossword out as if in her kitchen on a Sunday morning. No one took the piece more seriously than her. Of course, there are vast differences between the donuts or crossword puzzles we see at home, and the ones we see in museums.
But they were not malicious in intent. When in the museum, the viewer has to be careful and aware of their presence in relation to the precious pieces of art.
Their negligence has a lasting effect: Their actions in the present have affected a piece of history and ruined it for the future. The nagging temptation to touch something in the museum space is a common urge. Whether done knowingly or accidentally, it reflects the desire to enter into the piece, to irreparably place yourself within the bounds of the art through its defacement. To me, there are no wrong ways to respond to art, only unaccepted ones — and even the unaccepted ones highlight integral questions of purpose.
I do not advocate the destruction of art. Rather, I ask a question that seems simple at first glance, but is complicated by defacement: What do we want from our encounters with art?
The answer is at the root of our human relationship with an object and reflects the value we get from that encounter. The importance of the question of purpose cannot be undervalued. We value our institutions vigorously; to allow them to serve us, and for us to serve them, they have to allow people the room to make mistakes. We expect instigations in the museum or gallery space, but only institutionalized instigations, curated and carefully placed into a cohesive framework that attempts to do justice to pieces of art and their histories.
We can view these troubled interactions with art objects as something of a grounding exercise: People need the occasion to remember that we are not separate from the art objects we see. We are part of the piece, regardless of whether we touch it physically.
Was that donut real? Can we embrace both reality and artificiality, or even a lack of any state at all? We decline it with one notable exception, of course. In this way, we are in conversation with the works. There is a completion to defacement, as if the art asks a question and viewers jump into action to answer it. The act of touching allows a deeper sensory understanding for the viewer while simultaneously XTV And The Pacoima Rats - I Hate New York (Vinyl) a rebellion against the terms of viewing, the defining terms of the museum and gallery space.
Our urges towards completion, to consume the donut, to complete the crossword, bring us back to the most integral and pressing of questions: Why do we care? Where do we fit in? We care because the pieces that we stare at stare back at us.
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