Sebastian Blanck’s new exhibition, “That’s Why We’re Running Away,” opened last week at Wetterling Gallery. Blanck, known for his intimate portraits of family and friends, has focused his latest work on landscape. The exhibition closes October 1.
- Aquabob, clinkerbell, daggler, cancervell, ickle, tankle, shuckle, crottle, doofers, honeyfur, zawn … the English language has historically teemed with vivid, precise words to describe the landscape and natural phenomena. So what happened to all of them? “It is clear that we increasingly make do with an impoverished language for landscape. A place literacy is leaving us. A language in common, a language of the commons, is declining.”
- On the shifting sands of literary fame: “It would be hard to find a poet, in the twenty-first century, who openly claims to write for glory, fame, or immortality. Yet the idea that great poetry was the surest way to achieve fame and outwit death has been very long-lived … Why has this dream of immortality vanished from contemporary literature? One reason, surely, is that in the twentieth century human beings faced a distinctively new uncertainty about the very existence of posterity.”
- William Powell published The Anarchist Cookbook in 1971, when he was only nineteen. Thus ensued a very unanarchic quest, on his part, to remove it from print, as it tarnished his reputation and took on a new life as a terrorist ur-text: “All hippies at one time or another renounce themselves. Sooner or later they put a tie and a coat on.”
- A new exhibition celebrates the work of Paul Rand, who designed the iconic logos for IBM, Westinghouse, and Enron, among others—and who, “like Charles and Ray Eames, spread a bright and cheerful image of pax Americana.”
- The pioneering romance novelist Bertrice Small died on Tuesday, leaving behind an oeuvre of “bold sexual storytelling.” “Her best-known work was the Skye O’Malley series, which starred a swashbuckling pirate queen who commanded her own fleet and once bested Queen Elizabeth I in a battle of wits.” A friend said, “I had the pleasure of knowing Bertrice personally and I’m proud to say she was a true ‘broad’ in the very best tradition of the term.”
Last month, I got a peek at a private collection of work by the painter Jane Wilson. Tucked away in a Midtown East town-house office are a handful of her diminutive watercolors and a very large oil painting depicting one of Wilson’s characteristic landscapes—a sweeping, hazy view of a sliver of land and a limitless sky.
Last fall, I saw a host of such paintings in Wilson’s show at DC Moore Gallery. Yet there’s a difference between admiring her evocative landscapes—or, more precisely, skyscapes—in a gallery setting and discovering them in a secret spot, where, I imagine, they exist for their owner as a private portal, an escape—out of the office, out of the city, out of one’s own life. Imagine sitting in a darkened, quiet office and looking up at Wilson’s plush, golden altocumulus clouds or at the purple and blue striations of storm clouds over a teal sky or at the dappled, cobalt blue of twilight. Where couldn’t you go? Read More
Team |1|2|3|4|5|6|7 Total TPR |0|0|3|0|0|1|0 4 NAT |5|0|0|0|4|0|X 9
Within the first minute the slaughter had become general. —Blood Meridian
Themes found in Cormac McCarthy’s grotesque 1985 masterpiece, Blood Meridian, hereby presented in descending order relative to how closely they can be applied to a postgame dissection of last week’s softball game against The Nation:
1. Destruction, Chaos
Blood Meridian is essentially a chronicle of destruction, a hurricane of terrible things like knives and guns and dead babies. This game, while not a massacre of flesh, was nonetheless a massacre (maybe of the human spirit?). From the onset, our side played a sloppy game; a slew of early errors gave The Nation a first-inning lead they would not relinquish. Like in the novel, the slaughter was complete; unlike in the novel, it was mostly self-inflicted.