From left to right: son Paolo, Picasso, Jacqueline, daughter-in-law Christine,
art expert John Richardson, poet Jean Cocteau and art historian Douglas Cooper Photo via
I read enough John Richardson. He is as pious about Picasso as a banker is about his gold reserves.
Poetry and painting are fundamentally difficult. Poetry is essentially without pecuniary value. Art can be more valuable than gold or platinum.
Carolee Schneemann, multidisciplinary artist. Transformed the definition of art, especially discourse on the body, sexuality, and gender. The history of her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body.
OH DEAR BOB . . . your death is unacceptable. Your absence joins the current stampede of death, diminishing the continued conversations among my generation. Missing in action. I am so grateful for our wonderfully enriching history and for the configuration of friends and work that surrounds the years we shared. We were neighbors here in the Hudson Valley, and it’s wrenching to consider that we cannot anticipate more good times together.
Carolee Schneemann
Terminal Velocity
2001-2005, impressions jet d’encre 96 x 84 chacune. Collection Musée départemental d’art contemporain de Rochechouart
Edward Gorey near one of the Nadelman sculptures on the promenade at the NY State Theater, 1973. Photograph: Bruce Chernin. Image provided by the Alpern Collection, Rare Book & Manuscript Library, Columbia University. photo via Paris Review
Edward St. John Gorey (February 22, 1925 – April 15, 2000)
“He was a precocious child. He claimed to have read all the works of Victor Hugo by the age of eight.”
Poet Frank O’Hara and macabre writer and illustrator Edward Gorey were roommates at Harvard in the late ’40s, where they furnished their apartment with garden furniture and a coffee table made from a repurposed tombstone. According to The New Yorker, the pair “established their rooms as (in the words of a home-town friend) the spot to ‘lie down on a chaise lounge, get mellow with a few drinks, and listen to Marlene Dietrich records.’” Pompous and eccentric? Perhaps. But we bet their room was the coolest place on campus.
Robert Ryman, Untitled, 1961, graphite pencil, charcoal pencil and white pastel on gray paper, 10″ x 10″ (25.4 cm x 25.4 cm), WORK ON PAPER, No. 44025, Alt # RR 61.100, Format of original photography: digital
Chinese New Year in 2019 starts on Tuesday, February 5th and ends on January 24th, 2020. Conforming to the chinese horoscope , the year of the Pig 2019 comes right after the Year of the Dog (2018) and before the year of the Metal Rat (2020)!
A savage parody of Godard, Resnais and… Pasolini, ironically chronicling the ‘existential anguish’ of the children of the bourgeoisie, it features Léaud as a mystic youth whose being finally merges with ‘nature’: he gets eaten by the pigs he loves.
The first, “Orgia,” was originally conceived as a possible companion piece to Buñuel’s Simon of the Desert, and concerns a 15th-century cult of cannibals who must eventually reckon with Church and State. The second, “Porcile,” involves a West German industrialist and Nazi war criminal whose son (played by Truffaut and Godard regular Jean-Pierre Léaud) likes to copulate with pigs.
Francine du Plessix Gray, the French-American reporter, critic, novelist, and feminist known for her elegance and unsparingness in chronicling issues of the self and beyond, died in Manhattan on Sunday from complications of congestive heart failure. She was eighty-eight years old.
Gray’s upbringing was defined by both entitlement and loss. Born to a French father and a Russian mother in Warsaw’s French embassy in 1933, Gray emigrated from France to New York with her mother, Tatiana Yakovleva, after her father’s plane was shot down by fascists near Gibraltar in 1940. In New York, Yakovleva—once a muse for the Soviet poet Vladimir Mayakovsky—married socialite and future Condé Nast director Alexander Liberman and eventually became a prolific milliner for Saks Fifth Avenue. Gray recounted her complex childhood and family life in 2006’s Them: A Memoir of Parents, which won the National Book Critics Circle Award.
“It was brilliant idea of Francine du Plessix Gray to re-create not so much the “Monster” who was to become, somber fate, an adjective but the actual man who spent so much of his time in prisons… thanks not only to his sexual capers but, also, to a real-life monster, his mother-in-law, who would have walked off with Les Liaisons Dangereuses had the author dared cast her.
“This is an elegant, enlightend Enlightenment study of a powerful sexual imagination trapped in the mere human body, not to mention the Bastille from which it would take a revolution to free him—and us, his unborn readers.”