Every 28 days, I point the camera toward myself to document my illness and care. I have used my time as a patient in the infusion suite, a place where I sometimes feel powerless, to reclaim my autonomy as an artist and photographer.
In the mid–2000s, I was completely taken by the book “Everything That Rises: A Book of Convergences,” written by Lawrence Weschler and beautifully published by McSweeney’s. Weschler surfaced “strange connections” between images and wrote about them intriguingly. I still think of the book when I come …
I’d been told I’d be wow’d by Venice, and I was. The light, the water — everyone was right. The textures, the weathered colors. Everything snug. The dimensions of every view. Already, just two weeks home, I’m thinking of how and when we can return.
Our house suddenly feels warmer with the recent arrival of this 1963 Wurlitzer Spinet. Props to the kind folks at [http://www.jacksonpianos.com](Jackson Pianos).
I can still remember encountering Crewdson’s work for the first time in The New York Times Magazine more than a decade ago. Original, absorbing and haunting. Today’s “Monocle Weekly” interview with him had me heading to his website, which alerted me to this documentary.
I have endless gratitude for and pride in the America that welcomed refugees I would be lucky enough to get to know and love, with my wife and her parents at the top of the list.
On a Saturday morning in July 2012, the esteemed writer and internationally collected artist spoke about the release of Abstractions Arrive: Having Been There All the Time. The video was made by Stephen Schenkenberg and recorded in Gass’ St. Louis home (which holds 15,000 books).