“‘My Body Is a Clock’: The Private Life of Chronic Care,” a moving and arresting photo series + essay by Sara J. Winston:
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.
“A Korean American connects her past and future through photography”: A lovely first-person piece by Arin Yoon, published by NPR. Beautiful work.
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 across an image — a photograph, a painting, a movie moment — that brings to mind another one.
I spent part of this evening with Julie Blackmon’s absorbing book of photographs, “Midwest Materials.” Blackmon has some intentional allusions in her photographs, but others I think just come from the consciousness of the viewer.
There’s something, for instance, about the turf and peculiar (and menacing) objects in her photograph “Spray Paint” that brings to mind Bong Joon-ho’s “Parasite” (picture the poster, and the final 30 minutes).
Or, seen below, “Snow Days,” which immediately brought me back to a moment in Tarkovsky’s “Mirror,” which I recently rewatched and posted about early in the month:
I realize there’s a risk in it seeming like I’m undervaluing the originality of one work by graphing it over another. But one of the pleasures I get in taking in art of all kinds is not just the pieces themselves — which I’m grateful for individually — but for how they intermingle in my mind.
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).
Wearing Mama’s black jacket for warmth, Leo turned curator, leading the way.
Connected
Mona Hatoum’s “Hair Necklace,” shown in a slide from her packed-house talk today @pulitzerarts.
SLAM’s impressive German collection has this effect on a lot of visitors
Family fun in KC. Thanks for joining us, @fourletter — and for the 📷!
I loved every minute I spent with this beautiful, poetic, searching, confident book.
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.
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Feeling nostalgic about our time living in Europe during 2010 and 2011, I decided to post a few of my favorite photos from that time. Having done so, I’m now also feeling lucky.
A recent work from my father-in-law, whose sculptures can be purchased here.
[vimeo 45784128 w=500 h=281]
Reblogging myself from a new microsite for Abstractions Arrive:
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).
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I took these photographs starting about in 2006 — three years into our dating life — and continuing through our 10-month stay in Europe last year up through recent months in St. Louis.