You've got to dig to dig it, you dig?
[…]
I imagine him waiting
for the cover of darkness
to let down his hinged drawbridge.
He wanted, after so many
protracted years of caution,
to dance naked and nimble
as a flame under the moon—
even if dancing just once
was all that the teeth
of the forest would allow.
Jeff Worley, On Finding a Turtle Shell in Daniel Boone National Forest
I want to be a passenger
in your car again
and shut my eyes
while you sit at the wheel,
awake and assured
in your own private world,
seeing all the lines
on the road ahead,
down a long stretch
of empty highway
without any other
faces in sight.
I want to be a passenger
in your car again
and put my life back
in your hands.
December, Michael Miller
take advantage of the quiet time that a failure allows you.
life was always arriving. There was always another gate to pass through.
Because true collaborators in this life are rare.
Tomorrow, and Tomorrow, and Tomorrow: A novel, Gabrielle Zevin
the one whispering an old, old tune into the ear
of the other –?Baby, baby, don’t leave me this way.
[…]
It meant nothing to me?–?
then, at least?–?but did you know the collective noun
for swans is a lamentation? And is a lamentation not
its own species of song?
John Murillo, Upon Reading That Eric Dolphy Transcribed Even the Calls of Certain Species of Birds,
![Floating markets and native boys ready to dive for coins, Port-au-Prince [Haiti]](https://i0.wp.com/live.staticflickr.com/3936/15466200389_0e6fd9a8e8_b.jpg?ssl=1)
Creator: Watson Perrygo Local number: SIA2008-2459 Summary: The photograph documents Watson Perrygo’s field work with Arthur J. Poole in Haiti. Dates: 1928-1929 Collection: SIA RU 7306, Watson M. Perrygo Papers, circa 1880s-1979. Box 2, Folder 10.
December, 1928-April, 1929; Field collecting trip to Haiti with Arthur J. Poole.
Folding Suns connects artists from the Western New York Region with those from Puerto Rico and the American South; it poses sun and water as real and metaphorical binding agents across geography, time, and identity.
Curated by: Pablo Guardiola
Pablo Guardiola is a visual artist. His work points to different modes of narration and how these are perceived and understood. Recently he curated with Yina Jiménez Suriel, one month after being known in that island (ways of working in the Caribbean). He is co-director of Beta-Local, an arts non-profit dedicated to support and promote contemporary art practices and aesthetic thought in Puerto Rico.
Featured Artists:
Genesis Baez
Chango4
Claudia Caremi
Adler Guerrier
Gregory Halpern
Ahndraya Parlato
Silas Rubeck
Paul B. Thulin
The Buffalo Institute for Contemporary Art, August 02, 2024 – September 21, 2024.
The Guggenheim Bilbao was hardly the first iconic building, but it was the first to be credited with a measurable economic spin-off. And while that temporarily elevated the status of architects to near deities, it proved detrimental in the long run. After the Guggenheim, architecture was never quite the same. A single building had defied all expectation, only for expectations to defy all of architecture ever since. Economic success became the measure of architecture’s quality, to which architecture, in turn, had no choice but to apply itself. Architecture found itself in debt to promises it didn’t make and ultimately can’t fulfill. After Bilbao, ambitious museum projects could only fail. And they did.
architect, verb The New Language of Building, Reinier de Graaf
There is nothing to save, now all is lost,
but a tiny core of stillness in the heart
like the eye of a violet.
Nothing to Save, D. H. Lawrence
