You've got to dig to dig it, you dig?
Tell all the truth but tell it slant —
Success in Circuit lies
Too bright for our infirm Delight
The Truth’s superb surprise
As Lightning to the Children eased
With explanation kind
The Truth must dazzle gradually
Or every man be blind —
William Kentridge, The Old Gods Have Retired, 2022
Photogravure, sugarlift aquatint, direct gravure, drypoint and chine collé with found ledger encyclopedia paper and various other papers with handpainting on Hahnemühle Natural, White, 300gsm. 63 4/5 × 78 7/10 in | 162 × 200 cm. Edition of 20.
Published by Jillian Ross Print and David Krut Projects. Collaborating Master Printer: Jillian Ross.
Sunsetting a notion.
We are thrilled to announce our forthcoming exhibition “A landscape longed for: The garden as disturbance” curated by Laura Novoa and Adler Guerrier. The exhibition, which opens to the public on Friday, March 1 at 5pm, features work by 15 artists, each of whom explores the motif of the garden in its relation to the cultivation and expression of beauty and knowledge.
Each of the participating artists, including Laura Castro, Carolina Casusol, Sandi Haber Fifield, David Hartt, Jim Hodges, Mark Fleuridor, Candice Lin, Cathy Lu, Lee Mary Manning, Ana Mendieta, Reginald O’Neal, Ebony Patterson, Ema Ri, Onajide Shabaka and Kandis Williams, consider the intricacies of the garden as a metaphor for the larger world, using it as a framework to consider cultural, social, political, geographical, and historical issues.
“A landscape longed for: The garden as disturbance” builds on the exhibit’s first iteration, showcased at Locust Projects in Miami in 2021. There, works were displayed with dialogues addressing notions of fragility, remembrance, ornamentation, beauty, and affective traces in the landscape. At CEAM, the show’s themes extend to ecological interdependence, homage, reverence, refuge, renewal, and time emphatically spent on the creation and nourishment of our inner lives.
Laura Novoa is a curator and arts administrator based in Miami, FL, where she works as Assistant Director of Programs and Community Engagement at the Bakehouse Art Complex. She has curated exhibitions for the Miami Design District, Locust Projects, Oolite Arts, and YoungArts, among others. Adler Guerrier is an artist based in Miami who has presented his works in exhibitions at the Samuel P. Harn Museum of Art, Orlando Museum of Art, Pérez Art Museum Miami, NSU Art Museum Fort Lauderdale, and CEAM.
“perhaps the muse was always a critic, always a builder of stacks of things “interesting to look at”
“always a mind in relation to another.”
“Inside every critic is a coach or, to use Isabelle Graw’s image, “a sort of amplifier.””
“deferential, wry, combative. Humorous. Detached. At sea.”
Art’s stupidity, Mayer suggests, is the reason for its persistence in her memory: it is too dumbfounded to move.
But what first punched art in the face? Probably life. Or, as Mayer says, “fucked up time.””
“They are, at their best, avenues of grace within fucked-up time, languages of perpetual inquiry and curiosity, poses of submission and dominance and everything in between, a practice of turn-taking in a world that runs on theft and greed.”
Anahid Nersessian. Originally published in Mousse 86.
a figure must be invented who can be superimposed on the society as a whole, whose routine and life-pattern serve somehow to tie its separate and isolated parts together. The equivalent is the picaresque novel, where a single character moves from one background to another, linking “picturesque” but not intrinsically related episodes together. In doing this the detective in a sense once again fulfills the demands of the function of knowledge rather than that of lived experience: through him we are able to see, to know, the society as a whole
Raymond Chandler: The Detections of Totality by Fredric Jameson
“Each of us has to find our question.”
“You look for it so you can confront the silence of a pure and uncompromising question.”
“Other possibilities in life.”
“Admire from afar, in silence”
–Sarr
Tippett: It was actually in your book that I first realized, and I had never thought about this, that the root — the Greek root for the word “beauty” is related to the word for “calling”; to “kalon” and “kalein.”
O’Donohue: That’s right. That’s it exactly.
Tippett: That’s fascinating.
O’Donohue: It is, actually, and it means that, actually, in the presence of beauty, it’s not a neutral thing, but it’s actually calling you. And I feel that one could write a wonderful psychology just based on the notion of being called — being called to be yourself and called to transfigure what has hardened or got wounded within you. And it’s also, of course, the heart of creativity, this calling forth all the time, because, like in the work that I do, trying to write a few poems, you never write the same poem twice. You’re always at a new place, and then you’re suddenly surprised by where you get taken to.
On Being with Krista Tippett, John O’Donohue : The Inner Landscape of Beauty
Original Air Date : February 28, 2008
“Pleasure … can fortify us. The pleasure that is beauty, the beauty that is meaning, order, calm” (RS)
