In the avoidance of that which we seek–– The sudden silence and reserve when near–– The eye that glistens with an unshed tear–– The joy that seems the counterpart of fear, As the alarmed heart leaps in the breast, And knows, and names, and greets its godlike guest–– Thus doth Love speak.
[…]
Glance strikes with glance, swift flashing high and higher, Like lightnings that precede the mighty storm; In the deep soulful stillness; in the warm, Impassioned tide that sweeps through throbbing veins, Between the shores of keen delights and pains;
Untitled (sourced from the blck indices; formed and regulated; meandering and purposeful) 2026, Graphite, colored pencil, ink, acrylic, gesso, watercolor, gouache, tape, and solvent transfer on paper, 30” x 22.25”
How do you represent the divine and the central miracles of Christianity? Divine Presence explores this question through the captivating world of marble representations in Late Gothic and Early Renaissance art. (Hatje Cantz Verlag)
“GG [Gary Garrels]: In 2008 we approached Kerry James Marshall about making new works for those walls. I had done a show here with Kerry James in the 1990s, so we already had a wonderful relationship of long standing. He decided he wanted to do something in dialogue with San Francisco’s venerable Mission mural tradition. He began discussions with Precita Eyes and came up with a plan to create views of the plantations of George Washington (Mount Vernon) and Thomas Jefferson (Monticello), but with black figures inserted. The intent was to point to the presence of black Americans on the plantations, while highlighting their absence from public history. The murals were fabulous.”
Spinning through space for eons, our earth—oceans, rivers, mountains, glaciers, tigers, parrots, redwoods— evolving wonders.
And our vast array, generations of humans—all shapes, colors, languages.
Can I be the only me?
Our earth: so much beauty, hate, goodness, greed.
“Study. Cool the climate,” advises my teacher. “Grow peace.”
Can I be the only me,
become all my unique complexity?
“A soldier waits until he’s called—then moves ass and balls up, over, tearing twigs and crushed faces, swinging his bayonet like a pitchfork and thinking anything’s better than a trench, ratshit and the tender hairs of chickweed. A soldier is smoke waiting for wind; he’s a long corridor clanging to the back of a house where a child sings in its ruined nursery… and Beauty is the gleam of my eye on this gunstock and my spit drying on the blade of this knife before it warms itself in the gut of a Kraut. Mother, forgive me. Hear the leaves? I am already memory.”
"Give me a place to stand," Archimedes said, "and I can move the world." Paradoxical, clever, his remark which first explained the use of the lever was an academic joke. But if that dead
sage could return to life, he would find a clear demonstration of his idea, which is not pure theory after all. That putative spot exists in the love I feel for you, my dear.
What could be more immovable or stronger? What becomes more and more secure, the longer it is battered by inconstancy and the stress
we find in our lives? Here is that fine fixed point from which to move a world that is out of joint, as he could have done, had he known a love like this.
“Yáng Shu?ng-z?’s Taiwan Travelogue has won the 2026 International Booker Prize.” “It succeeds as both a romance and an incisive postcolonial novel.” (NPR)
In Xanadu did Kubla Khan A stately pleasure dome decree: Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. So twice five miles of fertile ground With walls and towers were girdled round: And there were gardens bright with sinuous rills, Where blossomed many an incense-bearing tree; And here were forests ancient as the hills, Enfolding sunny spots of greenery