Category: art

  • representations in Late

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    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”

    The LRB Podcast, Poetry and the Turning World: Weather. Sarah Howe and Sandeep Parmar discusses wind, clouds, hurricanes via poems.

    “The weather app is no oracle.” Maureen N. McLane


    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)

  • Our vast array

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    A detail of Julie Mehretu’s site-specific diptych, OWL, eon (I, II), 2017. SFMOMA’s Evelyn and Walter Haas, Jr. Atrium.

    “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?

    The Only Me, Pat Mora

  • the gleam of my eye; Beauty

    (Belleau Wood, 1917)

    “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.”

    Alfonzo Prepares to Go Over the Top, Rita Dove


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    AG2026_1211969a
  • A fine fixed point

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    "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.

    Sonnets on Love XIII by Jean de Sponde, translated by David R. Slavitt.


    Jason Hirata on Louise Lawler. Dia. Birdcalls (1972/1981) (Audio recording and text, 7:01 minutes).


    “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)

  • Survival is insufficient

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    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

    Kubla Khan, Samuel Taylor Coleridge


    “Because survival is insufficient.” (Emily St. John Mandel)

  • Earned, by practice

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    “earn—by practice and careful contemplation—the right to express it”

    “The danger and its necessity focused them, made them calm.”

    (TM)

  • AG2025_1222201a or concentrated my attention with careful subtlety to this end.


    Success is counted sweetest
    By those who ne’er succeed.
    To comprehend a nectar
    Requires sorest need.

    Not one of all the purple Host
    Who took the Flag today
    Can tell the definition
    So clear of victory

    As he defeated – dying –
    On whose forbidden ear
    The distant strains of triumph
    Burst agonized and clear!

    Success is counted sweetest (112), Emily Dickinson


    As she laughed I was aware of becoming involved in her laughter and being part of it, until her teeth were only accidental stars with a talent for squad-drill. I was drawn in by short gasps, inhaled at each momentary recovery, lost finally in the dark caverns of her throat, bruised by the ripple of unseen muscles. An elderly waiter with trembling hands was hurriedly spreading a pink and white checked cloth over the rusty green iron table, saying: ‘If the lady and gentleman wish to take their tea in the garden, if the lady and gentleman wish to take their tea in the garden …’ I decided that if the shaking of her breasts could be stopped, some of the fragments of the afternoon might be collected, and I concentrated my attention with careful subtlety to this end.

    Hysteria, T. S. Eliot


    Another end.

  • atmosphere-generating juxtaposition

    Beatriz Monteavaro, Tonight, We Can Be As One Tonight.

    Under the Bridge.
    12425 NE 13th Ave, North Miami, 33161.


    The kinds of proximity that matter here are made by practices of attention not defined by dissensus or agonism but technically, by atmosphere-generating juxtaposition. This proximity dilutes what we called structural by shifting the force of the normative infrastructures from the state and commodity capitalism into the ordinary that also includes local plural intimacies and the associations that make life sticky and interesting.

    Berlant