“I care. I care about it all.
It takes too much energy not to care… The why of why we are here is an intrigue for adolescents; The how is what must command the living. Which is why I have lately become an insurgent again.”
-from Lorraine Hanshury’s play, The Sign in Sidney Brustein’s Window (1965)
via Corita Kent (1918-1986), highly prized, 1967. Seen at Marciano Art Foundation.
Los Angeles.
Do Ho Suh: Jagyeong Hall, Gyeongbok Palace.
Various ceramics on a table.
Cynara cardunculus, a large perennial thistle, sighted on Mount Washington.
de Young.
Zhan Wang, Artificial Rock, 2005.
Turell.
Agnes Pelton, Challenge, 1940.
Diebenkorn, Seawall, 1957.
Purvis Young, Angels and Their Horses 1985.
Helen Frankenthaler, Crusades, 1976.
David Drake, “Catination” Storage Jar, 1836.
“[…] I feel myself sufficiently strong to defy the enemy.”
via Roediger
Cynara cardunculus wasn’t sighted.
Dramatic sky.
Various arrangements–floral, lush, precise, found, precarious, disputed, adjustable, stable,
Abundance.
SFMOMA.
“To fling my arms wide
In the face of the sun,
Dance! Whirl! Whirl!”
Dream Variations, Langston Hughes (Dawoud Bey)
Braque
Sol Lewitt’s Wall Drawings
Agnes Martin
Lois Mailou Jones
Georgia O’Keefe, Black Place I, 1944
Takako Yamaguchi
Nairy Baghramian
Francis Firth, The statues on the plain, Thebes, 1858
Sunny. Clear.
Steep incline.
Survival
Survival pending
liberation
revolution
or begin again
“Can it be politics without foregrounding dissonance?”
“All sexual experiment in this film has transformative—animating, nauseating, life-threatening—consequences for the participants, whose drama is to want it all: but the task of le mariage pop is to invent an ordinariness for it. In another register we might call that politics.”
via Berlant reading of Last Tango in Paris, directed by Bernardo Bertolucci, 1972.
Soft Occupation at Sobremesa. A show organized by Juan Pablo Garza.
Reflections of Buhaina, Art Blakey & the Jazz Messengers, 6:47.
Free flight, Ernie Henry, 5:47.
This kind of concern with managing the inevitable disturbance of intimacy, codependency, or the passions …”
“a scene of a disturbance that smudges the differences among care, pleasure, control focus, and harm tests how we imagine being in the world together.” LB
Fog.
Open Call to artists of Haitian descent: Collaborate with the ALAN LOMAX audio archive of Haiti in the 1930s. Due : June 15, 2026. (Haitian Cultural Exchange)
Specific Cultural Projects Deadline : July 10, 2026 (Florida Division of Arts & Culture Grants)
A glimpse through an interstice caught,
Of a crowd of workmen and drivers in a bar-room around the stove late of a winter night, and I unremark’d seated in a corner,
Of a youth who loves me and whom I love, silently approaching and seating himself near, that he may hold me by the hand,
A long while amid the noises of coming and going, of drinking and oath and smutty jest,
There we two, content, happy in being together, speaking little, perhaps not a word.
A Glimpse, Walt Whitman
