“If you already do the Sunday crossword puzzle and it’s not challenging, pick up something new, find that exercise regimen that you’ll adhere to,” she says, “and if you can do it around people, that’s even better.”
Langbaum notes that socializing is one of the best ways to keep your brain young. (NPR)
Lee Friedlander.
10 Nudes, presented in a combination of early and contemporary prints, is curated by Alina Sinetos at CASTLE.
10 Nudes is an exhibition of black and white photographs by Lee Friedlander (b. 1934). Friedlander’s nudes, taken between 1977-1990, were first shown together in 1991 at the Museum of Modern Art, New York, in an exhibition of 52 photographs curated by John Szarkowski that coincided with the publication of the book Lee Friedlander: Nudes.
As part of Thembinkosi Hlatshwayo’s residency, he hosted a Photo Walk in the Allapatah neighborhood.
Poems are porous constructs: here life flows and seeps in and out, incalculably strong-headed, recognizable and in the most foreign shape.
The poet: always in partibus infidelium
From “Microliths” By Paul Celan, Translated By Pierre Joris, Translated from the German.
Rain tomorrow.
That volcano in the Philippines at it again. What’s her name
Anderson died no not Shirley
the opera singer. Negress.
Cancer.
Anne Carson, The Glass Essay
Kazuko Miyamoto, String Constructions, 117 Hester Street, 1972-73
Exile, Berlin, May 3 – August 2, 2025
The Jameson Tapes, Side A. Matt Seybold, with Isabel Bartholomew, Anna Kornbluh, Caleb Smith, Robert Tally, & Fredric Jameson.
These days the words become real
only for the speaker—the air whispers to me—the listener is stealing away,
back to its dark habitat, where all is
unsayable. Unforgettable I try to add. Unfathomable?
Jorie Graham, When the End Starts, August 21, 2025 issue.
Bird&LeJeune
Gabriel Orozco, Sculpture between spectacle and use value, Benjamin H. D. Buchloh. ArtForum, Summer 2005.
How can the sculptural object resist the process of fetishization (especially in a historical moment when universal technological object production and digitality make us crave compensations for the universal loss of tactility)? And how can sculpture accomplish the experience of simultaneous collective reception that was formerly its greatest social promise? Lastly, how can sculpture resist its transition into the sphere of spectacle culture, when this is indeed the universal regime governing sight, sound, and tactility, as the British art historian T. J. Clark has formulated most succinctly:
Spectacle, as a concept, was accompanied by the idea of “the colonisation of everyday life.” That meant several things. Pervasive surveillance. The monetisation of more and more of the species’ so-called unproductive life. The recruiting of more and more of us to the task of providing our masters with “information” about our every doing. The shrinkage of time out. The commodification of play. But perhaps what the situationist theorists most saw in the “everyday”—most regretted as they saw it vanish—was the body clock, the lapse of attention, the recalcitrance of the organism, the idle interest in what someone else was doing, was feeling, was like. Bodies spoke a different language from that of their leaders. They were a reservoir of insubordination. They looked up at the pyramid or the Statue of Liberty and shrugged.
Is all that counter-language a thing of the past? Has the spectacle extinguished it, or managed a life for it on a set of reservations? Art. Sex. Poetry.
[…]
Ever since Nauman (and corresponding figures in Italian Arte Povera like Giuseppe Penone), sculptural production has comprised, if not even required, the presence of photography as a discursive element. The photograph corresponds, complements, or even dissolves the sculptural object’s manual and artisanal production procedures, functioning not as document but as its dialectical technological counterpart.
[…]
the reintroduction of the ancient Marxist concept of use value,the dialectical opposite of exchange value, and, more recently, also the sole form of resisting exhibition value, which has totally effaced the concepts of material use and function. But use value had of course also been the archenemy of modernist sculpture. For one, its simplistically radical withdrawal from functional objects like a urinal had been one of the great mysteries of Duchamp’s readymade since 1917. Now Orozco resurrects one of the archaic and at the same time transhistorical models and actually functioning structures that had always fused function, use value, and immaterial spirituality: the architectural typology of the bridge.
Gabriel Orozco: Politécnico Nacional. 01.FEB. – 03.AUG.2025
Take
and give glee.
Summon surprise.
Something whim-
sical this way comes.
It smells something
like wishes wrapped
in wind as you
trod the winding path
through
the forests
of your interior.
38. Shedding the Old, Samantha Thornhill
