Now added to a Likewise.com list —
The Portage to San Cristobal of A. H.
Related reading —
On a letter from Hebrew, the fentanyl of languages —
Sunday, September 8, 2024
Language Game: Sunday in the Park with Steiner
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Sunday, October 8, 2023
Sunday in the Park with The New York Times
nytimes.com/2023/10/08/arts/design/claude-cormier-dead.html
"Mr. Cormier, an avant-garde Canadian landscape architect
who created playfully subversive and much loved public spaces,
died on Sept. 15 at his home in Montreal. He was 63."
Somewhat less playful and subversive — This journal on Sept. 15 —
Poolman! (Toronto International Film Festival Review)
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Sunday, January 24, 2021
Sunday in the Park with the Welldigger
| “… the walkway between here and there would be colder than a witch’s belt buckle. Or a well-digger’s tit. Or whatever the saying was. Vera had been hanging by a thread for a week now, comatose, in and out of Cheyne-Stokes respiration, and this was exactly the sort of night the frail ones picked to go out on. Usually at 4 a.m. He checked his watch. Only 3:20, but that was close enough for government work.”
— King, Stephen (2013-09-24). |
Related narrative — November 13, 2014.
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Wednesday, March 25, 2020
Sunday in the Park
Some notes suggested by recent posts now also tagged Three Days —
Sporkin in 1975, according to his obituary in this morning’s print edition
of The New York Times —
He reportedly died at 88 of natural causes on Monday, March 23.
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Sunday, October 29, 2017
Sunday in the Park
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Sunday, May 7, 2017
Sunday, October 6, 2013
Sunday in the Park
(Continued from Frame Tale (Oct. 1) and
this morning's Church with Josefine.)
See Trinity Knot in this journal.
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Monday, August 7, 2017
Pathbreaking
From Blockbuster, a post of Friday, August 4, 2017 —
The article suggests a look at a July 3 Times review of the life
of Jan Fontein, a former Boston Museum of Fine Arts director —
"Mr. Fontein’s time as director coincided with
the nationwide rise of the blockbuster exhibition,
and he embraced the concept. 'There was such a thing
as a contemplative museum, but I don’t think that can
survive anymore,' he told Newsweek in 1978."
From The New York Times this evening —
"Mr. Roth made his mark at the Victoria and Albert
with record-breaking exhibitions focused on
David Bowie in 2013, Alexander McQueen in 2015
and The Beatles and the youth revolution of the 1960s
in 2016."
Related material —
Record-breaking in this journal and Sunday in the Park with Death.
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Monday, July 18, 2011
Short Story
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Tuesday, June 24, 2008
Tuesday June 24, 2008
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Wednesday, December 12, 2007
Wednesday December 12, 2007
Found in Translation:
Words and Images
Words and Images
From today’s New York Times:
“Thomas P. Whitney, a former diplomat and writer on Russian affairs who was best known for translating the work of the dissident writer Aleksandr Solzhenitsyn into English, died on [Sunday] Dec. 2 in Manhattan. He was 90….
During World War II, he was an analyst in Washington with the Office of Strategic Services, a forerunner of the Central Intelligence Agency….
In the late 1960s and afterward, he bred thoroughbred horses….
On one occasion, Mr. Whitney took Mr. Solzhenitsyn to Saratoga Racetrack….”
Related material:
Words
“Lewis began with
a number of haunted images….”
a number of haunted images….”
“The best of the books are the ones…
where the allegory is at a minimum
and the images just flow.”
“‘Everything began with images,’
Lewis wrote….”
Images
Yesterday’s entry on
Solzhenitsyn and The Golden Compass
and the following illustrations…
from Sunday in the Park with Death,
a Log24 entry commemorating
Trotsky’s birthday–
–and from Log24 on the date
of Whitney’s death,
Sunday, Dec. 2, 2007—
Personal Emblem
of psychiatrist
Harry Stack Sullivan
The horses may refer to
the Phaedrus of Plato.
See also Art Wars.
Thursday, June 14, 2007
Thursday June 14, 2007
Unscholarly Notes
The time of the previous entry, 1:06:18, suggests both the date of Epiphany, 1:06, and Hexagram 18 of the I Ching: Ku, Work on what has been spoiled (Decay).
Epiphany: A link in the Log24 entries for Epiphany 2007 leads to Damnation Morning, which in turn leads to Why Me?, a discussion of the mythology of Spiders vs. Snakes devised by Fritz Leiber. Spiders represent the conscious mind, snakes the unconscious.
On Hexagram 18: "The Chinese character ku represents a bowl in whose contents worms are breeding. This means decay." —Wilhelm's commentary
This brings us back to the previous entry with its mention of the date of Rudolf Arnheim's death: Saturday, June 9. In Log24 on that date there was a link, in honor of Aaron Sorkin's birthday, to a short story by Leonard Michaels. That link was suggested, in part, by a review in the Sunday New York Times Book Review (available online earlier, on Friday). Here is a quote from that review related to the Hexagram 18 worm bowl:
"… what grabbed attention for his early collections was Michaels's gruesome, swaggering depiction of the sexual rampage that was the swinging '60s in New York– 'the worm bucket,' as Michaels described an orgy."
Related material for meditation on this, the anniversary (according to Encyclopaedia Britannica) of the birth of author Jerzy Kosinski— his novel The Hermit of 69th Street.
Kosinski was not unfamiliar with Michaels's worm bucket. For related information, see Hermit (or at least a review).
In Leiber's stories the symbol of the Snakes is similar to the famed Yin-Yang symbol, also known as the T'ai-chi tu. For an analysis of this symbol by Arnheim, see the previous entry. See also "Sunday in the Park with Death" (Log24, Oct. 26, 2003):
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Friday, January 9, 2004
Friday January 9, 2004
HURRY UP PLEASE
IT’S TIME
— T. S. Eliot,
The Waste Land, II
“A Game of Chess”
|
“Make the white Queen run so fast
|
Jan. 9 obituary of Brian Gibson —
“In 2002 he was executive producer of the film ‘Frida,’ about the artist Frida Kahlo….”
Captured for the Queen
Joan Aiken
Photo by Alex Gotfryd,
circa 1972
Jan. 9 obituary of Joan Aiken —
“Joan Aiken was born in Rye, England, a daughter of the American poet Conrad Aiken….”
“Malcolm Lowry’s Under the Volcano must be, for anyone who loves the English language, a sheer joy.”
“He was never inclined to small talk.”
— Jan. 9 obituary of Steven Edward Dorfman, writer of questions (i.e., answers) for the game show “Jeopardy!”
“What’s the Hellfire Club?”
— Joan Aiken, beginning of the final chapter of The Shadow Guests
Note that Dorfman, Gibson, and Aiken
all died on Sunday, Jan. 4, 2004.
For some related material, see
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Sunday, October 26, 2003
Sunday October 26, 2003
ART WARS for
Trotsky’s Birthday
Part I:
Symbols
From my entry of July 26, 2003, in memory
of Marathon Man director John Schlesinger:
|
Bright Star and Dark Lady “Mexico is a solar country — but it is also a black country, a dark country. This duality of Mexico has preoccupied me since I was a child.” — Octavio Paz, |
||
|
Bright Star
|
Amen. |
Dark Lady
|
For the meaning of the above symbols, see
Kubrick’s 1x4x9 monolith in 2001,
the Halmos tombstone in Measure Theory,
and the Fritz Leiber Changewar stories.
Part II:
Sunday in the Park with Death
To Leon from Diego —
Details of a mural,
A Dream of a Sunday Afternoon
in Alameda Park,
Fresco, 1947-48,
Alameda Hotel, Mexico City:
Three’s a Crowd:
Symbol:
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Sunday, September 8, 2002
Sunday September 8, 2002
ART WARS of September 8, 2002:
Sunday in the Park with Forge
From The New York Times obituary section of Saturday, September 7, 2002:
Andrew Forge, 78, Painter
and a Former Dean at Yale, Dies
By ROBERTA SMITH
ndrew Forge, a painter, critic, teacher and former dean of painting at the Yale School of Art, died on Wednesday [Sept. 4] in New Milford, Conn. He was 78…
[As a painter] he reduced his formal vocabulary to two small, basic units: tiny dots and short, thin dashes of paint that he called sticks. He applied those elements meticulously, by the thousands and with continual adjustments of shape, color, orientation and density until they coalesced into luminous, optically unstable fields.
These fields occasionally gave hints of landscapes or figures, but were primarily concerned with their own internal mechanics, which unfolded to the patient viewer with a quiet, riveting lushness. In a New York Times review of Mr. Forge’s retrospective at the Yale Center for British Art in 1996, John Russell wrote that “the whole surface of the canvas is mysteriously alive, composing and recomposing itself as we come to terms with it.”
Above: Untitled image from Andrew Forge: Recent Paintings, April 2001, Bannister Gallery, Rhode Island College, Providence, RI
See also
An Essay on the work of Andrew Forge
by Karen Wilkin
in The New Criterion, September 1996
From that essay:
“At a recent dinner, the conversation—fueled, I admit, by liberal amounts of very good red wine—became a kind of Socratic dialogue about the practice of art criticism…. There was… general agreement that it’s easier to find the rapier phrase to puncture inadequate or pretentious work than to come up with a verbal equivalent for the wordless experience of being deeply moved by something you believe to be first rate.”
See also my journal note of March 22, 2001, The Matthias Defense, which begins with the epigraph
Bit by bit, putting it together.
Piece by piece, working out the vision night and day.
All it takes is time and perseverance
With a little luck along the way.
— Stephen Sondheim
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