Thursday, May 23, 2013
As we pass above the clouds, everything is blue. Then black. Stars here and there, and planets, if you know what you are looking at.
Joan Mitchell (1925-1992) is an important U.S. painter, a "second generation" abstract expressionist, who, when describing her latest canvases, referred to them as "My black paintings -- although there's no black in them."
Here is a BOMB interview with the artist at her home in Vetheuil, France, in October, 1985.
Wednesday, May 22, 2013
The phenakistoscope is built on a succession of formal symmetries that, once activated, produce a narrative. In yesterday's example the narrative is a succession of ascending balloons.
Last week, Kevin resumed the experiment. Below is this year's picture:
Tuesday, May 21, 2013
Monday, May 20, 2013
Sunday, May 19, 2013
The Tilt-a-Whirl is my least favourite amusement park ride, one that my sister and I were forgotten on at the PNE one summer's night in 1971, when the operator began flirting with our mother.
Unlike the centrifuge Antoine struggles against in yesterday's post, the Tilt-a-Whirl is a more individualized variant that jerks more than it rotates.
Saturday, May 18, 2013
Yesterday's post included an excerpt from Dan Graham's Body Press (1972), while today's post is something of an inversion: a scene that appears early in Truffaut's Les 400 Coups (1959) that has its subject(s) flattened and at the edge of a centre, not amidst it. This scene in some ways parallels the opening credit scene, where the Eiffel Tower provides the centre point.