Forces of Expression at the Frick
“I thought that I liked the Turners because they opened out onto the world rather than closing me in with the pantheon, but it was the wrong world. Turner’s glowing shores were proxies for what I longed to see: a different heat and haze, a native landscape, some record of the places that made this mansion possible. The Collection, perhaps by no fault of its own, makes apparent our ignorance of all the processes that precede it, coal into coke into steel into canvas. I would have preferred two large paintings that opened out onto that, the furnace of an older history that we have so few windows into, that barely even haunts us, that we allow the barons to replace with idylls and seascapes, a fictional European scrim over the fearsome topography of the country.”
Ben Tapeworm on the reopening of the Frick Collection.
Ben Tapeworm on the reopening of the Frick Collection.
Josef Albers
Einer geht
einer steht
wer hat mehr vecht
auf den Weg
One is walking
one is standing
who is more entitled
to the path
Josef Albers, Poems & Drawings
einer steht
wer hat mehr vecht
auf den Weg
One is walking
one is standing
who is more entitled
to the path
Josef Albers, Poems & Drawings
Agnes Denes
Wouldn't it be a shame if mankind were beginning to understand its own mind and the nature of consciousness just as it was losing its humanity? If it became so mechanized that discovering what it is that makes it human were to become just another equation, a cold fact that no longer had any value except its utility in making a better machine?
Agnes Denes, The Book of Dust
Agnes Denes, The Book of Dust
Pascal's Perfect Probability Pyramid & The People Paradox - The Predicament (PPPPPPP): Agnes Denes, 1980
Rick Myers: Two Things, Quite Intertwined
“....with the history of Morse, the transmission of incremental visual language and sound, and notions of data storage and retrieval all having strong relationships with research and thought focuses within my practice, these signature vestiges of the Morse photocopier were perfectly in-keeping with the work. It was an incidental chance encounter that wasn’t repeatable, and a way to know that I'm in the right place at the right time in my life, and using the work as a way to navigate that. Honestly, it sounds a bit romantic, I hope it does, the practice of moving through the day-to-day and accessing what is already right in front of you, that’s really, really special. I think of it as my day-to-day job, maintaining that space.”
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Anne Truitt
“I write in Yaddo's Stone South studio once more, glancing out now and then over the autumn berry bushes into the familiar meadow and apple trees, now so richly laden that their dark trunks rise from circles of fallen fruit, the pale, clear green of sun in a curling wave.
When I stayed at Aunt Nancy's farm in Virginia as a young girl, it was my job to separate the milk every morning and evening. I used to marvel that all I had to do was to assemble, carefully and with very clean hands, a well-scrubbed device and turn the crank for cream to emerge.
I never understood how the mechanism worked; nor do I understand why the simple act of writing has so apparently effortlessly revealed to me the secret logic of my life. And, in that logic, a faith to illuminate my days.”
Anne Truitt, Daybook, 1982
When I stayed at Aunt Nancy's farm in Virginia as a young girl, it was my job to separate the milk every morning and evening. I used to marvel that all I had to do was to assemble, carefully and with very clean hands, a well-scrubbed device and turn the crank for cream to emerge.
I never understood how the mechanism worked; nor do I understand why the simple act of writing has so apparently effortlessly revealed to me the secret logic of my life. And, in that logic, a faith to illuminate my days.”
Anne Truitt, Daybook, 1982
Stone South 3, Acrylic on paper 1974