Dark Clouds – The hidden side of China’s miracle economy
With photographs by Ian Teh, this is a journey into some of China’s most industrialised cities, a journey to the other side of the bright shiny facade that is the economy. It is a glimpse of another life and another world that is rarely seen.
JAMES FERRARO
KFC City 3099 : Pt.1 Toxic Spill (New Age Tapes, CD-R, 2009)
Multitopia (Self-Released, CD-R, 2009)
Marble Surf (New Age Tapes, CD-R , 2008)
Heaven’s Gate (New Age Tapes, 2009)
Edward Flex Presents : Do you believe in Hawaii ? (New Age Tapes, 2009)
JENNY HOLZER – Inflammatory Essays
Inflammatory Essays (detail) – 1979–1982. Offset poster.
The Dog – GERALD STERN
THE DOG
By Gerald Stern
What I was doing with my white teeth exposed
like that on the side of the road I don’t know,
and I don’t know why I lay beside the sewer
so that the lover of dead things could come back
with his pencil sharpened and his piece of white paper.
I was there for a good two hours whistling
dirges, shrieking a little, terrifying
hearts with my whimpering cries before I died
by pulling the one leg up and stiffening.
There is a look we have with the hair of the chin
curled in mid-air, there is a look with the belly
stopped in the midst of its greed. The lover of dead things
stoops to feel me, his hand is shaking. I know
his mouth is open and his glasses are slipping.
I think his pencil must be jerking and the terror
of smell—and sight—is overtaking him;
I know he has that terrified faraway look
that death brings—he is contemplating. I want him
to touch my forehead once again and rub my muzzle
before he lifts me up and throws me into
that little valley. I hope he doesn’t use
his shoe for fear of touching me; I know,
or used to know, the grasses down there; I think
I knew a hundred smells. I hope the dog’s way
doesn’t overtake him, one quick push,
barely that, and the mind freed, something else,
some other, thing to take its place. Great heart,
great human heart, keep loving me as you lift me,
give me your tears, great loving stranger, remember,
the death of dogs, forgive the yapping, forgive
the shitting, let there be pity, give me your pity.
How could there be enough? I have given
my life for this, emotion has ruined me, oh lover,
I have exchanged my wildness—little tricks
with the mouth and feet, with the tail, my tongue is a parrot’s,
I am a rampant horse, I am a lion,
I wait for the cookie, I snap my teeth—
as you have taught me, oh distant and brilliant and lonely.
MANHATTA – PAUL STRAND & CHARLES SHEELER
The 1926 avant-garde movie.
From “ The American ” website
One of the great ironies of Sheeler’s career—and a lingering, unresolved question—is the diminished role of photography in the artist’s work after 1929, especially in light of the extraordinary level of accomplishment represented by the River Rouge series. In the early 1930s, Sheeler came to recognize what photography could do for his painting; but many critics found works like “Classic Landscape” to be oppressively…photographic. Indeed, Sheeler’s business arrangement with Edith Halpert, his new dealer in the 1930s, required him to keep photography in the background, to prevent his paintings from being found overly dependent on the “machine.”
FRANK O’HARA – Having a coke with you
HAVING A COKE WITH YOU
is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne
or being sick to my stomach on the Travesera de Gracia in Barcelona
partly because in your orange shirt you look like a better happier St. Sebastian
partly because of my love for you, partly because of your love for yoghurt
partly because of the fluorescent orange tulips around the birches
partly because of the secrecy our smiles take on before people and statuary
it is hard to believe when I’m with you that there can be anything as still
as solemn as unpleasantly definitive as statuary when right in front of it
in the warm New York 4 o’clock light we are drifting back and forth
between each other like a tree breathing through its spectacles
and the portrait show seems to have no faces in it at all, just paint
you suddenly wonder why in the world anyone ever did them
I look at you and I would rather look at you than all the portraits in the world
except possibly for the Polish Rider occasionally and anyway it’s in the Frick
which thank heavens you haven’t gone to yet so we can go together the first time
and the fact that you move so beautifully more or less takes care of Futurism
just as at home I never think of the Nude Descending a Staircase or
at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me
and what good does all the research of the Impressionists do them
when they never got the right person to stand near the tree when the sun sank
or for that matter Marino Marini when he didn’t pick the rider as carefully
as the horse
it seems they were all cheated of some marvelous experience
which is not going to go wasted on me which is why I am telling you about it
— Frank O’Hara
