My heart is bleeding. It bleeds upward and fills
my mouth up with salt. It bleeds because of a city in ruins,
the chair still warm from sister’s body,
because it will all be irreproducible. My heart
bleeds because of baby bear not finding mama bear and it bleeds
to the tips of my fingers like I painted my nails Crimson.
Sometimes my heart bleeds so much I am a raisin.
It bleeds until I am a quivering ragged clot, bleeds at the ending
with the heroine and her sunken cancer eyes, at the ending
with the plaintive flute over smoke-choked killing fields. I’m bleeding
a river of blood right now and it’s wearing a culvert in me for the blood. My heart
rises up in me, becomes the cork of me and I choke on it. I am bleeding
for you and for me and for the tiny babies and the IED-blown
leg. It bleeds because I’m made that way, all filled up with blood,
my sloppy heart a sponge filled with blood to squeeze onto
any circumstance. Because it is mine, it will always bleed.
My heart bled today. It bled onto the streets
and the steps of city hall. It bled in the pizza parlor with the useless jukebox.
I’ve got so much blood to give inside and outside of any milieu.
Even for a bad zoning decision, I’ll bleed so much you’ll be bleeding,
all of us bleeding in and out like it’s breathing,
or kissing, and because it is righteous and terrible and red.
Another wonderful tutorial from The School Of Life, attempting to answer one of Life’s more encompassing yet overlooked questions.
(republished from Time Lightbox, http://time.com/4476737/california-gregory-halpern/)
In Gregory Halpern’s new book, ZZYZX, the viewer is taken on what feels like a visual pilgrimage, exploring southern California both in and around Los Angeles. Shot between 2008 and 2015, Halpern’s images were directly inspired by the city itself, with the route beginning east of Los Angeles, in the desert, then traveling through the city, and eventually ending at the Pacific Ocean. This path can be likened to America’s Westward Expansion, while capturing the essence of Los Angeles’ unique diversity. Continue reading Gregory Halpern, from his new book ZZYZX, a visual pilgrimage in Southern California
Gerhard Richters 15-painting cycle, October 18, 1977 is arguably one of the most important works of art of the second half of the 20th century. Now in the permanent collection of the Museum of Modern Art, the collection of black and white oil paintings drew from ubiquitous photographs of the Baader-Meinhof era. Angering the German public when it first appeared in the late 1980s, it has become recognized as Richter’s masterwork.
Philip Guston: Anxiety 1975, oil on canvas, 57 1/2 x 80 1/4 inches
Skid Row, San Francisco, California (Great Depression), 1937
left: Idoma Seated Female Figure, Africa Origin: Nigeria Circa: 19 th Century AD to 20th Century AD
right: Africa | Female figure “anjenu” from the Idoma people of Nigeria | Wood, polychrome paint
Idoma figures, Nigeria:
In 1985, François Neyt identified the Idoma’s “Ekotame and Anjenu sitting figures” as a pre-eminent corpus. (Neyt, 1985, p. 101-116). As part of the deeply ingrained tradition of female representation in the Benue region – maternity figures, women sitting and standing – they offer the most striking of its expressions in their extolment of strength and dignity combined. Continue reading Idoma Seated Female Figures, Africa Origin: Nigeria Circa: 19 th Century AD to 20th Century AD