a boy smelling faintly of heather staring up at your window
the passion that enlightens and stills and cultivates, gone
while I sought your face to be familiar in the blueness
or to follow your sharp whistle around a corner into my light
that was love growing fainter each time you failed to appear
I spent my whole self searching love which I thought was you
it was mine so briefly and I never knew it, or you went
I thought it was outside disappearing but it is disappearing in my heart
like snow blown in a window to be gone from the world
I will always love you.
Featuring the work of 42 poets and artists, from Dylan Thomas to Frank O’Hara, and Helen Phillips to Willem de Kooning, the portfolio 21 Etchings and Poems, published in 1960, represents a noteworthy collaboration between the visual and literary arts. Each print closely integrates text and image, including a poem written in the hand of its author and imagery created through a wide range of innovative print techniques. Initiated by artist Peter Grippe, director of the renowned Atelier 17 print workshop, and the result of nearly ten years of effort, 21 Etchings and Poems is not only a landmark of mid-20th century American print publishing, but is unique in its inclusion of writers and artists from across the spectrum of 1950s cultural production.
For more than half a century, Freud has concentrated on depicting the human face and figure in paintings, drawings, and etchings. Earlier examples are smaller in scale and crafted in a distinctive, meticulous style with extreme precision. Freud's major compositions of the last thirty years are considerably larger, with heavily worked and impastoed surfaces. The model for this picture, Leigh Bowery (Australian, 1961–1994), was a performance artist in London.
Bruno Walpoth‘s human figures created from limewood or walnut come about as a result of his meeting and dealing with models. On a scale of one-to-one, the bodies, lines and forms of the few young, gaunt men and the myriad of beautiful women take shape from the block of wood by means of his hands.
The Impressionism wing strikes me as too dainty for my mood, except for one oil painting by Gustave Caillebotte, Calf’s Head and Ox Tongue, which is described in the wall text as “visually unpleasant.” A bust of an African woman bums me out. This year, I cried at everyone’s kitchen table, I spit on the street and was late on purpose and stepped in glass and my dog died and I saw minuses over and over. I’ll figure it out. I let a man walk away and then another one. It has taken me exactly this long to realize I could have done something else. I'm being repetitive now but do you ever hate yourself?
Calf's Head and Ox Tongue Date (c. 1882) Gustave Caillebotte French, 1848-1894
Hilma af Klint (October 26, 1862 – October 21, 1944) was a Swedishartist and mystic whose paintings were among the first abstract art. A considerable body of her abstract work predates the first purely abstract compositions by Kandinsky. She belonged to a group called "The Five", a circle of women who shared her belief in the importance of trying to make contact with the so-called "High Masters"—often by way of séances. Her paintings, which sometimes resemble diagrams, were a visual representation of complex spiritual ideas.
Featuring interviews with Tracey Bashkoff, Christine Burgin, Susan Cianciolo, and Josiah McElheny
Produced by Ways & Means Directed by Ted Gerike and Felipe Lima Executive Producers Lana Kim and Jett Steiger Producer Steph Max Guggenheim Producers Stephan Knuesel and Naomi Leibowitz Voiceover Narrator Hayley Magnus Editor Sean Leonard Music Andrew Miller Sound Mixer Colin Alexander Motion Graphics Matthew Miller Post Sound Unbridled Sound Sound Supervisor Brent Kiser Sound Editor Ian Chase Color Bossi Baker