Category Archives: Art

Left: Martin Eder, A Year Without Light, Right: Balthus, The Guitar Lesson

Little Girls and Ambivalent Cats: Balthus and Martin Eder

Balthus is a monolith standing in a sea of movements. He has no followers. Or rather had. Martin Eder too paints fantasies of naked little girls and cats. Balthus’ are simple ironies. Eder’s paintings are ironies on ironies. Balthus and

Left: Martin Eder, A Year Without Light, Right: Balthus, The Guitar Lesson

Little Girls and Ambivalent Cats: Balthus and Martin Eder

Balthus is a monolith standing in a sea of movements. He has no followers. Or rather had. Martin Eder too paints fantasies of naked little girls and cats. Balthus’ are simple ironies. Eder’s paintings are ironies on ironies. Balthus and

Lao Tie, Old Iron, People Mountain People Sea

People Mountian People Sea

“If you believe in improvement you must weep, for the attained perfection must end in cold, darkness and silence.” – Joseph Conrad ‘People Mountain People Sea’ are China’s multitudes, its masses toiling in factories, mines, quarries, lumberyards, the invisible hordes

Lao Tie, Old Iron, People Mountain People Sea

People Mountian People Sea

“If you believe in improvement you must weep, for the attained perfection must end in cold, darkness and silence.” – Joseph Conrad ‘People Mountain People Sea’ are China’s multitudes, its masses toiling in factories, mines, quarries, lumberyards, the invisible hordes

The Leviathan swims

Leviathan

“Everything’s sacred, everything’s sacred. Remember, my boy: there’s nothing natural in nature. When it seems natural to you, it’ll be the end. Something else will start.” –       The Centaur, in Pier Palo Pasolini’s Medea After losing his wealth, family and

The Leviathan swims

Leviathan

“Everything’s sacred, everything’s sacred. Remember, my boy: there’s nothing natural in nature. When it seems natural to you, it’ll be the end. Something else will start.” –       The Centaur, in Pier Palo Pasolini’s Medea After losing his wealth, family and

Gerard ter Borch, nape of a young woman, detail, from "The Concert"

Gerard ter Borch: The Language of the Nape

The language of the nape is that of timidity; discretion; shame. The nape speaks without words, as if embarrassed by the idea of language (the language of painting); shamed by the will to express, to communicate. The nape hints at

Gerard ter Borch, nape of a young woman, detail, from "The Concert"

Gerard ter Borch: The Language of the Nape

The language of the nape is that of timidity; discretion; shame. The nape speaks without words, as if embarrassed by the idea of language (the language of painting); shamed by the will to express, to communicate. The nape hints at

Albrecht Dürer, Indoctrination into Measurement, 1525

Albrecht Dürer’s pre-pornographic Venus

A screen is interposed between the student draughtsman and his model, a youthful reclining Venus, the artist and his model separated by a rectangle, a wire grid of rationality, a mapping of space and flesh. The draughtsman’s indoctrination into measurement

Albrecht Dürer, Indoctrination into Measurement, 1525

Albrecht Dürer’s pre-pornographic Venus

A screen is interposed between the student draughtsman and his model, a youthful reclining Venus, the artist and his model separated by a rectangle, a wire grid of rationality, a mapping of space and flesh. The draughtsman’s indoctrination into measurement

Georges Merillon, Kosovo, 1990, world Press Photo Award

The Proselyte Photograph (Part 3 of 3)

III Christe, cum sit hinc exire, da per Matrem me venire ad palmam victoriae. Christ, when Thou shalt call me hence, be Thy Mother my defense, be Thy Cross my victory. The conundrum which arises from the nature of the

Georges Merillon, Kosovo, 1990, world Press Photo Award

The Proselyte Photograph (Part 3 of 3)

III Christe, cum sit hinc exire, da per Matrem me venire ad palmam victoriae. Christ, when Thou shalt call me hence, be Thy Mother my defense, be Thy Cross my victory. The conundrum which arises from the nature of the

Samuel Aranda, Yemen, 2011, World Press Photo Award

The Proselyte Photograph (Part 2 of 3)

II Quis est homo qui non fleret, matrem Christi si videret in tanto supplicio? Is there one who would not weep, whelmed in miseries so deep, Christ’s dear Mother to behold? This photographic image is an idol, a cross to

Samuel Aranda, Yemen, 2011, World Press Photo Award

The Proselyte Photograph (Part 2 of 3)

II Quis est homo qui non fleret, matrem Christi si videret in tanto supplicio? Is there one who would not weep, whelmed in miseries so deep, Christ’s dear Mother to behold? This photographic image is an idol, a cross to