“Two Different Paths into the Distance”

Cy Twombly Drawing

A page from one of Twombly’s North African sketchbooks, a kind of first draft of the artist’s later painting career. Credit Cy Twombly, “Untitled (North African Sketchbook),” 1953, private collection, N.Y., © Cy Twombly Foundation.

Challenged to create work that could travel back to the States, Twombly created a series of wall hangings made from brightly colored fabrics. None of these works survive today, but in pictures of them, it is clear how Twombly is attempting to bring the drawings in his sketchbook to life on the wall. Rauschenberg’s work is messier, more chaotic, his “Scatole Personali” the detritus of a mind in the midst of thought, cluttered with photographs and arranged found objects from ram’s horns to pebbles. Later, in his career-defining “Combines,” which he began constructing in 1954, Rauschenberg would return to this kind of chaos; his works from his time with Twombly are a kind of disheveled, vibrant first draft.

(Tom Delavan, “How an Eight-Month Trip Shifted the Course of Art History,” NYTimes, 10-21-18)

(c) 2018 JMN.

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Hooray! An Adjective with All the Vowels!

Oracion

Oración y Meditación del Venerable P. M. Fr. Luis de Granada.

“… A darkened Rousseauian worldview.”

(David Brooks, “The Rich White Civil War,” NYTimes, 10-16-18)

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RIP, My Dear. Sadness, Please Get Gone.

Eye of Mine 1

On day 3 of Bess’s absence I wake up with and go to sleep with a dogged downness that I want to surmount as soon as possible. Wine numbs but doesn’t fix it. I hate grieving because of how my brain keeps reverting perversely to sights and sounds I long to unsee and unhear — the spectacle, relatively brief, but that’s cold comfort — of my innocent young pet’s anguish; the horrifying moment when she rolled on her side, had a spasm, which is the moment, I surmise, when she effectively expired, the remaining breaths she drew just being the body doing what it does until it shuts down. Why does the mind do that? Is it some internal mechanism that dictates that, in order to get over it, you have to keep reliving the worst part of your disaster? I just want to spew scatological invective over having to feel these feelings and suffer this insult to my mediocre contentment, this senseless deprivation of my companion, my stupid precious dog.

I’m relatively resilient. I have things to do and promises to keep, and the water works have to dry up for these projects to go forward. How much salty liquid do we store, for pity’s sake? I don’t intend to mention this event again, and beg indulgence for dwelling on it here, hoping that going through rather than around will help put it to rest. My loss is a drop in the ocean compared to the horrible things that happen in the world every second of every day, but it takes a while to heal the sting and get to that perspective.

(c) 2018 JMN.

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Bess Has Died Suddenly on 10-19-18

Bess Dead

Bess 10-19-18.

Out of the blue, she foamed and slobbered at the mouth. She then threw up copiously and walked around groaning in obvious distress, apparently abdominal, for several minutes. I realized after several moments that she had defecated nearby. I followed her around talking to her, hoping that she would get relief after upchucking. Minutes later she retreated to a corner and vomited foam. At one point she rolled on her side and flailed. Weeping, I called several vets at 8 pm on Friday. None were available for house calls. I called my sister and my neighbor. She cleaned, he massaged her, and we talked to her for 45 minutes. Her breathing came increasingly fitfully and faintly. She died.

My dog Cookie died, 3-4 years of age, October 10, 2016. I’ve shown pictures of Cookie’s box of ashes in previous posts. Bess died, 3-4 years of age, October 19, 2018. What’s with October? I’m wondering if there’s something in this environment that condemns my dogs to premature, catastrophic failure. It’s difficult to process this event. Literally one hour before her death I was kicking Bess’s big round ball to her in the livingroom, and she was blocking it with her ass, growling and swatting it with her rubber bone, and cutting off my every shot with extreme dexterity — her favorite game.

I post this with inexpressible sadness.

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“Woman From Bahia”

Woman from Bahia

“Woman from Bahia,” 19th century painting. But, wearing white gloves, a midnight-blue gown, and ropes of gold beads, she’s a self-contained presence. Credit Museu Paulista da Universidade de São Paulo.

A large 19th century painting titled “Woman From Bahia” stands in contrast to all this. We don’t know who the subject is, or who painted her, or when (the guess is around 1850). But, wearing white gloves, a midnight-blue gown, and ropes of gold beads, she’s a self-contained presence. She doesn’t seem to notice or care that the painter, or we, are there. She has a life and thoughts all her own. She may be an ex-slave; she’s also a queen.

(Holland Cotter, “Brazil Enthralls With an Art Show of Afro-Atlantic History,” NYTimes, 10-13-18)

(c) 2018 JMN.

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Distance from Marfa

Donald Judd

Donald Judd in the Architecture Office in Marfa, Tex. Credit Laura Wilson.

That Marfa is becoming a destination might have been amusing to the artist [Donald Judd]. “When Judd lived in Marfa, he already thought it was too crowded,” [Ann Temkin, chief curator of painting and sculpture at the Museum of Modern Art] said. “He kept buying ranches to get further and further away.”

(Ted Loos, “Judd Foundation Is Renovating Its Marfa Buildings. The Project Isn’t Minimal,” NYTimes, 10-13-18)

(c) 2018 JMN.

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A “four-button mongoose”?

Lenny Bruce

The comedian Lenny Bruce tested the boundaries of what was considered free speech in the 1960s. He is having a resurgence. Credit Dove/Getty Images

The Times described Mr. Bruce in 1959 as “a four-button mongoose” imbued with a streak of moral indignation. “The kind of comedy I do isn’t, like, going to change the world,” Mr. Bruce said in the interview. “But certain areas of society makes [sic] me unhappy, and satirizing them — aside from being lucrative — provides a release for me.”

(Laura M. Holson, “Lenny Bruce Is Still Talking Dirty and Influencing People,” NYTimes, 10-13-18)

(c) 2018 JMN.

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1987: Andrew

Andy1

Andy1

[Dear Mother,]

E*** was with Andrew at Albertson’s the other day and told me that every time they announced some instore special over the intercom Andrew would holler, “OK!” She looked at him and said, “They’re not talking to you, baby!” She said his expression seemed to say, “How could they possibly not be talking to me?”

When you address him saying, “Andrew!” He almost infallibly answers, “Yes?” Here’s a little ritual dialogue that we’re all playing on him these days. He rises to the bait almost every time:

“Andrew!”
“Yes?”
“Do you need a kiss?”
“No!”
“Andrew!”
“Yes?”
“Do you need a hug?”
“No!”
“Andrew!”
“Yes?”
“What DO you need?”

The answer here varies. It usually ends with him getting hugged and kissed and tickled.

His cussword is “dummy!” He hurls the epithet with such vigor it sounds like “dammit!” E*** sometimes loses patience when she’s been called “dummy!” a dozen times and pops him on the butt. He succumbs to a tragic fit of tears for about 30 seconds, then miraculously pulls himself together and presses on to chase the cat or browse in the garbage can.

(c) 2018 JMN.

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1987: High-Tech Verse and Allergies

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[Dear Mother,]

Charles B*** asked me to co-edit an anthology of high-tech verse which he has been commissioned to do by his publisher…. I’ve thought fairly seriously about it, but am thinking of passing it up in favor of things more computer-oriented, just to economize effort. It’s tempting to be drawn into something “literary” again, but doing so is usually the equivalent of working for free, and that’s no longer attractive.

Our general health is mediocre; everyone wakes up and hawks sputum for the first hour. It seems to be a Victoria-wide phenomenon; our air is loaded with dirt and pollen, which induces chronic reactions on the part of the respiratory system, which in turn causes everyone to strangle in phlegm. Sore throat for weeks on end goes with it all. Contrary to what the Chamber of Commerce may trumpet, this is emphatically not God’s country. Several doctors have said we’re the allergy capital of the country. We had occasion to take Andrew to Bobby O*** several weeks ago; he was covering for McC***, who has a large cattle operation and was out of town selling prize bulls somewhere. I graduated from high school with O*** and remember him at least from Crain. We still don’t have a satisfactory physician. McC*** is arrogant and moody. E*** has said several times that it tires and unnerves her to be exposed to his alternations of mood.

(c) 2018 JMN.

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Hilma af Klint (1862-1944)

Hilma af Klint

“The Ten Largest, No. 7, Adulthood” (1907). Credit The Hilma af Klint Foundation, Stockholm.

The idea that a woman got there first, and with such style, is beyond thrilling. Yes, I know art is not a competition; every artist’s “there” is a different place. Abstraction is a pre-existing condition, found in all cultures. But still: af Klint’s “there” seems so radical, so unlike anything else going on at the time. Her paintings definitively explode the notion of modernist abstraction as a male project. Despite several decades during which modernism’s history has been expanded and diversified, there is something towering about the emergence of af Klint, which really began in earnest in the 1980s. (She knew she was ahead of her time, and stipulated that her work not be exhibited until 20 years after her death — but it took even longer.)

(Roberta Smith, “‘Hilma Who?’ No More,” NYTimes, 10-12-18)

(c) 2018 JMN.

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