2015: Grid

Victor Hugo Zayas - Grid Series 16 (2015)

Victor Hugo Zayas: Grid Series 16 (2015)

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1909: The Seven Ravens

Arthur Rackham - Fairy Tales of the Brothers Grimm (1909 edition)

The good little sister took a knife and cut off her own tiny finger, fitted it into the keyhole, and succeeded in opening the lock.

When she had entered, she met a Dwarf, who said: “My child, what are you looking for?”

“I am looking for my brothers, the Seven Ravens,’ she answered.

The Dwarf said: “My masters, the Ravens, are not at home; but if you like to wait until they come, please to walk in.”

Thereupon the Dwarf brought in the Ravens’ supper, on seven little plates, and in seven little cups, and the little sister ate a crumb or two from each of the little plates, and took a sip from each of the little cups, but she let the ring she had brought with her fall into the last little cup.

All at once a whirring and crying were heard in the air; then the Dwarf said: “Now my masters the Ravens are coming home.”

Then they came in, and wanted to eat and drink, and began to look about for their little plates and cups.

But they said one after another: “Halloa! who has been eating off my plate? Who has been drinking out of my cup? There has been some human mouth here.”

And when the seventh drank to the bottom of his cup, the ring rolled up against his lips.

He looked at it, and recognized it as a ring belonging to his father and mother, and said: “God grant that our sister may be here, and that we may be delivered.”

As the maiden was standing behind the door listening, she heard the wish and came forward, and then all the Ravens got back their human form again.

And they embraced and kissed one another, and went joyfully home.

The Fairy Tales of the Brothers Grimm (1909); illustration by Arthur Rackham

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1941: A Thing of Beauty is a Joy Forever

Russell Lee - Candy stand run by Negro. Southside, Chicago, Illinois (1941) small

Russell Lee: Candy stand run by Negro. Southside, Chicago, Illinois (1941)

A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.

John Keats, Endymion (1818)

The phrase “There’s no place like home” is a line from the song “Home, Sweet Home” from the opera Clari (1823): “’Mid pleasures and palaces though we may roam, / Be it ever so humble, there’s no place like home”(words by John Howard Payne and music by Henry Rowley Bishop); it was also famously spoken by Judy Garland in the role of Dorothy in the film version of The Wizard of Oz (1939).

I have cropped the photo. Click on it to see the original. (source)

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1966: Coleslaw

Cole Slaw

From a 1996 essay by Elisabeth Roudinesco, “Lacan and Derrida in the History of Psychoanalysis”:

The first encounter between Lacan and Derrida took place…at a famous symposium held in Baltimore in October 1966, which, under the auspices of the Center for the Humanities at Johns Hopkins University, assembled some of the most prestigious French and American academics in the fields of the human sciences and of the interpretation of literary texts.

At dinner…Derrida raised questions close to his heart, about the Cartesian subject, substance, and the signifier. While eating coleslaw, Lacan replied that his subject was the same as the one proposed by his interlocutor as an alternative to the theory of the subject. In itself, the remark was not false, but Lacan hastened to add: “You can’t bear the fact that I have already said what you want to say.” Derrida responded without missing a beat: “That is not my problem.”

From Peter Salmon’s An Event, Perhaps: A Biography of Jacques Derrida (2020):

Despite teaching at the same institution, and being aware of each other’s work, Lacan and Derrida had not met until they attended a dinner at the Belvedere Hotel in Baltimore. It was at an event hosted by the conference organizers, with Lacan holding, incongruously, a plate of coleslaw. According to one account by Lacan’s biographer, Elisabeth Roudinesco, the pair immediately exchanged terse words on the Cartesian subject, substance and the signifier, with each claiming the primacy of his own position against the other’s, chronologically and intellectually. Derrida’s own recollection is more mundane. Lacan was concerned with more prosaic matters. Editions du Seuil had decided to bring Écrits out in a single volume and he was concerned that the binding might be insufficient, meaning that it could fall to pieces in the reader’s hands. Lacan quizzed Derrida about what he knew of binding and glue. Derrida recalled the conversation — “You’ll see,” he told me as he made a gesture with his hands, “it’s not going to hold up.” Derrida does not relate any advice he may have offered regarding adhesives.

From Cynthia L Haven’s Evolution of Desire: A Life of René Girard (2018):

Lacan came to the conference early, via New York, where he had made a detour to see the Albert C. Barnes Foundation art collection outside Philadelphia. A graduate student, Anthony Wilden, had trekked to New York for the care and feeding of Lacan, whose English was sketchy.

Lacan was high-maintenance. “He wanted his underwear laundered,” said [Johns Hopkins professor Richard Macksey]. “They were silk and he wanted them hand laundered. He wanted this and he wanted that.” The Girards remembered the underwear, too. They laughed as they recalled the graduate student who took Lacan’s silk shirts and knickers to the laundry. He reported later that when the Chinese managers at the cleaners were warned that they were “fancy” and “special” shirts, they responded by wadding them up and throwing them on the floor, putting the snooty customer in his place, in absentia.

From Lacan’s talk at the 1966 conference, “Of Structure as an Inmixing of an Otherness Prerequisite to Any Subject Whatever”:

When I prepared this little talk for you, it was early in the morning. I could see Baltimore through the window and it was a very interesting moment because it was not quite daylight and a neon sign indicated to me every minute the change of time, and naturally there was heavy traffic and I remarked to myself that exactly all that I could see, except for some trees in the distance, was the result of thoughts actively thinking thoughts, where the function played by the subjects was not completely obvious. In any case the so-called Dasein as a definition of the subject, was there in this rather intermittent or fading spectator. The best image to sum up the unconscious is Baltimore in the early morning.

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1980: Burnt House

Robert Gober - Burnt House (1980)

Robert Gober: Burnt House (1980)

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2nd Century: Dodecahedron

DodecahedronThe following entry appears in the 1849 catalog of the miscellaneous collections of the Society of Antiquaries of London:

A singular object of bronze, in form of a hollow dodecahedron…with a ball attached to each angle; each of its pentagonal sides is pierced with a circular opening, the diameters of these perforations increasing gradually from six-tenths to about 1 ½ inch. Each side measures, in diameter, 2 1/5 inches. It was found in May, 1768, at a depth of about 8 feet, on the north side of St. Peter’s Church, Carmarthen. Several pieces of copper, curiously laid in flag-bricks, were found at the same time, but they crumbled to dust….A similar bronze dodecahedron, found with copper coins at Aston, in Hertfordshire, in a field called Hagdale, was exhibited to the Society by Mr. North, June 28, 1739….A third, resembling these, but of smaller size, and without balls at the angles, found near Fishguard, was sent by the Rev. Edward Harries of Llandysilio, Pembrokeshire, March 12, 1846.

Since Mr. North’s 1739 discovery, 116 pieces of similar dodecahedra have been found across Europe. They date generally to the Roman Empire—the second, third, and fourth centuries AD. They have been found in riverbeds, military camps, public baths, a theater, a tomb, a hoard, a temple, and in a filled well

Although dozens of theories have been put forth regarding the purpose and use of these objects, there is nothing close to a consensus. The dodecahedron has been seen as an amulet; the head of a mace or scepter; a measuring device; a rangefinder; a calibration gauge; an astronomical or fortune-telling device; a candle-holder; a military symbol; a toy; and a magical item. Evidence points away from some of these theories: they are not standard sizes and bear no signs or numbers, so it seems unlikely they were measuring devices; they do not roll well due to the soldered-on knobs, so they were not dice.

Scholars find no mention of them in ancient texts, and even precise dating is difficult since most of them were not found in archaeological excavations.

It is notable that, although found as far north as Hadrian’s Wall and as far east as Szőny in Hungary, none have been found in other parts of the Roman Empire—Italy, Africa, or present-day Spain.

The one pictured is housed in the Hunt Museum in Limerick, Ireland.

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1928: Damaged

Walker Evans - [Workers Loading Neon _Damaged_ Sign into Truck, West Eleventh Street, New York City] (1928-1930)

Walker Evans: [Workers Loading Neon “Damaged” Sign into Truck, West Eleventh Street, New York City] (1928-1930)

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19th Century: Provenance Unknown

American School (maybe) - A Child holding a Lizard (19th-20th Century)

Portrait of a child holding a lizard. Nineteenth or twentieth century, maybe American.

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1390: And the Books Were Opened

Jacobello Alberegno - Polyptych of the Apocalypse (c 1390) [detail]

Jacobello Alberegno’s polyptych of the Apocalypse was originally part of a much larger set of artworks in the church of the Benedictine convent of San Giovanni Evangelista on the Venetian island of Torcello; it is now on display in the Gallerie dell’Accademia. The five panels depict scenes from the Book of Revelations:

Jacobello Alberegno - Polyptych of the Apocalypse (c 1390)

The panels include the chapter number of the scene depicted:

XVII: I saw a woman sit upon a scarlet colored beast, full of names of blasphemy, having seven heads and ten horns. And the woman was arrayed in purple and scarlet color, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication. And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH. And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus: and when I saw her, I wondered with great admiration.

XX: And I saw a great white throne, and him that sat on it, from whose face the earth and the heaven fled away; and there was found no place for them. And I saw the dead, small and great, stand before God; and the books were opened: and another book was opened, which is the book of life: and the dead were judged out of those things which were written in the books, according to their works.

IV: Behold, a throne was set in heaven, and one sat on the throne. And he that sat was to look upon like a jasper and a sardine stone: and there was a rainbow round about the throne, in sight like unto an emerald. And round about the throne were four and twenty seats: and upon the seats I saw four and twenty elders sitting, clothed in white raiment; and they had on their heads crowns of gold. And out of the throne proceeded lightnings and thunderings and voices: and there were seven lamps of fire burning before the throne, which are the seven Spirits of God. And before the throne there was a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. And the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle.

XIV: And another angel came out of the temple which is in heaven, he also having a sharp sickle. And another angel came out from the altar, which had power over fire; and cried with a loud cry to him that had the sharp sickle, saying, Thrust in thy sharp sickle, and gather the clusters of the vine of the earth; for her grapes are fully ripe. And the angel thrust in his sickle into the earth, and gathered the vine of the earth, and cast it into the great winepress of the wrath of God.

XIX: And I saw the beast, and the kings of the earth, and their armies, gathered together to make war against him that sat on the horse, and against his army.

“Him that sat on the horse” refers to an earlier passage: “And I saw heaven opened, and behold a white horse; and he that sat upon him was called Faithful and True, and in righteousness he doth judge and make war. His eyes were as a flame of fire, and on his head were many crowns; and he had a name written, that no man knew, but he himself. And he was clothed with a vesture dipped in blood: and his name is called The Word of God.”

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1889: Artist-in-Residence

Buffalo Bill's Wild West and Congress of Rough Riders of the World - Courier Litho. Co., Buffalo, N.Y. (c 1896) small

Nathalie Micas and Rosa Bonheur (1864)The celebrated 19th century French painter and sculptor Rosa Bonheur was known for wearing men’s pants, shirts, and ties, as well as participating in traditionally masculine activities such as hunting and smoking. She lived with her lifelong partner, Nathalie Micas (left in photo), for over 40 years, eventually in a castle near Fontainebleau that she had purchased with her earnings as a painter.  They lived with a menagerie of farm animals, dogs, cats, and birds—as well as a tamed lioness named Fathma.

Micas’s death in June 1889 coincided with the arrival of Buffalo Bill’s Wild West show in Paris, as part of the Exposition Universelle, an event celebrating the 100th anniversary of the Storming of the Bastille and featuring the debut of the Eiffel Tower. In an effort to distract her from the tragedy of her partner’s death, Bonheur’s art dealer arranged for her to visit the event. At the time, Bonheur was likely the most famous living painter in Europe.

The American showman William Frederick “Buffalo Bill” Cody had founded Buffalo Bill’s Wild West in 1883. The show featured a large company of performers—including many Native Americans and famous historical western figures like Annie Oakley and Calamity Jane —who would demonstrate horseback riding and sharpshooting skills, as well as staging simulations of “wild west” scenes like the riding of the Pony Express, Native American attacks on wagon trains, and stagecoach robberies.

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