SENTENCE EQUATIONS: I STILL LOVE DIAGRAMMING.
for the beauty I see in my own wildly precious life*
I am waiting for the sun to shine again,
to learn how to unfurl my heart in its warmth.
These days, neither long nor short, bright nor dark,
wet nor dry, fill me with a sadness I cannot name.
~Mid-February, Ann Campanella
Photo by Christophe Jacrot
And just like that, my ache for spring is sated for now.
Detail of Ophelia, John Everett Millais, 1851
Vladimir Nabokov on reading, writing, and the three things a great storyteller must be – a fine addition to our ongoing archive of wisdom on writing.
LUPINES: some lovely, perilous thing
I should have thought
in a dream you would have brought
some lovely, perilous thing,
orchids piled in a great sheath,
as who would say (in a dream),
"I send you this,
who left the blue veins
of your throat unkissed.”
H.D., “At Baia”
The Fields of Vik, Iceland (by Aubrey Stoll)
"You want to photograph me eating chicken?"
"Well, if I let you, I need you to help me deliver a message."
"I work at this library. And before that, I was coming here for twenty years. It’s my favorite place in the world. As many people know, the main reading room of this library is supported by seven floors of books, which contain one of the greatest research collections in the world. Recently, the library administration has decided to rip out this collection, send the books to New Jersey, and use the space for a lending library. As part of the consolidation, they are going to close down the Mid-Manhattan Library Branch as well as the Science, Industry, and Business Library. When everything is finished, one of the greatest research libraries in the world will become a glorified internet cafe. Now read that back to me."
One of the Greatest research libraries in the world to become a glorified Internet cafe…
"Yearly reminder: unless you’re over 60, you weren’t promised flying cars. You were promised an oppressive cyberpunk dystopia. Here you go."
It takes a village to raise a child
SEVEN SISTERS DREAMING,
Acrylic on canvas
Marked inscriptions on canvas’s verso by artist: signed by the artist 11/10/98 + hand contour drawing + 987
Description text from legend associated with work: Title : Seven Sisters Dreaming ; Artist : Walangari Karntawarra TJAKAMARRA ; Skin : Jakamarra ; Nations : Arrernte, Luritja, Walpiri, Pintubi, Alyawarre, Yankungatjarra ; Jukurrpa : Snake, Honeyant, Euro, Seven Sisters, Witchetty Grub, Rainbow, Centipede, Catapillar, Milkyway, Kangaroo Mouse, Emu ; Story : The Seven Sisters are very important in the way children are reared and taken care of. The painting depicts the elders and grandmothers teaching our children. Education is a way of life not a system. This is how we teach. This is the 3 L’s - look, listen and learn. When we learnt about the value of the Seven Sisters we would go out and look for honey ants. In looking for a gathering of honey ants with our grandmothers, mothers and aunties, we were taught about the stars, seasonal patterns and many other things including caring and sharing, two core elements of aboriginal society as well as gaining knowledge above our land. We were taught our kinship system. This system is very complicated as it relates to everything in the Universe.
Height : 121 cm (47-1/2 in.) - Width : 76 cm (30 in.)
Stretcher with wedges
Work is in perfect condition.
Arts of the Land
Work accompanied with its certificate copy from Arts of the Land + English article about the artist
This work was exhibited at Contemporary Art Museum Les Abattoirs, Toulouse, France for the exhibition “Temps du Rêve / Dreamtime” in 2009.
Born in 1961, Walangari Karntawarra Jakamarra belongs to what has been called the “stolen generation” - Aborigine children removed from their parents to be placed in institutions or adopted by Anglo-Saxons in accordance with official policy for assimilation enacted in the 1960s. Son of an Arrernte woman and a member of the Pintupi clan, he was taken from his parents at the age of seven and grew up in an Anglo-Saxon environment.
His artistic studies at the University of Deacon led to his discovery of Western art. Thus, after having started painting in traditional aboriginal style like his grandfather Albert Namatjira, he developed a personal technique. It involved a synthesis of patterns inherited from the Aboriginal tradition and Western styles - especially those for decorative arts.
With this Walangari Karntawarra Jakamarra is quite representative of the art called “urban” practiced by the children from the stolen generation. Appropriation which is sometimes very critical of Western art and is filled with pride in a culture which others sought to disregard. Thus this canvas, palette and style evoke “liberty” drawings from Western decorative arts combined with traditional motifs.
These consist mainly of lines evoking body paint: concentric circles symbolizing sacred sites; water points often served as a stage for Ancestors of the Dreamtime (the mythical time of the work creation according to Aborigines ); U shapes isolated or in groups (either alone or accompanied by an I) designate the initiated; initiated flanked by digging sticks which plant and harvest roots and tubers; symbols and survival gages in the desert; traces of animals which we see their footprints such as those with three fingers for an emu.
This way of symbolically populating the canvas’s universe allows the artist to convene on the bottom a sort of map of the desert seen from the sky (called satellite view ) in multiple temporal layers. This site in evoked in the past and still alive with ancestral ceremonies introducing Dreamtime or the Great Ancestors - spirits , humans or animals - out of the original magma crossing the desert and forming their image.
The painting entitled “the dream of the seven sisters” is also explicitly placed under the sign of the ancestral deities who presided over the origins of the world. Therefore, almost during the same time of creation the artist is helped. The traditional designs fit on the moving background of the canvas in the manner of primitive atoms or molecules in the process of associating to give life.