Wednesday, December 29, 2010

fine art

Fine art

From Wikipedia, the free encyclopedia

Historically, the five greater fine arts were painting, sculpture, architecture, music and poetry, with minor arts including drama and dancing.[2] Today, the fine arts commonly include the visual art and performing art forms, such as painting, sculpture, collage/assemblage, installation, calligraphy, music, dance, theatre, architecture,photography and printmaking. However, in some institutes of learning or in museums fine art, and frequently the term fine arts (pl.) as well, are associated exclusively with visual art forms.Fine art or the fine arts describes an art form developed primarily for aesthetics and/or concept rather than practical application. Art is often a synonym for fine art, as employed in the term "art gallery".[1]
The term is today usually avoided by academic art historians[citation needed], and is much less used in any context in the UK than North America, especially in the singular

Tuesday, December 28, 2010

Monday, December 27, 2010

my girl is my world

Sophia (wisdom)

From Wikipedia, the free encyclopedia
Sophia (Σοφíα, Greek for "wisdom") is a central term in Hellenistic philosophy and religion, Platonism, Gnosticism, Orthodox Christianity, Esoteric Christianity, as well asChristian mysticism. Sophiology is a philosophical concept regarding wisdom, as well as a theological concept regarding the wisdom of God.

Sunday, December 26, 2010

Saturday, December 25, 2010

robert bly


Some love to watch the sea bushes appearing at dawn,
To see night fall from the goose wings, and to hear
The conversations the night sea has with the dawn.

If we can't find Heaven, there are always bluejays.
Now you know why I spent my twenties crying.
Cries are required from those who wake disturbed at dawn.

Adam was called in to name the Red-Winged
Blackbirds, the Diamond Rattlers, and the Ring-Tailed
Raccoons washing God in the streams at dawn.

Centuries later, the Mesopotamian gods,
All curls and ears, showed up; behind them the Generals
With their blue-coated sons who will die at dawn.

Those grasshopper-eating hermits were so good
To stay all day in the cave; but it is also sweet
To see the fenceposts gradually appear at dawn.

People in love with the setting stars are right
To adore the baby who smells of the stable, but we know
That even the setting stars will disappear at dawn.

[First appeared in The Paris Review, #154, Spring 2000. Thanks to the editors for permission to reprint.]

This is from a sequence of 48 poems, each of them 18 lines long, which are based loosely on the Islamic ghazal form. In its classic form, each stanza stands alone–has its own landscape, so to speak–and the theme of the poem is never stated. So the reader has much more to do than he would be used to in the contemporary English poem. When the ghazal has its full development, each stanza in a given poem ends with the same word. This collection of poems will be published by HarperCollins in April of 2001.

santa is in the shop


Thursday, December 23, 2010


this is a word
for the soul

this is a word
for the soul

this is a word
for the soul


Tuesday, December 21, 2010

Saturday, December 18, 2010

what are you gonna write about ?

the truth +

it is out there somewhere...

Thursday, December 16, 2010


these times are sacred

Monday, December 13, 2010

painters tools

something like that

Sunday, December 12, 2010

now i hunger

Jesse Nuñez's Photos - Mobile Uploads

Mana from Heavean (aka My Mom's Tamales)


A tamale or tamal (Spanish: tamal, from Nahuatl: tamalli)[1] is a traditional Latin American dish made of masa (a starchy dough, often corn-based), which is steamed or boiled in a leaf wrapper. The wrapping is discarded before eating. Tamales can be further filled with meats, cheese, vegetables, chilies or any preparation according to taste, and both the filling and the cooking liquid may be seasoned.

Tamales were one of the staples found by the Spanish Conquistadors when they first arrived in Mexico and were soon widely spread throughout their other colonies. Tamales are said to have been as ubiquitous and varied as the sandwich is today.[citation needed]

Tamales originated in Mesoamerica as early as 8000 to 5000 BCE.[1] Aztec and Maya civilizations as well as the Olmeca and Tolteneca before them used tamales as a portable food, often to support their armies but also for hunters and travelers. There have also been reports of tamal use in the Inca Empire long before the Spanishvisited the new world.[1]

The diversity of native languages in Mesoamerica led to a number of local words for the tamal, many of which remain in use.

more here:

Saturday, December 11, 2010


1. To let saliva drip from the mouth; drool.


1. To let saliva drip from the mouth; drool.

Friday, December 10, 2010

ms. chiefious

and i ate french food.

Monday, December 6, 2010


for shame
it's a
selfish plug

Sunday, December 5, 2010

john surfed

John in Surfer Magazine 1977. Honolua Bay.

how could i be so lax in my duties ?

where did yesterday go ? into thin air...

photo by tim

Thursday, December 2, 2010

Chris Kent

all that ever needed to be.

click on the above link for a sweet free ride...


Wednesday, December 1, 2010


leave me in paradise

Surfer slang (although also extends to other boardsports, and surf sports) for a young surfer. Can also be used to refer to children in general, although usually they have some association with surfing/etc.

Although usually there is no ill-meaning behind the term, it is often used to poke fun at younger surfers. It can sometimes be used as a derogatory term when younger surfers are annoying, bad or otherwise difficult.

It is frequently abbreviated to grom.
On a beach crowded with children: "Where did all the grommets come from?"

pulled from the pages of

for the record - i know - i know - i know you don't know - about last night -

Sunday, November 28, 2010

far better than the chimichanga

Enchirito is the trademarked name of Taco Bell's menu item of the Tex-Mex food similar to an enchilada. It is composed of a flour tortilla filled with seasoned ground beef taco meat (with options to substitute steak or chicken), beans, diced onions, cheddar cheese, and "red sauce".

The Enchirito was invented in 1968 by Bob McCrea, who submitted the recipe to Dan Jones (who now owns several Taco Bell franchises in Los Angeles County) for 50 dollars and a thank you. It was first test marketed in Albuquerque and then was officially placed on the menu and patented in 1970. In 1993, in order to make room for new menu items, Taco Bell discontinued the Enchirito, but brought it back in December 1999. It continues to be available as of 2010.

The Enchirito was originally composed of a soft round yellow corn masa tortilla, filled with ground beef taco meat, beans, and onions, rolled into a tube shape. It was then placed in a paper tray coated with aluminum foil, and topped with what Taco Bell refers to as "red sauce," grated cheddar cheese, and three black olive slices. Alternatively, it can be topped with "green sauce" which is a spicy sauce made from green chilies and onions. Burritos can also have the "green sauce" in them. They were originally called "Green Burritos." The Green nomenclature has been removed from the current menu.

The coining of the name Enchirito (a portmanteau of the words enchilada and burrito) for this item was a bit of a peculiar action by Taco Bell. It was the only item on the menu, at the time, to not use the common Mexican food nomenclature for that item. Whereas a burrito is typically a flour tortilla filled with beans, and an enchilada is typically a corn tortilla filled with meat and smothered in chile sauce, the name Enchirito communicates the combination of these elements. On the other hand, it appears the unusual name was not to help Americans unfamiliar with the Spanish names of the food items; indeed, for many years Taco Bell menu boards featured a system of phonetic pronunciation guides next to each item.

Even after the Enchirito was officially discontinued in 1993, some customers still ordered them, and word spread through the Internet that many restaurants would still make them with the ingredients they had available. Due to this underground popularity, it was decided to bring it back, and commercials, featuring the Taco Bell chihuahua promoting the Enchirito, began airing on December 26, 1999, with later commercials in mid-2000 featuring the rapping or singing styles of the "five guys with no talent". However, some things about the item had changed. The serving container had become a coated pressed-paper oblong bowl when dining in, or a black plastic bowl with a clear plastic lid if ordering from the drive-thru. Most significantly, the character of the dish was altered by changing the yellow corn masa tortilla to a white wheat flour tortilla. The sliced olives were omitted. The chicken Enchirito and the steak Enchirito, which respectively substitute chicken or steak for the ground beef, were also introduced as options. The Enchirito is served with a plastic spork.

this article was ripped from wikipedia - see the original here.

Thursday, November 25, 2010

Sunday, November 21, 2010

whitman, robert

film maker, photographer, interested...

Saturday, November 20, 2010

things can get interesting...

VOLUME 1, ISSUE 13 | May 1 -31 2006

Eye on Art

Stephen Korbet

Eva Hesse circa 1959

Eva Hesse: Material Evidence

By Jerry Tallmer

Eva Hesse, who’d been schooled and had worked as an oil painter, watercolorist, lithographer, sculptor, what have you, felt her art was at a dead end when, in June of 1964, at the age of 28, she returned with her husband Tom Doyle to the Germany where she had been born and from which, at 21/2, in 1938, she had been evacuated to Holland by kindertransport, thus saving her life.

Her parents got out too, later. Her grandparents all died at Auschwitz or Belsen Bergen. Eva grew up in Washington Heights. When she was 18, the magazine Seventeen, where she was interning, did a feature on her as a “young artist” along with some photos of her work in gouache, watercolor, charcoal, and lithography.

Tom Doyle, a sculptor whose medium was steel, had converted from Roman Catholicism to Jewish for the sake of Eva’s father. Doyle had been invited by industrialist and art collector F. Arnhard Scheidt to come use the old Scheidt textile mill at Kettwig-am-Ruhr as studio workspace. It would be in that same vast old textile mill, full of materials that artists didn’t then normally use, that Eva Hesse, picking up a piece of rope here, a piece of plastic there, would find a path reopening in directions that would lead an assessor, more than 40 years later – Elizabeth Sussman, a curator at the Whitney Museum – to speak of Hesse as “one of the greatest artists of her generation.”

Which may or may not be. But that art can and does reach out to embrace plastics, latex, cardboard, fiberglass, rope, and other such “anti-artistic” industrial materials, is proved – no, brought back to attention — by “Eva Hesse: Sculpture,” an exhibit through mid-September at New York City’s Jewish Museum, put together by Ms. Sussman and the Jewish Museum’s own Fred Wasserman.

Among other things it recapitulates the (then) shocking “Chain Polymers,” Hesse’s one-woman show at the Fischbach Gallery in November 1968, a year and a half before brain cancer killed her at 34 in May 1970.

“I would like the work to be non-work,” she wrote – typed by hand — in a statement for the gallery. “This means it would find its way beyond my preconceptions. What I want of my art I can eventually find. The work must go beyond this.”

One’s thoughts hit on Heinrich von Kleist’s “On the Puppet Theater” as metaphor of such abnegation. It is as if the work (non-work) makes itself, with no artist involved – no hands – but that of course is not the case. In Eva Hesse’s case she was very much involved, right down to the most scrupulous details and dimensions. Here is one small, lined notebook page on which is scrawled all the precise specifications for Sans II – the very word sans means “without” — a huge 35-foot-long polyester-resin and fiberglass wall piece in five sections of six panels each.

They are today, these sections, separately-sold inhabitants of venues around the world. “Never seen together since 1968,” says Fred Wasserman. How did they come back together for this show? “Don’t ask,” says Wasserman with a cocked eyebrow. “Some very generous lenders.” He himself has been a Hesse nut ever since he saw some of her things at a show in Buffalo when he was 17.

She was meticulous, also, as we see from other scrawled pages, about titles for her pieces, scouring thesauruses and dictionaries for definitions like:

ACCRETION: The growing of separate things into one, the whole resulting from this.

SEQUEL: What follows after, continuation or resumption of a story or process or the like after a pause or provisional ending.

And here is Accretion itself: fifty 58-inch fiberglass and polyester-resin tubes, each wrapped about a cardboard tube like those at the core of fabric rolls, the whole a little standing forest of identical rods, or tree trunks, except that they aren’t totally identical (because how can they be?) and aren’t identically spaced apart. Some gaps are 2 inches, some are 3 inches. “Serial repetition with randomness,” says Wasserman. “Expandable or contractable.”

In the industrial age, there are flyspecks. See Chaplin, Modern Times. Hesse wanted those flyspecks there. Working out of her studio at 134 Bowery, in the lighting and kitchenware district below Houston, she had found a fabricator, Doug Johns of Aegis Reinforced Plastics, on Staten Island, who made her speculations at lot more possible.

But when, with Repetition Nineteen III, an assemblage on the floor of 19 fiberglass “buckets,” Johns smoothed off all the rough imperfections to make them identical, she got angry with him. Artist Hesse wanted those imperfections there. “Each one a little different,” says Wasserman. “Each with its own character,” like faceless people (yes! paradox!) standing around, now this way, now that way, in a large lobby.

Sequel, as the name implies (see above), follows Schema, and Schema is a 40-inch-square grid of 144 halves of Spalding-type latex balls – the “Spaldeens” of legendary four-sewer New York City stickball. Sequel takes the rubber halves off the grid and mixes them up in a stew – true random.

A piece that combines papier-mache, Masonite, cloth-covered electrical wire, pencil, ink, acetone, varnish, and enamel paint – all adding up to a nippled small circle atop a nippled large circle – is called Ringaround Arosie, another touch of New Yorkese, in honor of Eva’s close friend Rosie Goldman. Fellow artist Sol Lewitt called it “the breast job.”

Elsewhere in the Jewish Museum layout are the literature and documentation of Eva Hesse’s short, not overly happy life, in particular the proud-papa tagerbucher – combination scrapbooks, datebooks, photo albums, clipping collections, diaries – that businessman William (originally Wilhelm) Hesse faithfully if not to say overbearingly kept through the years for daughters Helen and “Evchen,” the tiny 21/2-year-old who would grow up to be imaginative, troubled, fiery Eva.

There was reason for her to be troubled. In January 1946, three days before Eva’s 10th birthday, Ruth Hesse, Eva and Helen’s mother, would, as newspapers used to say, jump or fall to her death off the roof of the Eldorado Apartments, Central Park West at 81st Street.

Ruth Marcus Hesse had escaped the Holocaust, but her parents had not, nor her husband’s parents, Eva’s grandparents. Eva’s 1964 trek with husband Tom to Germany was more traumatic than anticipated. She had nightmares, bad ones. The six-months’ stay stretched to 15 months. The Scheidt factory (sounds a little bit like the Germanic for excrement) was near Dusseldorf; Eva wanted to visit what had been her mother’s girlhood home at Hameln, near Hamburg. In Hamburg was the apartment where Eva had spent the first two and a half years of her life. She and Tom knocked on the door. The couple within opened the door, heard Eva say (in German) she’d lived there as a child, then shut and locked the door in Eva and Tom’s faces.

The marriage to Doyle did not last, though not, so far as I know, because of Germany. The Fischbach one-woman “Chain Polymers” show was followed by a year, 1969-’70, of three operations, radiation, chemo. In May she was gone. Some of the industrial material is now beginning to go too. This looks to be the last chance to catch this much of it while you can.

Friday, November 19, 2010


that's the idea ladies...

Thursday, November 18, 2010

one thing to learn

How to Do a Cartwheel
By following this step by step guide on how to do a cartwheel for kids and adults, you can soon master this move. It is not a very dangerous move and most people can easily carry it out. One does not require some high level of physical fitness or any advanced equipment, in order to do a cartwheel.
  • The first thing to remember is that there should be enough space when you are doing a cartwheel. You need to take a slight run up and land in a clear area, or you may end up slamming your body against some object which could potentially hurt you. Or you could even end up breaking something. Either way, ensure that there is adequate space and room when you are attempting to do a cartwheel. Another pointer for you is to attempt to do the cartwheel on a soft grassy area, or on a floor with a rug. The landing can be harsh sometimes, and landing on a soft surface will reduce the possibility of injury.
  • The instructions, here, are for carrying out a front to back cartwheel which is the toughest one. The other variant, the side to side cartwheel, is comparatively much simpler to do. You need to raise your arms straight up in the air, and make them touch your ears. You will be taking the support of your arms and your upper body strength, so make sure that they are stretched out absolutely straight. Failure to do so could cause you to crumble when your weight is held up by your arms. For someone setting out to learn how to do a cartwheel, it is important to build upper body strength, and also the muscles in the arm. You cannot learn how to do a cartwheel without hands that are able to support your body weight.
  • Point your left foot towards the front and place it slightly forward now. This front foot will always point in the direction which you mean to go. Some people find it convenient to point the other foot in an outwardly direction, in order to get better balance while performing the cartwheel. Do not forget to keep an eye on where you are going to place your hands. Noting the exact spot, right before your feet leave the ground is advisable. Many people fail to do this, when learning how to do cartwheels and end up losing their balance.
  • Now start bending over and place your left hand on the ground first. The right hand will soon follow the left hand to the ground, and you must simultaneously lift up your right leg from the ground as well. As soon as the right hand reaches the ground you must kick out strongly with the right leg, so that your left leg also rises in the air. You will now be in a vertical position and you must tighten your back and keep your balance. Since, you are practically doing a headstand and balancing on your arms, having strong arms will definitely help.
  • You will now land on the ground due to the momentum, and your right leg, which was in the back of your body when you started, will now come in the front front of it. The left leg will soon follow through and you should be in the same position that you started out in. Maintaining your balance and composure through the process is something that you will learn over a period of time.
You must also remember to breathe properly, during the entire process to get the best results. Once you have practiced, how to do a cartwheel enough number of times, you will be able to carry out this maneuver with increasing confidence and considerable ease.

By Rahul Thadani
Published: 2/8/2010

Wednesday, November 17, 2010

my godfather

btw - have you ever noticed how much i lead you away from this blog page?

Tuesday, November 16, 2010

captain comes ashore

and finds himself lost without his salt, daggers and banshees...

Thursday, November 11, 2010