AGAIN, WITH FEELING

Lydia Lunch’s collaboration with Bjarne Melgaard for his...

Wed, 19 Jun 2013 21:24:27 -0400

Lydia Lunch’s collaboration with Bjarne Melgaard for his exhibition After Shelley Duvall ‘72 (Frogs on the High Line) at Maccarone, NY, 2011.

rare trailer for I am Curious (Yellow), 1967

Tue, 18 Jun 2013 19:25:04 -0400

rare trailer for I am Curious (Yellow), 1967

Children who have experienced many failures tend to be afraid of...

Mon, 17 Jun 2013 22:41:54 -0400

Children who have experienced many failures tend to be afraid of involving themselves completely in situations that do not have a predetermined ending or result. They will need many kinds of support. Some children are embarrassed when it is suggested that they look at each other or that they touch each other; some giggle, shy away, or drop their eyes. When a child can tolerate the attention, the teacher should refer to him by name and support him through the experience with praise. Those who are made uncomfortable by this approach should be free to participate peripherally. The teacher will plan as well for the less actively involved as for the more involved by observing reactions to various stimuli and building on responses. The teacher must understand the fact that some children will not be able to accept the amount of freedom of expression inherent in creative movement; they will be disturbed by the possibilities of exposing feelings they want to conceal. For them the aims of techniques of creative movement can be emphasized in other parts of the class day (for example, exaggerating body movements in the physical handling of clay, dough, or paints) to help the child with other forms of self-expression. This child should participate when he decides he can.

- …and a Time to Dance by Norma Canner, 1968.
Canner founded the expressive therapy program at Lesley University in Cambridge. As a thought experiment and a starting point in the studio I’ve been approaching the text as a guide to empathy through physical/spatial interactions.

Artavazd Peleshian, End (Verj), 1994 “Eisenstein’s...

Sat, 15 Jun 2013 15:53:19 -0400

Artavazd Peleshian, End (Verj), 1994

“Eisenstein’s montage was linear, like a chain. Distance montage creates a magnetic field around the film… Sometimes I don’t call my method “montage”. I’m involved in a process of creating unity. In a sense I’ve eliminated montage: by creating the film through montage, I have destroyed montage. In the totality, in the wholeness of one of my films, there is no montage, no collision, so as a result montage has been destroyed. In Eisenstein every element means something. For me the individual fragments don’t mean anything anymore. Only the whole film has the meaning.”

rustybreak: Eva Rothschild

Wed, 12 Jun 2013 19:00:47 -0400

rustybreak:

Eva Rothschild

bedroom with work by Candace Corbin, Brian Christopher...

Thu, 06 Jun 2013 17:36:21 -0400

bedroom with work by Candace Corbin, Brian Christopher Glaser and Nicholas Irzyk, June 2013.

Outdoor ballet recital during Boston’s Summerthing, a...

Tue, 28 May 2013 19:07:29 -0400

Outdoor ballet recital during Boston’s Summerthing, a municipally sponsored public arts initiative. Photo circa 1970.

Passion of Anna, dir. Ingmar Bergman, 1969

Mon, 27 May 2013 23:09:40 -0400

Passion of Anna, dir. Ingmar Bergman, 1969

cruiseorbecruised: Jenny Holzer THE SURVIVAL SERIES:...

Mon, 27 May 2013 01:10:34 -0400

cruiseorbecruised:

Jenny Holzer

THE SURVIVAL SERIES: REMEMBER TO REACT, 1984

cast aluminum
3 by 10 in. 7.6 by 25.4 cm.

Palm reader in Harvard Square, Cambridge. Early 1970s

Wed, 22 May 2013 22:45:41 -0400

Palm reader in Harvard Square, Cambridge. Early 1970s

"Study me as much as you like, you will never know me, for I differ a hundred ways from what you see..."

Wed, 22 May 2013 21:43:58 -0400

“Study me as much as you like, you will never know me, for I differ a hundred ways from what you see me to be. Put yourself behind my eyes, and see me as I see myself, for I have chosen to dwell in a place you cannot see.”

- Rumi (via nomadexquisite)

Boston, 1970

Tue, 21 May 2013 21:24:04 -0400

Boston, 1970

Mother’s Day

Sun, 12 May 2013 20:29:41 -0400

Mother’s Day

Adam Pendleton

Sun, 12 May 2013 16:49:47 -0400

Adam Pendleton

acmmr: “On the other hand, not too far away sits a translucent plexi cut-out of a baby head with...

Thu, 09 May 2013 22:06:56 -0400

acmmr:

“On the other hand, not too far away sits a translucent plexi cut-out of a baby head with silver iguanas poking out of it, which pretty much looks how it sounds.”

Evan, the tone of this review is PERFECT.

http://www.bigredandshiny.com/cgi-bin/BRS.cgi?article=2013-04-09-053436918914985171

That’s really nice to hear because I’m trying to be more conscious of tone.

Richard Aldrich at Misako & Rosen

Thu, 09 May 2013 20:16:02 -0400

Richard Aldrich at Misako & Rosen

Vietnam demonstration, Boston Common, 1970

Wed, 01 May 2013 14:49:43 -0400

Vietnam demonstration, Boston Common, 1970

Morse, M. (1965) The Unattached, Harmondsworth: Penguin. 230...

Sun, 28 Apr 2013 18:57:55 -0400

Morse, M. (1965) The Unattached, Harmondsworth: Penguin. 230 pages. Short bibliography. Account of a National Association of Youth Clubs experimental project that sent three workers to different towns under concealed identities to make contact with ‘unattached youth’. An odd concept. Chapters describe the work in the three settings and examine ‘the unattached’, the varieties of approach utilized and detached workers. A final chapter draws conclusions. [YMCA Collection].

Bjarne Melgaard, Studies for Riot Banners, 2012

Fri, 26 Apr 2013 20:01:06 -0400

Bjarne Melgaard, Studies for Riot Banners, 2012

Impatience, 1928

Mon, 22 Apr 2013 20:32:08 -0400

Impatience, 1928