Category Archives: Uncategorized
Submission No. 41
Susy Oliveira! On her website, there’s an image cascade of Oliveira’s works. If you mouse-over each image, a title and date pops up, otherwise there’s no explanation, which, inexplicably, I find glorious. — Miriam. Thank you. I peeked at the
Submission No. 41
Susy Oliveira! On her website, there’s an image cascade of Oliveira’s works. If you mouse-over each image, a title and date pops up, otherwise there’s no explanation, which, inexplicably, I find glorious. — Miriam. Thank you. I peeked at the
Submission No. 40
The banality of “Don’t Be Evil,” by Julian Assange New York Times, June 1, 2013 *** ASSANGE WRITES THE FOLLOWING COLUMN IN THE NYT: “THE New Digital Age” is a startlingly clear and provocative blueprint for technocratic imperialism, from two
Submission No. 40
The banality of “Don’t Be Evil,” by Julian Assange New York Times, June 1, 2013 *** ASSANGE WRITES THE FOLLOWING COLUMN IN THE NYT: “THE New Digital Age” is a startlingly clear and provocative blueprint for technocratic imperialism, from two
Submission No. 38
Why do we make art in the first place? This is something new: the riffer wishes to make a submission, upon which readers may riff if they like. The other day I came upon this provocative statement in an interview
Submission No. 38
Why do we make art in the first place? This is something new: the riffer wishes to make a submission, upon which readers may riff if they like. The other day I came upon this provocative statement in an interview
Submission No. 37
Joan Linder’s entire show at Mixed Greens Gallery. There are a series of detailed india ink drawings of kitchen sinks, a series of time lapse drawings of kitchen sinks, and one gigantic book showing a lovely rolling landscape that looks
Submission No. 37
Joan Linder’s entire show at Mixed Greens Gallery. There are a series of detailed india ink drawings of kitchen sinks, a series of time lapse drawings of kitchen sinks, and one gigantic book showing a lovely rolling landscape that looks
Collection No. 3
Bronze rabbit being returned to China. The first photograph (by Francois Guillot, Agence France Presse) shows the rabbit looking disconcertingly human. Both images are from the New York Times, April 26 and February 17, 2013.
Collection No. 3
Bronze rabbit being returned to China. The first photograph (by Francois Guillot, Agence France Presse) shows the rabbit looking disconcertingly human. Both images are from the New York Times, April 26 and February 17, 2013.
Submission No. 33
Face Study III, 2010 The artist Jessie Thatcher is a woman. In fact, she is a young woman — I’m guessing in her early 20s. When I last riffed on a submission from this artist (Submission No. 12) I assumed
Submission No. 33
Face Study III, 2010 The artist Jessie Thatcher is a woman. In fact, she is a young woman — I’m guessing in her early 20s. When I last riffed on a submission from this artist (Submission No. 12) I assumed
Submission No. 32
“I saw the peculiar way America creeps up on you if you don’t have anything,” he told me. “It’s never rude. It’s just, Yes, you do have to work 14 hours. And yes, you do have to ride the bus
Submission No. 32
“I saw the peculiar way America creeps up on you if you don’t have anything,” he told me. “It’s never rude. It’s just, Yes, you do have to work 14 hours. And yes, you do have to ride the bus
Submission No. 31
This piece — a rowboat in a gallery, with the inscription “Center for Experimental Contemplatives” written in cursive on its stern — is a piece of whimsy. We know the metaphors being evoked: afloat on an open sea, castaway, solitary,
Submission No. 31
This piece — a rowboat in a gallery, with the inscription “Center for Experimental Contemplatives” written in cursive on its stern — is a piece of whimsy. We know the metaphors being evoked: afloat on an open sea, castaway, solitary,
