good ol' billmon straps on the pessimism feedbag in this trump/alt-right thread. click below the picture (by the likes & retweets) to see it unspool.
“My first husband didn’t allow me to work, so I stopped being married. I briefly had this gallery on the Upper East Side. It was there that Walter De Maria had his first solo show, in 1965. Tom Wolfe wrote a piece about the collector Robert Scull for the Herald Tribune. Scull was quoted as saying he discovered De Maria at a tiny gallery with a dumb ‘girl’ running it. My first exposure to the press.”
any one have success with small format piza ovens? this one is $180 but i guess you might as well just get a piza stone and use the oven.
randomly, also in the box with the fortunes was a medallion. i had no memory of a connection to it and was on the way to the garbage as i inspected it for the first time. appeared to be wrestling related. on the back is my grandfathers name, dave wolff, etched in. above that it says 160 Division, 1927 - 28. probably senior year of high school.
if there is any question what i ate in the mid to late 90s, the answer is apparently crappy chinese food. i have over 100 fortunes i cant seem to throw away to prove it. thankfully the internet was invented so i have a place to annoy others with the flotsam and jetsam of my very uninteresting endeavors.
Stella insistence on the primacy of space over every other aspect of the experience and process of painting was still directly in line with Clement Greenberg’s insistence on the primacy of flatness. With his 1964 “What you see is what you see” — eerily contemporary with Marshall McLuhan’s own tautological formula about the medium being the message — Stella brings Greenberg’s literal flatness to a metaphorical level: Painting is the message and metaphorical flatness is now achieved in painting by denying it any depth of content. With the Baroque metal reliefs, however, despite their apparent act of apostasy from Greenberg’s dogma, Stella clearly remained within the boundaries of the reductivist paradigm. Rather than confront the strictures of Greenberg’s Modernist tropes, he allowed them to endure by substituting three-dimensional space for flatness.But, come to think of it, when he speaks about space, Stella’s subtext is all about speed, or rather, of space as speed. Speed entered American painting as a latent concept with Barnet Newman’s “zips.” But it is worth remembering that Newman did not adopt Thomas B. Hess’s term of zip for his paintings’ vertical bands until 1966, fairly late in his career. Prior to that, he simply called them “stripes.” Even though today the term zip can’t help but connote the idea of speed, Newman was clearly on the side of slow art, with a rare, deliberate, and carefully pondered production of only 118 paintings over 25 years, versus the thousands of paintings that have poured out of Stella’s studios.
salt-brine fermentation for chili peppers
Enjoyed Raised by Wolves on Acorn. A brit-com show which combines a Roseanne like dysfunctional single mom family, dark reality humor and Fellini like absurdity and film craft.
rip, third rice ball. i thought youd make it til morning.
i'd love your favorite pot roast recipe. no charts, mark!
Howard Dean should retract comment that the Donald might be a cokehead. In bad taste. Plus no known drug can make anyone such a dickhead. - Laurence Tribe
familiar with this one, ancient east village denizens? was a movie made by the guy who started two boots pizza.
grip it and rip it, arnold palmer!!!