September 27, 2014

Screen captures from Baxter, Vera Baxter, directed by Marguerite Duras, 1977. Via. Watch.

I have made one bad real estate decision after another my entire life. Knowing this, I made a lot of effort to consult people who I believe to be intelligent in real estate. It made no difference. I made the worst decision of my life. Even if you’re moving to an apartment that turns out being OK, like last time, which was only four years ago, if you have 10,000 books, it’s a difficult undertaking. The more that you mention this to people, even if people know about it, the more you are criticized for having 10,000 books. I finally said to somebody the other day, “You know what? They are books. It’s not like I am running an opium den for children. There’s nothing wrong with that — you may not want to have that, you may think that’s crazy, but you cannot have a moral objection to this.” Even real estate agents would say to me, “If you got rid of the books, you wouldn’t need such a big apartment.” And I would say, “Yes that’s true, but what if I had four children? Would you say, ‘Why don’t you put them in storage, because you can’t really afford an apartment for them?’” Basically my whole life, I’ve paid for these books. Buying them is nothing, but housing them is hard because they need a giant apartment. People say, “Why do you need such a big apartment — do you throw a lot of parties?” No. It’s for the books. I believe books to be the perfect companion. They’re very good-looking, they’re there when you need them, but it’s not just the books. It’s where they live, which is in bookcases with glass doors. I only put them in cases with glass doors because dust is very bad for books.

Fran Lebowitz, interviewed by David Hershkovits for Paper, September 2014.

September 25, 2014

Fette Sans, Untitled, 2014.

September 25, 2014
Fette Sans, Untitled, 2014.

Fette Sans, Untitled, 2014.

September 23, 2014
And now, the Brooklyn Museum Library has also purchased the entire Abe’s Penny archive, with my work, in it.
fette:

The MoMA Library has just purchased the entire Abe’s Penny archive for its permanent collection. And my work is in this precious package.

Collaboration with Melissa Gira Grant for Abe’s Penny, 2012.
See also, card 1/4, card 2/4 and card 3/4.

And now, the Brooklyn Museum Library has also purchased the entire Abe’s Penny archive, with my work, in it.

fette:

The MoMA Library has just purchased the entire Abe’s Penny archive for its permanent collection. And my work is in this precious package.

Collaboration with Melissa Gira Grant for Abe’s Penny, 2012.

See also, card 1/4card 2/4 and card 3/4.

September 23, 2014
Fette Sans, Untitled, 2014.
See also,  I happen to know a fair bit about the skinheads, believe it or not. It’s kind of a hobby with me. An obsession, almost. You see, I am a hairdresser.

Fette Sans, Untitled, 2014.

See also, I happen to know a fair bit about the skinheads, believe it or not. It’s kind of a hobby with me. An obsession, almost. You see, I am a hairdresser.

September 23, 2014
Fette Sans, Untitled, 2014.

Fette Sans, Untitled, 2014.

September 22, 2014
The colours which approach the dark side, and consequently, blue in particular, can be made to approximate to black; in fact, a very perfect Prussian blue, or an indigo acted on by vitriolic acid appears almost as a black.

Johann Wolfgang von Goethe, Theory of Colors, 1810, in Thirty-Six Shades of Prussian Blue by Joshua Cohen for Triple Canopy, issue 8, 2010.

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Filed under: linked excerpts 
September 22, 2014
Fette Sans, from the series I am afraid you could have been misled, 2014.

Fette Sans, from the series I am afraid you could have been misled, 2014.

September 22, 2014

Fette Sans, La Reprise, 2014.

One year ago, and now.

September 21, 2014
Fette Sans, Untitled, 2014.
—
When someone says you are being obscene, say yes I am. When they say you are being wrong, say yes I am. When they say you are being selfish, say yes I am.
Mehreen Kasana, from A Woman of War, for The Nation, June 2014. Via. More.

Fette Sans, Untitled, 2014.

When someone says you are being obscene, say yes I am. When they say you are being wrong, say yes I am. When they say you are being selfish, say yes I am.

Mehreen Kasana, from A Woman of War, for The Nation, June 2014. Via. More.

September 21, 2014
Top, Kerry James Marshall, Portrait of a curator (In Memory of Beryl Wright), 2009, acrylic on pvc, 30 7/8 x 24 7/8 x 1 7/8 inches. Via. Bottom, detail from the taxidermy scene by Walter Potter, The Death and Burial of Cock Robin, 1854, which features around 100 British birds, many of which are now extinct. Via.
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The interesting question is no longer whether or not the image is a construction, but rather in what ways this process is structured.
Timur Si-Qin. Via. More.

Top, Kerry James Marshall, Portrait of a curator (In Memory of Beryl Wright), 2009, acrylic on pvc, 30 7/8 x 24 7/8 x 1 7/8 inches. Via. Bottom, detail from the taxidermy scene by Walter Potter, The Death and Burial of Cock Robin, 1854, which features around 100 British birds, many of which are now extinct. Via.

The interesting question is no longer whether or not the image is a construction, but rather in what ways this process is structured.

Timur Si-Qin. Via. More.

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Filed under: diptych quotes 
September 21, 2014
I am finally on a monitor which I love so much, with all my heart. It is behind me a bit, over my left shoulder, and I lie in the bed and look up at it the whole time, craning my neck. It's my heart rate and blood pressure and the baby's heart rate and my contractions. I tell them again and again about my pregnancy, totally uncomplicated -- perfect even. I've been in labor for 28 hours. No one cares. No one gives me a medal or bats an eye. They write it down. I wonder if they believe me. I wonder if they can know the pain I've been in. I wish for a way to communicate pain more precisely than a scale of 1 to 10. But the scale is subjective, I long to say. We have no way to know. I hate this. I say 7, 8. I don't know. It's the worst pain I've ever felt but I have never had my arm cut off. That's what I always imagine to be the worst pain: having a limb chopped off. I save 10 for it, out of respect. I want to save 9 for the moment the baby tears its way out of vagina. So what's left is 8. I want to seem brave so I say 7, but then I worry they won't understand the immediacy of the situation so I come back with 8. I shrug. I try to communicate in a gesture that I don't agree with their method, with these yellow emoticons, with the spanish above it. DOLOR. I have stared at this sign so much, waiting for some answer to come from it. MUY DOLOROSO.

Meaghan O’Connell, from What It Felt Like to Get an Epidural After 32 Hours of Labor, 2014. More.

Giving birth, the excruciating, brilliant, immediate essay by O’Connell that boiled my brains down last night. Subscribe to her TinyLetter and read it all, then never procreate. Or do.

See also, The study makes visible a disturbing set of assumptions: It’s not just that women are prone to hurting—​a pain that never goes away—​but also that they’re prone to making it up.

And,

She has a medical-identification tag that she clips to a silicone wristband — she has eight in different colors, which she mixes and matches with her wardrobe. On the back of the tag it reads, “Cannot feel pain — sweats minimally.

September 18, 2014
Top, screen capture from In A Glass Cage, directed by Agustí Villaronga, 1987. Via. Bottom, photograph by Rory Mulligan, from the series Sam I Am, 2014. Via.
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We cannot reason ourselves out of our basic irrationality. All we can do is learn the art of being irrational in a reasonable way.
Aldous Huxley, The Island, 1962, p.178. Via.

Top, screen capture from In A Glass Cage, directed by Agustí Villaronga, 1987. Via. Bottom, photograph by Rory Mulligan, from the series Sam I Am, 2014. Via.

We cannot reason ourselves out of our basic irrationality. All we can do is learn the art of being irrational in a reasonable way.

Aldous Huxley, The Island, 1962, p.178. Via.

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Filed under: diptych quotes