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Louise Nevelson: Persistence / Solo exhibition at Procuratie Vecchie in Venice, Italy. Full video here: vernissage.tv/2022/05/02/louise-nevelson-persistence-proc...
Written by Sarah Kane
Directed by Roger Benington
A vivid dissection of lust, brutality, and ravenous love.
Recognized as the gentlest of Kane works, Crave lacks the violence of her earlier plays even as it plummets into the dark corners of the human psyche. Often described as a chamber-piece, Crave explores its themes with musical agility, exploring human experiences that defy a linear structure. It is a mark of her extraordinary talent that Kane was able to explore bleak subjects with humanity and humor. Crave presents four characters, whose words and silences build a symphony of lust, loneliness, abuse, and persistence. As the characters expose dark humor and wild desires, the audience is led through the shadows of affliction and into the light of release. Adult themes.
Poet Elisabeth Frost prior to the Persistence of Dreams program on May 1, 2011 (Sunday Best Reading Series).
Suicidal Tendencies, Nico Santora
EMP Persistence Tour
Le Bataclan - Paris, France - 21/01/2014
Live report on MusicWaves
Philippe Bareille
Persistence and the good fortune to be able to travel widely in the UK and abroad will ensure that I remain a major contributor to CRWDP and similar sites. Today, I am posting five pictures from the Brighton area.
Ling Ling Chinese Takeaway is in Fishersgate (Portslade), East Sussex.
X20_DSCF2310
This moth kept returning to under our house, demanding to have its portrait taken. So I did.
A search revealed it to be a zodiac moth (Alcides metaurus) a diurnal feeder, also called the North Queensland day moth.
You obviously have to look a bit snazzier if you're going out in the daytime!
YWCA Metro St. Louis unveils its "Persistence of Spirit" exhibit that is
on permanent display at its Phyllis Wheatley Heritage Center on Sept.
12, 2008. Dignitaries included from left: Pamela Bolden, YWCA senior
communications executive and project coordinator/writer; Sara Foster,
then-YWCA board chairwoman; Frankie Freeman, prominent civil rights
attorney; St. Louis Mayor Francis Slay; Joy Burns, then-YWCA CEO; the
late Margaret Bush Wilson, famed civil rights attorney; and Antoinette
Bailey, then-YWCA board member and exhibit committee member.
Pamela Bolden
Senior Communications Executive
YWCA Metro St. Louis
3820 West Pine Blvd.
St. Louis, MO 63108
Ph: 314.531.1115 Ext. 237
Fax: 314.531.5008
pbolden@ywcastlouis.org <
Join the YWCA Stand Against Racism
Click here for more information www.ywcastlouis.org
"There's something perverse about grass: it refuses to grow on your lawn, but thrives in the cracks of your sidewalk." --anon
Persistence Tour, Paris, France
January 20th 2014
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© ABSE Photography - All rights reserved
Piped the output of banner into a python script that sets the LEDs on the piface digital board plugged onto my raspberry pi.
The painting is a reinterpretation of the work "The Persistence of Memory" by Salvador Dalí, painted by Mário Silva.
Dalí's original painting was completed in 1931 and is considered one of the most famous paintings in the world.
It is often interpreted as a metaphor for the human condition.
Silva's reinterpretation presents some differences in relation to Dalí's original work.
In the original painting, the man is falling into a hole in the ground, while in Mário's reinterpretation, he is standing in a field.
The man is also dressed differently in the two paintings.
In the original painting, he is wearing a white shirt, while in Mário Silva's reinterpretation, he is wearing a brown shirt.
Despite these differences, the two paintings share many elements in common.
Both paintings feature a melted clock, which is one of Dalí's most famous symbols.
Both paintings also feature a barren desert in the background.
The painting "The Persistence of Memory" is often interpreted as a metaphor for time and memory.
The melting clock symbolizes the passage of time, while the arid desert symbolizes the vastness of memory.
The figure of the man falling can be interpreted as a representation of the fragility of human life.
Mário's reinterpretation of Dalí's painting can be interpreted in several ways.
One possible interpretation is that Silva is exploring the idea that time and memory are subjective concepts.
The fact that the man is standing in a field instead of falling into a hole may suggest that Silva believes that time is not linear, but rather fluid.
The fact that the man is dressed in a brown shirt instead of a white shirt may suggest that Mário Silva believes memory is unreliable.
Another possible interpretation is that Mário is exploring the idea that time and memory are not important.
The fact that the melted clock is in the foreground of the painting may suggest that Silva believes that time is not something we should worry about.
How much of the arid desert is the only other element in the painting may suggest that Mário Silva believes that memory is not important because everything will be forgotten in the end.
Ultimately, the interpretation of the painting "The Persistence of Memory" is subjective and it is up to the viewer to decide what it means to them.
Mário Silva's reinterpretation of Dalí's painting presents some differences in relation to the original work.
In the original painting, the man is falling into a hole in the ground, while in Silva's reinterpretation, he is standing in a field.
The man is also dressed differently in the two paintings.
In the original painting, he is wearing a white shirt, while in Silva's reinterpretation, he is wearing a brown shirt.
Despite these differences, the two paintings share many elements in common.
Both paintings feature a melted clock, which is one of Dalí's most famous symbols.
Both paintings also feature a barren desert in the background.
Salvador Dalí's painting "The Persistence of Memory" is an iconic work of art that has been interpreted in many ways.
Silva's reinterpretation of the painting presents some differences from the original work, but both paintings share many elements in common.
The interpretation of the painting is subjective and it is up to the viewer to decide what it means to them.
Text & painting (AI): ©MárioSilva
Location: Organ Pipe Cactus National Monument, Arizona USA
Yashica-Mat
Lumaxar 80mm F3.5
Fujifilm Neopan Acros 100
#Sfiff55 essay by Seid on Cohen
festival.sffs.org/awards/persistence-of-vision/
Profile
articles.washingtonpost.com/2013-04-12/lifestyle/38489881...
Museum hours is screening
Showing his films at ATA in 2007
www.flickr.com/photos/ari/401535554/
He made a series of #OccupyWallStreet newsreels
www.walkerart.org/magazine/2012/jem-cohen-occupy-wall-str...
blogs.indiewire.com/anthony/jonathan_demme_and_jem_cohen_...
I wrote in 1991 about an alternative public service announcement project he contributed to
THE PERSISTENCE OF NATURE IN OUR LIVES
Andrew Hudgins
You find them in the darker woods
occasionally -- those swollen lumps
of fungus, twisted, moist, and yellow --
but when they show up on the lawn
it's like they tracked me home. In spring
the persistence of nature in our lives
rises from below, drifts from above.
The pollen settles on my skin
and waits for me to bloom, trying
to work green magic on my flesh.
They're indiscriminate, these firs.
They'll mate with anything. A great
green-yellow cloud of pollen sifts
across the house. The waste of it
leaves nothing out -- not even men.
The pollen doesn't care I'm not
a tree. The golden storm descends.
Wind lifts it from the branches, lofts
it in descending arches of need
and search, a grainy yellow haze
that settle over everything
as if it's all the same. I love
the utter waste of pollen, a scum
of it on every pond and puddle.
It rides the ripples and, when they dry,
remains, a line of yellow dust
zigzagging in the shape of waves.
One night, perhaps a little drunk,
I stretched out on the porch, watching
the Milky Way. At dawn I woke
to find a man-shape on the hard
wood floor, outlined in pollen -- a sharp
spread-eagle figure drawn there like
the body at a murder scene.
Except for that spot, the whole damn house
glittered green-gold. I wandered out
across the lawn, my bare feet damp
with dew, the wet ground soft, forgiving,
beneath my step. I understood
I am, as much as anyone,
the golden beast who staggers home,
in June, beneath the yearning trees.
frank on market street a while back.
thanks noremmie for stepping on some toes to change the group name. i hope frank really spells it as "chu"! :-)
A close-up view of the eagle standing watch near it's nest in the fog-bound tree.
So many folks came and went during the five hours I was at Clarksville, Missouri Lock & Dam #24 doing my eagle watch. They would come, see how dense the fog was and move on in about ten minutes.
Some of them were travelling up or down the Mississippi River, from one lock & dam to the next, in search of clearer weather and the elusive eagles. Many traveled as far as I had, 100 miles. They left disappointed.
I knew the eagles were there, and it was just the fog which was preventing us from seeing them. Every so often one of the transient crowd would call out: "There's one" and we'd see a ghostly form in the mist, which had the familiar wing-span shape, the feather-fingers more gliding than flapping. The shape would, more often than not, move away from us, towards the far shoreline and the dense forest on that side.
When I first arrived, there was this one eagle, coming towards us, heading to trees on the near side of the river. That brief glimpse gave me hope that there were more of this majestic birds that would have their hunger bring them back to the fish in the open waters in front of me. Another opportunity for a better photograph.
After my intermission and warm-up, my persistence was rewarded with this eagle and it's journey. Catch a fish, and take it back to it's nest to feed. Then stand watch, waiting for the next urge to fill up. I grabbed several frames just like this, and then the eagle disappeared.
I stayed several hours more, hoping that the fog would lift more. Instead, it grew thicker, and my time was up for this trip.
Heading home, I had the warm inner satisfaction of having captured as good images as I could get, for the foggy conditions. I knew that I had one or more keepers.
I'll be back again, with my Karen Sue in tow this time. I want to share the thrill of seeing these magnificent birds with her.
Something to look forward to.