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On our first night of our tramp/hike, we stayed at Kings Hut, also known as Kings Creek Hut. A 5-10 minute walk away is the historic original hut of Cecil King. Kahurangi National Park, New Zealand.
“On Your Side” ―The Veronicas, 2016
www.youtube.com/watch?v=BXQ6QNLcJL8
“Life isn’t pretty, we all get a little wrecked sometimes
If God’s listening, people think you’re out of your mind
Even if you believe it
Through all the hard times, I’m on your side
On your side
I’m on your side
On your side” 🎶
hirshhorn.si.edu/bio/how-can-an-artwork-exist-in-more-tha...
Felix Gonzalez-Torres’s works raise questions about art’s role in society and conventional relationships between art and audience. His temporary billboard installations, in which a single image is reproduced in multiple city-wide locations, bring art into venues not normally associated with its dissemination and consumption. By making art more accessible to a wider public, Gonzalez-Torres reaches out to viewers and compels the museum to extend its reach beyond the walls of the institution.
The Hirshhorn’s Untitled (For Jeff), named after a healthcare worker who nursed the artist’s dying partner, is a simple representation of an open hand and communicates solely through the power of the visual representation. The work may suggest a range of possible associations: the extended hand of a welcome, one which offers assistance, or another that seeks alms. The final interpretation will invariably shift, influenced by the location and environment in which each billboard is sited.
“Come To My Window” ―Melissa Etheridge, 1993
www.youtube.com/watch?v=FaY5-LGYJKc
“Come to my window
Crawl inside, wait by the light of the moon 🌙
Come to my window
I’ll be home soon” 🏡
“Regular maps have few surprises: their contour lines reveal where the Andes are, and are reasonably clear. More precious, though, are the unpublished maps we make ourselves, of our city, our place, our daily world, our life; those maps of our private world we use every day; here I was happy, in that place I left my coat behind after a party, that is where I met my love; I cried there once, I was heartsore; but felt better round the corner once I saw the hills of Fife across the Forth, things of that sort, our personal memories, that make the private tapestry of our lives.”
“Love Over Scotland” ―Alexander McCall Smith, 2006
Today’s diary 📔
You’re right. He *does* have gay face
Said one gay man to another gay man about another probably gay man* 🤔
“Tao Te Ching / 道德經” ―Lao Tzu, 4th c. BCE
“Simplicity, patience, compassion.
These three are your greatest treasures.
Simple in actions and thoughts, you return to the source of being.
Patient with both friends and enemies,
you accord with the way things are.
Compassionate toward yourself,
you reconcile all beings in the world.”
“Breathe” ―Anna Nalick, 2005
www.youtube.com/watch?v=xdRHSuPxgXo
“‘Cause you can’t jump the track, we’re like cars on a cable,
And life’s like an hourglass, glued to the table
No one can find the rewind button now
Sing it if you understand.
And breathe, just breathe
Whoa breathe, just breathe” 🎶
“Juno & Juliet” ―Julian Gough, 2001
“Hurt is a part of life. To be honest, I think hurt is a part of happiness, that our definition of happiness has gotten very narrow lately, very nervous, a little afraid of this brawling, fabulous, unpredictable world.”
“Utilitarianism” ―John Stuart Mill, 1861
“It is indisputable that the being whose capacities of enjoyment are low, has the greatest chance of having them fully satisfied; and a highly endowed being will always feel that any happiness which he can look for, as the world is constituted, is imperfect. But he can learn to bear its imperfections, if they are at all bearable; and they will not make him envy the being who is indeed unconscious of the imperfections, but only because he feels not at all the good which those imperfections qualify.
It is better to be a human being dissatisfied than a pig satisfied; better to be Socrates dissatisfied than a fool satisfied. And if the fool, or the pig, is of a different opinion, it is only because they only know their own side of the question.”
“There will come a time when all of us are dead. All of us. There will come a time when there are no human beings remaining to remember that anyone ever existed or that our species ever did anything. There will be no one left to remember Aristotle or Cleopatra, let alone you. Everything that we did and built and wrote and thought and discovered will be forgotten and all of this will have been for naught. Maybe that time is coming soon and maybe it is millions of years away, but even if we survive the collapse of our sun, we will not survive forever. There was time before organisms experienced consciousness, and there will be time after. And if the inevitability of human oblivion worries you, I encourage you to ignore it. God knows that’s what everyone else does.” ―John Green, The Fault in Our Stars
“I suppose therefore that all things I see are illusions; I believe that nothing has ever existed of everything my lying memory tells me. I think I have no senses. I believe that body, shape, extension, motion, location are functions. What is there then that can be taken as true? Perhaps only this one thing, that nothing at all is certain.” ―René Descartes
hirshhorn.si.edu/collection/sugimoto/
hirshhorn.si.edu/bio/hiroshi-sugimoto/
The Hirshhorn Museum presents Hiroshi Sugimoto, the first career survey of one of Japan’s most important contemporary artists. Sugimoto (b. 1948, Tokyo) is known for his starkly minimal images of seascapes, movie theaters and architecture as well as his richly detailed photographs of natural history dioramas, wax portraits and Buddhist sculptures. These celebrated series explore such essential concepts as time, space, culture and perception-even the nature of reality itself. This retrospective of his 30-year career, featuring approximately 120 photographs from 1976 to present, is co-organized by the Hirshhorn and the Mori Art Museum, Tokyo, and co-curated by Hirshhorn Director of Art and Programs and Chief Curator Kerry Brougher and Mori Director David Elliott. The presentation at the Hirshhorn Museum and Sculpture Garden is made possible in part by the Holenia Trust in memory of Joseph H. Hirshhorn, the Hirshhorn’s Board of Trustees, and contributions from Hirshhorn patrons.
Using a large-format camera and, for the most part, black-and-white film, Sugimoto has created images that stimulate both intellect and vision, often capturing what is elusive to sight-the horizon line between sky and sea at night, the sum total of light projected during a feature-length film, or the physical contours of the principle represented by a mathematical equation. His work also points to the human impulse to represent reality, a drive that has inspired artists throughout history and is embodied in photography itself. Six photographs by Sugimoto have entered the Hirshhorn’s collection since 2003, including his powerful image of New York City’s World Trade Center towers and works from the “Theaters” series. On the second level, two videos will provide further insight into Sugimoto’s vision: the artist’s video, Accelerated Buddhas, will be shown along with a brief profile from the acclaimed PBS series Art 21. This exhibition will be shown at The Modern Art Museum of Fort Worth from September 17, 2006 through January 21, 2007.
“I don't know the meaning of life. I don't know why we are here. I think life is full of anxieties and fears and tears. It has a lot of grief in it, and it can be very grim. And I do not want to be the one who tries to tell somebody else what life is all about. To me it's a complete mystery.” ―Charles M. Schulz, Charles M. Schulz: Conversations