Samuel Taylor Coleridge, Lakes Notebook
A map from one of Coleridge’s notebooks kept between July and September 1802, recording his solitary exploration of the mountainous landscape of the Lake District.(via donshare)
Lewis, The Bachelor Forum. Photograph by Alec Soth.
The New Yorker’s Photo Booth Blog is following Magnum’s House of Photos project in Rochester : http://www.newyorker.com/online/blogs/photobooth/2012/04/house-of-photos-day-4.html#entry-more
Photographer/Web Designer Matt Bagwell eats a lot of ice cream. Why didn’t I think of a project like this?

To coincide with the 2012 Columbia University MFA thesis show at the Fisher Landau Center for Art in Queens, the Metro Deli in Brooklyn proudly presents,
Essential Items: the artists’ work as a series of four inch cubes.
The exhibition runs co-current with the MFA thesis show and is viewable all hours: Friday night to Sunday afternoon in May. This show was made possible by Hussain Abuzaid and The Metro Deli, 381 Metropolitan Avenue, Brooklyn, NY 11211.
Organized by R. Lyon

Sarah Palmer makes beautiful still-lives!

from The Village of Reason

from As A Real House

from As A Real House

from As A Real House
Ode to the Watermelon
by Pablo Neruda
translated by Ilan Stavans
The tree of summer,
intense,
invulnerable,
is all blue sky,
yellow sun,
exhaustion dripping.
It’s a sword above the roads,
a burnt show
in the cities:
clarity and the world
overwhelm us,
hit us in the eye
with dust,
with sudden blows of gold;
they harass our feet
with thorns,
with heated stones,
and the mouth
suffers
more than all the toes:
the throat is thirsty,
the teeth,
the lips and tongue:
we want
to drink waterfalls,
the blue night,
the pole.
Just then
the coolest of all planets
crosses the sky,
the rounded, supreme
and celestial watermelon.
It’s the fruit from the tree of thirst.
It’s the green whale of summer.
The dry universe,
suddenly
marked
by this firmament of
coolness,
allows
the fruit to drop:
its hemispheres open,
showing a flag
—green, white, scarlet—
dissolving itself
in cascades, sugar,
delight!
Water coffer,
placid fruit queen,
warehouse of depth,
earthly moon!
Oh, purity incarnate,
rubies fall apart
in your abundance.
We would like
to bite you,
sinking
the face,
the hair,
the soul
into you!
Thirsty, we see you
like a mine or mountain
of splendid food,
but you transform
between our teeth and desire
into fresh light that unleashes us,
becoming
a spring that touches us, singing.
And then,
your’re weightless
in the all-embracing siesta,
only passing by,
and your great heart of cold coal
is transformed into water
contained in a single drop.
An interlude from photo blogging to include this special find…


5 Tips for Hanging a Kitchen Pegboard
1. Renters, call your landlord!
Done properly, this pegboard is going to leave its mark on your wall (usually in the form of anchors that won’t come out without punching them through). You don’t want to compromise your deposit by charging forward without permission.
2. Get the right hardware.
Buy screws that are at least 2” long and washers that are 1” wide. This will help distribute the weight of your pots and pans along the anchored framing.
3. Find your studs!
They are usually spaced 16” or 24” apart, though I say “usually” very loosely here; my kitchen wall appears to break the mold with 48” between studs.
4. Make space between the pegboards and the wall.
Use 1” x 2” x 8’ framing pieces and cut these to the size of your pegboard, to create a small space between the pegboard and your wall. This ensures that the hooks will fit properly on the backside.
5. Paint your pegboard, front and back.
Not only for aesthetics purposes, but also to seal the hardboard material. A kitchen pegboard is bound to experience water and oil drips, so a paint seal will ensure the material doesn’t blister and break apart after a few months of use. Use a high- or semi-gloss finish enamel so you can clean your pegboard easily.
(from Kate Payne of The Hip Girl’s Guide to Homemaking via The Kitchn)
The Unfortunate Traveler
by Billy Collins
Because I was off to France, I packed
my camera along with my shaving kit,
some colorful boxer shorts, and a sweater with a zipper,
but every time I tried to take a picture
of a bridge, a famous plaza,
or the bronze equestrian statue of a general,
there was a woman standing in front of me
taking a picture of the very same thing,
or the odd pedestrian blocked my view,
someone or something always getting between me
and the flying buttress, the river boat,
a bright café awning, an unexpected pillar.
So into the little door of the lens
came not the kiosk or the altarpiece.
No fresco or baptistry slipped by the quick shutter.
Instead, my memories of that glorious summer
of my youth are awakened now,
like an ember fanned into brightness,
by a shoulder, the back of a raincoat,
a wide hat or towering hairdo—
lost time miraculously recovered
by the buttons on a gendarme’s coat
and my favorite,
the palm of that vigilant guard at the Louvre.

R. H. Quaytman Distracting Distance, Chapter 16, 2010
2010 Whitney Biennial, Installation view
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R. H. Quaytman Distracting Distance, Chapter 16, 2010
2010 Whitney Biennial, Installation view
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R. H. Quaytman Distracting Distance, Chapter 16 (A Woman in the Sun - with edges), 2010
Oil, silkscreen, gesso on wood, 24 ¾ x 40 inches (63 x 101.6 cm)
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R. H. Quaytman Distracting Distance, Chapter 16, 2010
Oil, silkscreen, gesso on wood, 32 5/8 x 52 3/8 inches (82.2 x 133 cm)
(images from Miguel Abreu Gallery)
Happy 100th Anniversary to the Girl Scouts!
From Life Magazine - The First Girl Scout: Portraits of Daisy Gordon Lawrence

Francis Miller—Time & Life Pictures/Getty Images
“The first Girl Scout,” Daisy Gordon Lawrence, with young Scouts in 1948

Francis Miller—Time & Life Pictures/Getty Images
“The first Girl Scout,” Daisy Gordon Lawrence, with young Scouts in 1948

Francis Miller—Time & Life Pictures/Getty Images
“The first Girl Scout,” Daisy Gordon Lawrence (rear), with a young Scout in 1948
Good things are happening in Chicago! Back-to-back photo posts on my FB wall!



Virginia Poundstone Ikenobo Yuki (2012)
ceramic tile, adhesive backed vinyl, brass, digital print on steel, concrete, 57 x 73 x 22 inches
(image from Rachel Uffner Gallery)
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Virginia Poundstone Paula Pryke (2012)
digital print on steel, concrete, 38 x 20 x 11 inches
(image from Rachel Uffner Gallery)
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Virginia Poundstone Illiquid (2008-2009)
12’x15’x20’

Louise Lawler Ask/Tell (2008/2009)
Laminated fujiflex on museum box (2 parts) 72 x 34-3/4 inches (each)
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Louise Lawler Untitled (2004/2005)
Laminated cibachrome mounted on museum box 39.5 x 44 inches
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Louise Lawler One Big One in an Edition of Five (2003/2004)
Laminated cibachrome mounted on museum box 53 x 50 inches
(images from Metro Pictures)

