Two powerful poems by Gershwin Wanneburg. Difficult subjects, innovative forms.
Two powerful poems by Gershwin Wanneburg. Difficult subjects, innovative forms.
“The room was small, dim and a desiccated yellow colour but the handshake and welcome were warm and clearly genuine. The man who once held the most powerful job in the world was dressed in casual shades of black and grey.”
“It’s easy for your art career to get derailed. The important thing is to get it back on track.”
“And unfortunately, in our strange and uncertain times, maybe a brutal “it can happen here” wake-up call is what we need.”
Brassaï declares that the “bastard art of the streets of ill repute that does not even arouse our curiosity, so ephemeral that it is easily obliterated by bad weather or a coat of paint, nevertheless offers a criterion of worth. Its authority is absolute, overturning all the laboriously established canons of aesthetics”
“Photography is enough in itself for existing, and so are the many advocacies of Bliss’ photography.”
We were grateful for the opportunity to ask Don Julien a few questions about his photography.
Historians of American art are engaged in a search for ways in which to speak meaningfully and broadly about contested traditions and about both the promises and limits of the country’s national iconography and history, to a nation fragmented along racial, ethnic, class, and religious lines.
The river smell becomes the rain smell, and the rain comes, as it always does, expected but surprising, changing everything.
“The power of Minhwa lies ultimately in the fact that it participates in a universal code — a common denominator for all living human beings, a core of desires and beliefs that is tied to basic human activities … “