tales from the little pink house
Monday, March 31, 2008
Monday, March 24, 2008
I learned this, at least, by my experiment: that as one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours...and he will live with the license of a higher order of things.
~ Henry David Thoreau
Wednesday, March 12, 2008
Monday, March 03, 2008
so the girls really liked this one and the grown-ups liked it ok too.
The Spiderwick Chronicles
Rating: PG for scary creature action and violence, peril and some thematic elements
Peculiar things start to happen the moment the Grace family (Jared, his twin brother Simon, sister Mallory and their mom) leave New York and move into the secluded old house owned by their great, great uncle Arthur Spiderwick. Unable to explain the strange disappearances and accidents that seem to be happening on a daily basis, the family blames Jared. When he, Simon and Mallory investigate what's really going on, they uncover the fantastic truth of the Spiderwick estate and the creatures that inhabit it.
the Nashville Scene
THE BIG PAYBACK Nashville’s go-to destination for installation art, Twist Gallery presents a new environment for your approval: local artist Rachel Hall Kirk’s The Big Payback. Kirk’s recent “Arts in the Airport” show featured the outstanding graphite portraits she is known for. With Payback, she abandons her pencils to create a multimedia installation that turns the tables on every bully she’s encountered through her life. In the process, she also manages to fire off a few shots in favor of good, old-fashioned class warfare. March 1-29 at Twist Gallery; opening reception 6-9 p.m. —JOE NOLAN
the Tennessean writes about the Art Crawl
First Saturday Art Crawl promises diverse exhibits
Galleries open their doors for evening receptions
Saturday marks a new round of art openings downtown as art galleries throw open their doors for the latest First Saturday Art Crawl. Festivities last from 6-9 p.m. Here’s a look at what’s coming up:
TAG Art Gallery’s latest show pairs Tennessee State University professor Samuel L. Dunson Jr. and sculptor Jason Lascu. Dunson is one of the city’s finest painters, with a highly developed, tightly constructed style. The title of his exhibit at TAG is Terra Firma, and the images in some way grapple with the idea of finding solid ground, whether physically or metaphorically. TAG is now located on the second floor of the Arcade, in the space formerly occupied by Dangenart Gallery. For more information, visit www.tagartgallery.com or call 429-7708.
Danielle Duer's ( fov ) studio on the upper level of the Arcade hosts an exhibit of mixed-media books and digital images by Teresa VanHatten-Granath, chair of the photography department at Belmont University. Motherhood and family figure into these works, which like many artist’s books have a sculptural quality. More information is available at www.artatthearcade.com.
Twist Art Gallery, also located in the Arcade, hosts Rachel Hall Kirk’s installation The Big Payback. The artist describes her work as fulfilling “a personal fantasy in which I expose the vulnerability of people who often feel a sense of entitlement and superiority behind the facades of uniforms.” Visit www.twistartgallery.com for more information.
Tinney + Cannon Contemporary holds over its latest exhibit, featuring paintings by Atlanta artist Tony Hernandez. These solemn figure studies of children were inspired by the experiences of young people during the Holocaust. The gallery is located at 237 Fifth Ave. N. For more information, call 255-7816.
Just down the street, at 215 Fifth Ave. N., The Arts Company opens its latest exhibit, titled Works in Progress. On view will be new clay sculpture by Nelson Grice, landscape photography by Hollis Bennett, hand-painted photography by Kimiko, and paintings by Calvin Morton. For more information, visit www.theartscompany.com.
Downtown Presbyterian Church, at 154 Fifth Ave. N., continues its Lenten exhibit, An Emancipation Conversation. Artists include Julie Lee, Nathan Steele, D.J. Justice, Richard Feaster, Tasha French, Mark Sloniker, Elizabeth Streight, Beth Gilmore and others. In addition, the church hosts its monthly Art-Luck, a potluck dinner for art lovers; the 6 p.m. meal is followed by a 7 p.m. concert featuring Carry Nation, the trio of local singer-songwriters Sarah Masen, Sherry Cothran and Jewly Height.
A block away, The Rymer Gallery hosts an exhibit of paintings by Brett Osborn, a Wisconsin-born artist who conjures evocative landscapes from his memory. Currently located at 219 Sixth Ave. N., the gallery will move to a newly renovated 3,000-square-foot space on Fifth Avenue in May. More information is available at www.therymergallery.com.
Estel Gallery, at 115 Rosa L. Parks Blvd. (formerly Eighth Avenue North), opens an exhibit of paintings by W.J. Cunningham. Titled Punim — the Yiddish word for “face” — the show consists of a series of tightly focused portraits. More information is available at www.estelgallery.com.
If you haven't seen these films you really should they are awesome.....
The Belcourt Theatre
2102 Belcourt Avenue - Nashville TN 37212
Box Office: (615) 383-9140
Main Office: (615) 846-3150
Fax: (615) 846-3151
Saturdays and Sundays at Noon
March-April: Staff Picks
Purchase Tickets HERE
They print your ticket, pour your beer, focus your film, scoop your popcorn and more. Shouldn’t they get to pick some films too? Of course. For these two months, the WEEKEND CLASSICS series and MIDNIGHT MOVIES (<--click to see the line up) have been chosen by the fun-and-film-loving employees here at the Belcourt, and the result cuts quite the eclectic swath. So get a load of this…
Alfred Hitchcock’s ROPE – Sat-Sun, March 8-9 @ Noon
A professor (James Stewart) discovers his theories into a brutal reality when two students conspire to commit the “perfect murder”. Composed of only ten shots fluidly edited together and loosely based on a true murder case, ROPE goes beyond cinematic stunt with excellent performances and a mesmerizing storyline in what would be Hitchcock’s first work in color. Dir Alfred Hitchcock, 1948, 35mm, 80min - Selected by Ben Smythe, a bespectacled multi-instrumentalist, who can be found in the lobby assisting you with all of your needs.
CLASH OF THE TITANS – Sat-Sun, March 15-16 @ Noon
Lawrence Olivier, Burgess Meredith, Harry Hamlin and Judi Bowker star in this classic Greek myth about Perseus and Andromeda. To win the right to marry his love (Andromeda) and fufill his destiny, Perseus must complete a number of tasks -- including taming Pegasus, capturing Medusa and answering riddles. The result is a timeless adventure and a treat for both kids and adults. Dir. Desmond Davis, 1981, 35mm, 118min - Selected by Josh Hayes, Communication & Marketing guy at the Belcourt who enjoys swimming with the Kraken and thinks there needs to be more stop-motion in your life. He chose CLASH OF THE TITANS as a tribute to the great Ray Harryhausen, pioneer of visual effects.
THE HAUNTING – Sat-Sun, March 22-23 @ Noon
They came to Hill House in search of a mystery: the pragmatic Doctor, the bisexual adventuress, the playboy, and young Miss Eleanor. Who is to say what waited for them in those ancient hallways, or even if they had brought it with them? Within the walls of Hill House was a place where dark things flourished, and in its untouched spaces the delicate and troubled mind of Eleanor Lance has finally found a place to call home. From the acclaimed novel by Shirley Jackson, with unparalleled black & white cinemascope photography by Davis Boulton. Dir Robert Wise, 1963, 35mm, 112 min. - Selected by Jason Shawhan, SEFCA, who walks along darkened corridors and has been a leepa sank tone since 1994.
VALERIE AND HER WEEK OF WONDERS - Sat-Sun, March 29-30 @ Noon RARE 16mm PRINT!!
One of the most singular and controversial statements of the Czech New Wave of filmmaking, Jaromil Jireš' infamous masterpiece Valerie and Her Week of Wonders is a psychedelic blend of fever-dream horror and erotic fantasy. The film concerns the sexual awakening of 13 year old Valerie (Jaroslava Schallerová); thrust into a gothic fairytale where friends and family alike become pedophilic vampires, vying for her virginal purity. A poetic feast of imagery, it is that rare sort of film that will forever linger in the crevasses of your memory. Dir. Jaromil Jires, Czechoslovakia, 1970, 16mm, 70min. Unavailable on 35mm, this will be the premiere exhibition of an extremely rare 16mm print, presented from the private collection of Tom Wills. - Selected by James Cathcar, whot was once a bright young man with great potential, before he squandered the best years of his life in dark and lonely rooms with a glowing screen.
SOLARIS – Sat-Sun, April 5-6 @ Noon RARE 35mm PRINT
Director Andrei Tarkovsky's science fiction cult classic presents an uncompromisingly unique and poetic meditation on space travel and its physical and existential ramifications. Scientist Kris Kelvin travels to the mysterious planet Solaris to investigate the failure of an earlier mission. When his long-dead wife appears on the space station, he realizes that the planet has the power to perceive human desires and make them a reality. Dir. Andrei Tarkovsky, USSR, 1972, 35mm, 165min. The Belcourt wishes to acknowledge Kino Int’l for loaning their 35mm print, the only one in the US. - Selected by Max Chester, Second Lt. Projection - A-Team – Max frequents the village area often, shopping, drinking espresso out of little cups with his pinkie up, and running around the streets like a homeless boy.
THE PINK PANTHER – Sat-Sun, April 12-13 @ Noon
Arriving at a posh resort with her precious "Panther" -- a large, priceless diamond with the image of a leaping feline inside -- sexy princess Dala meets the debonair Sir Charles, who happens to be a professional thief. Enter the ever-incompetent Jacques Clouseau (Peter Sellers), the clumsiest inspector ever to trip over a case. Can he stop Charles's attempts to relieve the princess of her diamond? Dir. Blake Edwards, 1963, 35mm, 115min - Selected by Melinda Morgan, the Operations Director for the Belcourt who enjoys the twisted humor of Peter Sellers and THE PINK PANTHER.
THE PHILADELPHIA STORY – Sat-Sun, April 19-20
Socialite Tracy Lord (Katharine Hepburn) prepares to remarry, but her ex (Cary Grant) and a tabloid reporter (James Stewart) have other ideas as they converge on her home for a fateful visit. The three stars form an incomparable romantic triangle in one of the most tantalizing screwball romances ever. Dir George Cukor, 1940, 35mm, 112min - Selected byKirk Futrell, the Head Projectionist and Facilities Coordinator of the Belcourt Theatre.
LAST YEAR AT MARIENBAD – Fri-Sun, April 25-27 – Multiple showtimes TBA NEW 35mm PRINT from Rialto Pictures!
At a lavish European hotel, a handsome stranger tries to convince a lovely young woman that they had a passionate affair a year ago -- "perhaps at Marienbad," he suggests. When she claims not to remember him, he keeps trying to convince her, building a story that mixes memory and fantasy. … Or is it all fantasy? French New Wave director Alain Resnais helms this complex, controversial film that earned an Oscar nomination for Best Screenplay. Dir Alain Resnais, France, 1961, 35mm, 93 min. - Selected by Zack Hall, who likes film and works at the Belcourt.
Storm of Steel
We are also reading :
from the wikipedia page:
Storm of Steel (in German: In Stahlgewittern, ISBN 0-86527-310-3) is the memoir of German officer Ernst Jünger's experiences on the Western Front during the First World War. It was originally printed privately in 1920, making it one of the first personal accounts to be published. The book is a graphic account of trench warfare and is largely devoid of editorialization.
Storm of Steel begins with Jünger as a private entering the line with the 73rd Hanoverian Regiment in Champagne. His first taste of combat came at Les Eparges in April 1915 where he was first wounded.
After recuperating, he took an officer's course and achieved the rank of Ensign. He rejoined his regiment on the Arras sector. In 1916, with the Battle of the Somme underway, Jünger's regiment moved to Combles in August for the defence of the village of Guillemont. Here Jünger was fortunate to be wounded again, shortly before the final British assault which captured the village — his platoon was annihilated. In 1917 Jünger saw action during the Battle of Arras in April, the Third Battle of Ypres in July and October, and the German counter-attack during the Battle of Cambrai in November. Jünger led a company of assault troops during the final German Spring Offensive, 21 March 1918 when he was wounded again. On 23 August he suffered his most severe wound when he was shot through the chest.
In total Jünger was wounded 14 times during the war, including five bullet wounds. He was awarded the Iron Cross 1st Class and was the youngest ever recipient of the Pour le Mérite.
Position towards war
Jünger describes his experiences without apparent restraint, and the result is a quite graphic book. However, Jünger attempts to consistently convey a posture of noble dauntlessness in himself and those soldiers that he praises. Even when the narrator experiences true horror, such as while marching into the Battle of the Somme, he seems more concerned with lucid description of, rather than reactions to, it. Although the book does not gloss over the deaths of many, the most intensely emotional passages are reserved for enthusiastic fighting and for placid moments. The book has consequently been criticised for glorifying war, especially when compared to Remarque's All Quiet on the Western Front. However Junger was a combat soldier who saw extensive frontline service Remarque did not and All Quite on the Western Front is a work of fiction and not a memoir (Remarque was in actual fact a sapper for only a few weeks near the frontline []).
Jünger stated in the preface to the 1929 English edition: "Time only strengthens my conviction that it was a good and strenuous life, and that the war, for all its destructiveness, was an incomparable schooling of the heart."
The first version of Storm of Steel was essentially Jünger's unedited diary; the original title was In Storms of Steel: from the diary of a Shock Troop Commander, Ernst Jünger, War Volunteer, and subsequently Lieutenant in the Rifle Regiment of Prince Albrecht of Prussia (73rd Hanoverian Regiment). Since it was first published there have been up to eight revisions of Storm of Steel, with the last being the 1961 version for Jünger's Collected Works. For the first revision in 1924 Jünger rewrote the entire book for a new publisher. The result was a highly Nationalistic and bloodthirsty version. The next major revision came in 1934, for which the explicit descriptions of violence were muted. This edition carried the universal dedication For the fallen.
The 1924 version was translated into English by Basil Creighton in 1929 and into French in 1930. A new English translation, based on the final 1961 version, was made by Michael Hofmann in 2003.
The book received a quite positive reception, being lauded by Joseph Goebbls, among others.
„Ein glänzendes, großes Buch. Grauenerregend in seiner realistischen Größe. Schwung, nationale Leidenschaft, Elan, das deutsche Kriegsbuch. Einer aus seiner Generation ergreift das Wort über das tiefe seelische Ereignis Krieg und verrichtet Wunder innerer Darstellung.“ Joseph Goebbels, 20. Januar 1926
This Lecture is one of our favorites of the year so far.
Lecture with Artist Mark Dion
February 27, 2008
Dion’s dynamic and conceptually rigorous art making practice primarily serves as an investigation of the historical methods of representing and organizing the world, with particular sensitivity to man’s sometimes tenuous relationship with nature, society and the environment. Employing scientific conventions of investigation and display in order to deconstruct them, the politics of museum representation has always taken a central role in his practice - and in certain projects the physical act of realizing the work via pseudo scientific or curatorial endeavors.
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Mark Dion was born in New Bedford, Massachusetts in 1961. He received a BFA (1986) and an honorary doctorate (2003) from the University of Hartford School of Art, Connecticut. Dion’s work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. The job of the artist, he says, is to go against the grain of dominant culture, to challenge perception and convention. Appropriating archaeological and other scientific methods of collecting, ordering, and exhibiting objects, Dion creates works that question the distinctions between ‘objective’ (‘rational’) scientific methods and ‘subjective’ (‘irrational’) influences. The artist’s spectacular and often fantastical curiosity cabinets, modeled on Wunderkabinetts of the 16th Century, exalt atypical orderings of objects and specimens. By locating the roots of environmental politics and public policy in the construction of knowledge about nature, Mark Dion questions the authoritative role of the scientific voice in contemporary society. He has received numerous awards, including the ninth annual Larry Aldrich Foundation Award (2001). He has had major exhibitions at the Miami Art Museum (2006); Museum of Modern Art, New York (2004); Aldrich Museum of Contemporary Art, Ridgefield, Connecticut (2003); and Tate Gallery, London (1999). “Neukom Vivarium” (2006), a permanent outdoor installation and learning lab for the Olympic Sculpture Park, was commissioned by the Seattle Art Museum. Dion lives and works in Pennsylvania.
For additional biographic & bibliographic information:
Tanya Bonakdar Gallery, New York | In Situ, Paris
Mark Dion: Memento Mori (My Glass is Run)
May 1—October 9, 2005
Mark Dion produces artwork that consistently blurs the boundaries between natural history, art, and science. A recipient of the Larry Aldrich Award in 2001, his works both critique and celebrate the cataloging and presentation of art, historical, and natural materials by museums, exploring themes as diverse as archeology, consumer culture, ecology, environmentalism, and political activism. Dion's outdoor installation, Memento Mori (My Glass is Run), takes the form of a mock cemetery dedicated to significant American naturalists of the eighteenth and nineteenth centuries that had worked in the greater Philadelphia area. The installation was originally commissioned by the Main Line Arts Center in Haverford, Pennsylvania, as part of their exhibition Past Presence: Contemporary Reflections on the Main Line. Reconfigured for presentation at The Aldrich, the work was suggestively installed in The Aldrich's inner courtyard, creating the moody atmosphere of a history-laden churchyard.
When queried on the naturalists chosen for the tombstones, Dion replied, "Versed in literature, poetry, art, medicine, political theory of natural philosophy, they were the first true polymaths and people of startling intellect and talent." Although the group of individuals was not actually buried near one another Dion's project highlights both their connection with Philadelphia and their contributions to the early evolution of natural science in the United States. The work includes headstones dedicated to Benjamin Smith Barton, John Bartram, Jane Colden, Thomas Say, Charles Wilson Peale, Titian Ramsey Peale, Rembrandt Peale, and Raphaelle Peale.
We are now reading:
Descent Into Hell is a novel written by Charles Williams, first published in 1937.
Descent Into Hell shares with Williams's other novels the super-natural theme which is situated in a modern context. Forgoing the detective-fiction style of most of his earlier novels, most of the story's action is spiritual or psychological in nature, well-fitting the "theological-thriller" description sometimes given to his works. For this reason Descent was initially rejected by publishers, though T. S. Eliot's publishing house Faber and Faber would eventually pick up the novel, as Eliot admired Williams's work, and, though he did not like Descent Into Hell as well as the earlier novels, desired to see it in print.
There are several prominent literary allusions running throughout Descent Into Hell. Battle Hill's resident poet, Peter Stanhope, frequently quotes and references William Shakespeare's play The Tempest.
Percy Bysshe Shelley's work Prometheus Unbound is also referenced repeatedly, regarding the appearance of a doppelgänger.
Less obvious Biblical allusions are present, as well as several references to mythology and legend, including Lilith, Samael, and succubi.
• Carpenter, Humphrey (2006), The Inklings: C. S. Lewis, J. R. R. Tolkien and Their Friends, HarperCollins, ISBN 0-0077-4869-8
Project Gutenberg of Australia e-book
Charles William's is the real thing. He had an influence on CS Lewis as one of the Inklings (Tolkien, Lewis and Williams are probably the three best known members of the group). Genius though he was, Williams has been overshadowed by Tolkien and Lewis, and forgotten by the general reader. Nevertheless his books are worth investigating if this offering is anything to go by, containing as it does a wealth of (at times explosive) imagery. It focuses on two characters in particular -- Pauline Anstruther and Laurence Wentworth. The story centres on the production of a play by a poet called Peter Stanhope.
One of the actors, Pauline Anstruther, an intelligent, alert and rather bitter young woman, has been haunted from childhood by a doppelganger. This second self sometimes appears at a distance walking toward her, and then turns aside; it has appeared much more often in the past two years than ever before. She lives in an undertow of perpetual dread; she is terrified of the day she will meet her other self and “go mad or die.” The apparition has no discernible cause -- there is no terrifying event or series of events in childhood to which its development can be linked. The doppelganger cannot be identified as the psychic fallout of trauma; it is itself the trauma.
Peter Stanhope is the only person to whom Pauline fully confides her secret. Her grandmother, with whom she lives, has tried to find out what is troubling her, but Stanhope's friendship can presume further without damage to her privacy. On hearing her story he responds startlingly with an offer of the most apparently impossible kind of help. He suggests that someone else -- he himself, if she will consent to it - -“carry her fear.” With casual and self-deprecating logic he unfolds a method whereby the emotional burden of an experience can be assumed by a disinterested party, while the experience itself remains to be undergone.
“The thing itself you may one day meet--never mind that now, but you'll be free from all distress because that you can pass on to me” (p98).
He will imagine and fear Pauline's double, if she will relinquish the burden of the fear. For Stanhope, and for Williams, this “doctrine of substituted love” is based in Christianity -- in the substitutionary atonement and in Paul's injunction to “bear one another's burdens”.
The character of Wentworth in the story reveals how compulsive a fantasy life can become. Choosing to take to himself an insubstantial fantasy of the woman he desires, he becomes increasingly incoherent, and enclosed in himself -- finally falling into the hell of self, an abyss of non-being.
'Descent into Hell' is a tour-de-force.
Sunday, March 02, 2008
so tonight we saw Wilco at the Ryman. It was amazing!! everyone was so into the show. Jeff Tweety had on this white suit with rhinestones and red roses and i think red humming birds. He wore it very well in honor of the Opry's history in that good ole building. This may just be the best show I have Ever seen at the Ryman.