A tiny tiny women drops everything in her arms behind Ontario and then she walks away. Ontario continues to arrange the cabinet without notice. When she turns around to connect the plsymic oncord with its dopple couple a bright light snaps on above the table. Suddenly Meyer is very visible. He's sitting there with his legs splayed out like they're partners in some match or game of sports. He looks to Ontario and says, Speared by its dreams of sleep, metropolis gushes with the romance it cannot keep.
There's a honky tonk angel watching over me His name is Sam and he's something to see Everything good that's ever happened to me happened after Sam walked away from me - Naked Penis on a Horse
Willem DeKooning, Excavation (1950) oil on canvas Yesterday at work I bumped into this piece by Donald Kuspit on DeKooning's retrospective over at Artnet . Then this morning I bumped into this one on L Magazine's site, by Paddy Johnson . I don't know that Paddy Johnson demystifies DeKooning as much as she takes issue with his pallet, declaring it repetitive and boorish en masse. By contrast, Donald Kuspit writes an article painting DeKooning as a sadistic brute inextricably tied to the modern tradition in general and Picasso specifically. Together they make for some interesting reading, particularly as Kuspit never addresses the show itself in favor of drawing his conclusions from individual works. While Johnson seems to wear the show like an imaginary wool shawl, noting it's uncomfortable, out of style, and the zipper is broken. But she doesn't seem to get to a place that addresses what was actually there either, only what she felt was missing or to her mind ...
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