Z e t e o
Reading, Looking, Listening, . . . Questioning
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Bob Dylan. Photograph: Jan Persson/Redferns - cropped for Zeteo cover, full image inside

By Oriana Schällibaum and Marcel Grissmer As I went out one morning may strike the casual listener as one of the more insipid songs Bob Dylan ever wrote. Recorded for the 1967 John Wesley Harding album it has never been very important to Dylan; he recorded the song in only five takes and, to date, […]

ZiLL
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San Juan, Puerto Rico, Mayor Carmen Yulín Cruz, from CNN video clip, 29 September 2017

Speeches of San Juan, Puerto Rico, Mayor Carmen Yulín Cruz, in the Company of Consonant Words from Patrick Henry, Karuna Ezara Parikh’, Martin Luther King, Jr., Percy Bysshe Shelley, and Shakespeare 29 September 2017, as revised 4 October 2017   San Juan Mayor Cruz’s speeches to cable-news reporters and the world were heroic and heart-rending, […]

ZiLL
Pierre Bonnard, Le Boxeur (portrait de l'artiste), 1931, Musée d'Orsay

In the aftermath of Trump’s election, artists and writers have had the feeling that all is changed, and their work, too, has to change somehow; they—we—have to come up with an effective response. One way I have approached this is, in my museum wanderings, to see which works from the past seem most right to […]

ZiLL
Wendy Artin, Tamara on her Side with Foot in Hand, 2003, watercolor on Fabiano Ingres paper, 12 x 9, © 2003-2014

At sea in these thunder-clouded days we write out of habit and wishing that we might find some magical, Archimedean fulcrum that would right the ship or allow us to gather the pieces and start building anew. At present we cannot be sure how, or if, these pieces fit together.   In any critic’s work, we […]

ZiLL
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The famous French photographer Henri Cartier-Bresson writes that the attraction of a photograph is not that it captures reality but that it just barely glimpses it. His photograph Derrière la Gare Saint-Lazare captures, in mid-air, a man in a suit and hat attempting a hopeless leap over a large puddle of water.[1] If we had been […]

ZiLL
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You may be an ambassador to England or France You may like to gamble, you might like to dance You may be the heavyweight champion of the world You may be a socialite with a long string of pearls But you’re gonna have to serve somebody, yes indeed You’re gonna have to serve somebody Well, […]

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Philip Guston, Untitled, 1971, Ink on paper, 26.7 x 35.2 cm = 10 1/2 x 13 7/8 in, Private Collection. © The Estate of Philip Guston, Courtesy Hauser & Wirth [GUSTO77446]

In a number of Philip Guston’s more than 100 cartoon-style drawings of Richard Nixon, which are currently on view at the Hauser & Wirth gallery in New York City, the former President’s nose and jowls are transformed into a cock and balls (or scrotum).[1] We recognize the long-standing association of the nose and the penis, and […]

ZiLL
eiffel tower flashing at night, blue with white lights

Le monde s’étire s’allonge et se retire comme un accordéon qu’une main sadique tourmente The earth stretches elongated and snaps back like an accordion tortured by a sadic hand Dans les déchirures du ciel, les locomotives en furie In the rips in the sky insane locomotives S’enfuient Take flight Et dans les trous, In the […]

ZiR
Categories: Ed Mooney, ZiLL | 2 Comments

Mr. Trump hangs scapegoats like piñatas and invites people to take a swing. — Arizona Republic, September 28, 2016, lead editorial   A friend is watching the PBS series, The Roosevelts. She’s taken in by the first episodes. I find myself pushed back in time, reliving the powerful impact of the series when I first […]

ZiLL
Categories: William Eaton, ZiLL | 3 Comments
view of Alberto Burri’s Cretto di Gibellina, Sicily

Beauty is a form of genius—is higher, indeed, than genius, as it needs no explanation. — Oscar Wilde, The Picture of Dorian Gray   I Robert Smithson’s Mirrors and Shelly Sand (images above) is a long, low, floor-lying crest of sand (approximately 30 feet by 5 feet), which is divided in equal parts by 50 […]

ZiLL
Categories: William Eaton | 1 Comment
Philip Guston, "Aggressor," 1978, private collection

Why do we think Guston made paintings like these? This becomes a question, too, about how we are compelled, how we respond.   By William Eaton   I think every good painter here in New York really paints a self-portrait. I think a painter has two choices: he paints the world or himself. And I […]

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Categories: William Eaton, ZiR | 1 Comment

Why do we think Guston made paintings like these? This becomes a question, too, about how we are compelled, how we respond.   By William Eaton   I think every good painter here in New York really paints a self-portrait. I think a painter has two choices: he paints the world or himself. And I […]

ZiR

July 26, 2018

A point of information... This book was translated as "A Fortnight in the Wilderness" and included as Appendix 2 in "Democracy In America: Historical-Critical Edition", edited by Eduardo Nolla. There this amazing text can be read in full. It is worth comparing the translation by James Schleifer to your own. In particular, the rendering of "désert" to "wilderness" is most intriguing.

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Categories: William Eaton, ZiR | 1 Comment

Why do we think Guston made paintings like these? This becomes a question, too, about how we are compelled, how we respond.   By William Eaton   I think every good painter here in New York really paints a self-portrait. I think a painter has two choices: he paints the world or himself. And I […]

ZiR

July 26, 2018

Thanks so much for this translation and excellent analysis.

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Categories: William Eaton, ZiR | 1 Comment
Asano_Takeji-No_Series-Snow_at_Iwashimizu_Hachiman_Shrine_Kyoto

Why do we think Guston made paintings like these? This becomes a question, too, about how we are compelled, how we respond.   By William Eaton   I think every good painter here in New York really paints a self-portrait. I think a painter has two choices: he paints the world or himself. And I […]

ZiR

July 16, 2018

Thanks a lot, Steve. And, continuing the segue-ing, here's an old (and traditional) Gary Snyder poem I just came across yesterday: Seaman’s Ditty I’m wondering where you are now Married, or mad, or free: Wherever you are you’re likely glad, But memory troubles me. We could’ve had us children, We could’ve had a home— But you thought not, and I thought not, And these nine years we roam. Today I worked in the deep dark tanks, And climbed out to watch the sea: Gulls and salty waves pass by, And mountains of Araby. I’ve travelled the lonely oceans And wandered the...

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