Z e t e o
Reading, Looking, Listening, . . . Questioning
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 […]

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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 […]

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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 […]

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By您好, yangyang Geng   Memory heals the scars of time. Photography documents the wounds. — Michael Ignatieff[1] It requires constant vigilance to see people as they are. — Olive Pierce    The Portraits of the Jefferson Park Housing Project in Cambridge and No Easy Roses Olive Pierce was born in Chicago, Illinois in 1925 and […]

Article
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 […]

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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 […]

Five mysteries hold the keys to the unseen: the act of love, and the birth of a baby, and the contemplation of great art, and being in the presence of death or disaster, and hearing the human voice lifted in song.                                                                              […]

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Michelangelo, Sistine Chapel, Ceiling, Lunette - Aminadab

The Treatment of Jews in Renaissance Rome and on the Sistine Chapel Ceiling By Chantal Sulkow   Introduction After the earliest stage of the cleaning of Michelangelo’s Sistine Chapel ceiling frescoes in the early 1980s, the lunettes depicting Christ’s ancestors were the first to emerge from beneath centuries’ worth of darkened layers of dirt. (Fig. […]

Article

I’m not the only person who finds 50 Cent a fascinating figure. His landmark album, Get Rich or Die Tryin’, is one of the top ten best selling albums in rap history, and is perhaps the only rap album ever to have a feature film made of it. While living in Belize during the summer of 2005, I stumbled […]

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  I s creation, in the arts, or elsewhere, a matter of chutzpah or daring — perhaps of overweening pride? It often is.  And sometime it’s a matter of humility, stepping aside, letting another speak through one. Thus the Odyssey begins, Sing in me muse, Sing of the man of twists and turns driven time […]

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Arabian Red Fox, photograph by Jem Babbington, appears on Birds of Saudi Arabia website

  I s creation, in the arts, or elsewhere, a matter of chutzpah or daring — perhaps of overweening pride? It often is.  And sometime it’s a matter of humility, stepping aside, letting another speak through one. Thus the Odyssey begins, Sing in me muse, Sing of the man of twists and turns driven time […]

Review

July 25, 2017

[…] Gun. Pour ses explorations des traductions, vers le français, de la poésie, voir, par example, Translating Dickinson, Poetry as Conversation, et Dylan, Nobel, Paris, Chimes Flashing. Some readers may also find of […]

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Categories: Review | Add a Comment
Arabian Red Fox, photograph by Jem Babbington, appears on Birds of Saudi Arabia website

  I s creation, in the arts, or elsewhere, a matter of chutzpah or daring — perhaps of overweening pride? It often is.  And sometime it’s a matter of humility, stepping aside, letting another speak through one. Thus the Odyssey begins, Sing in me muse, Sing of the man of twists and turns driven time […]

Review

July 25, 2017

[…] Sex, Politics—is due out in 2017. His previous, Emily-Dickinson-related, multilingual writing: Translating Dickinson (into French) and Dickinson — Sex, Spanish, Stew. Some readers might also be interested in Beyond […]

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Categories: Essay | Add a Comment

  I s creation, in the arts, or elsewhere, a matter of chutzpah or daring — perhaps of overweening pride? It often is.  And sometime it’s a matter of humility, stepping aside, letting another speak through one. Thus the Odyssey begins, Sing in me muse, Sing of the man of twists and turns driven time […]

Essay

July 23, 2017

[…] my proposition that a life so lived, so noticing, is a fuller life, a life more zoomed in—see On Savoring, Zeteo, December […]

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