Artist Residency Quotes

George was an atheist, and so am I. But how I long now for an afterlife - a world of light or of deep dazzling darkness, where he and the others we've lost reside, unscathed, forever accessible - to have tea with, to talk nonsense with, to reinvent the world with

The true artist resides on the inside. The outside is chaos, bondage and destruction. The inside is peace, freedom, and creation.

My supernatural gift might reside not in my mind instead in my heart. The heart is an artist that paints over what profoundly disturbs it, leaving on the canvass a less dark, less sharp version of the truth.

The mob not only grabs hold of art without being entitled to do so, but it also enters the artist. It takes up residence inside the artist and smashes a few holes in the wall, windows to the outer world: The mob wants to be seen.

After a time, my hand had become as skilled as my eyes. So if I was drawing a very fine tree, it felt as if my hand was moving without me directly it. As I watched the pencil race across the page, I would look on it in amazement, as if the drawing were the proof of another presence, as if someone else had taken up residence in my body. As I marveled at his work aspiring to become his equal, another part of my brain was busy inspecting the curves of the branches, the placement of mountains, the composition as a whole, reflecting that I had created this scene on a blank piece of paper. My mind was at the tip of my pen, acting before I could think; at the same time it could survey what I had already done. This second line of perception, this ability to analyse my progress, was the pleasure this small artist felt when he looked at the discovery of his courage and freedom. To step outside myself , to know the second person who had taken up residence inside me, was to retrace the dividing line that appeared as my pencil slipped across the paper, like a boy sledding in the snow.

Meanwhile, Florence was increasingly becoming, for different reasons that not were not foreign to one another nor opposed – artistic and cultural on the one hand and political on the other – the Mecca of travelers and foreign residents.

Increasingly, life seems fractured, as if his past had been lived by someone else. It isn't just that the place he now resides in and the people around him are poles apart, it's like he himself is an entirely different person. The overriding obsessions and foibles of the man he'd once been now feel utterly ludicrous to the current resident of his mind and body. The only bridge is rage; when angered he can taste his old self. But in California, the way he is currently living his life, few things can vex him to that extent. But that's over there.

The simultaneous existence and shared residence of such opposite moods and feelings is well-illustrated by Franz Schubert's assertion that whenever he sat down to write songs of love he wrote songs of pain, and whenever he sat down to write songs of pain he wrote songs of love.

Many a person over the years has tried- both successfully and unsuccessfully, to get rid of their inner demons. Those who are successful are deemed artists, those who are not are call dreamers at best and lunatics at worse. But where exactly resides that line on which two worlds collide? Does somebody know? Is somebody fit to tell? Who's to say that those deemed lunatics are not just successes on the making? Who says that those who claim to be just a tad bit crazy are not just as crazy as those that had completely lost it? Maybe, and bear with me here…everyone is as crazy as the one before them and the next one could ever possibly be. Maybe at the end- it's just that some have mastered creating a façade of calmness and collection while others don't bother going through all that trouble anymore, if they ever did. Perhaps we all have demons…it's just that some people have demons far more toxic and difficult to ignore than others.

Having the right brush does not mean you will make the right painting.

JB's friends were poets and performance artists and academics and modern dancers and philosophers -- he had, Malcolm once observed, befriended everyone at their college who was least likely to make money -- and their lives were grants and residencies and fellowships and awards. Success, among JB's Hood Hall assortment, wasn't defined by your box-office numbers (as it was for his agent and manager) or your costars or your reviews (as it was by his grad-school classmates): it was defined simply and only by how good your work was, and whether you were proud of it.

A great pianist was once asked by an admirer, "How do you handle the notes as well as you do?" The artist replied, "The notes I handle no better than many pianists, but the pauses between the notes--ah, that is where the art resides!

I understood where I had come from: from a dreary tangle of sadness and pretense, of longing, absurdity, inferiority and provincial pomposity, sentimental education and anachronistic ideals, repressed traumas, resignation, and helplessness. Helplessness of the acerbic, domestic variety, where small-time liars pretended to be dangerous terrorists and heroic freedom fighters, where unhappy bookbinders invented formulas for universal salvation, where dentists whispered confidentially to all their neighbors about their protracted personal correspondence with Stalin, where piano teachers, kindergarten teachers, and housewives tossed and turned tearfully at night from stifled yearning for an emotion-laden artistic life, where compulsive writers wrote endless disgruntled letters to the editor of Davar, where elderly bakers saw Maimonides and the Baal Shem Tov in their dreams, where nervy, self-righteous trade-union hacks kept an apparatchik's eye on the rest of the local residents, where cashiers at the cinema or the cooperative shop composed poems and pamphlets at night.

I BUMPED INTO MY ‘FRIEND’ AGAIN a few weeks later at a private view (a recent Goldsmith’s graduate showing protective headgear made out of shortcrust pastry, at the Terminus Gallery). He was standing close to, not actually in, a group in which were mixed some of the art world’s established and emerging talents. That’s where I was standing as well. I

that their merit resides in the impression that they make on their readers. It is a synthetic Venus, of which we have but one truncated limb if we confine ourselves to the thought of the author, for it is realised in its completeness only in the minds of his readers. In them it finds its fulfilment. And as a crowd, even a select crowd, is not an artist, this final seal of approval which it sets upon the article must always retain a certain element of vulgarity.

Art, I understood now, was so much more than the sum of its brush strokes, curved clay appendages, or intricate stitching. There were stories woven, kneaded, and scratches into each piece. Blood, sweat, and tears intermixing with charcoal, textile, and canvas. Hopes, dreams, anger, fear, heartbreak, redemption, romance, and the thrilling sensation of falling in love all resided in an artist's word, the admirer of such pieces never knowing what emotions and story had shaped it.

He intends to publish his memoirs about his years as Chief Resident in Japan, but somehow life always conspires to rob him of the time. Jacob turns fifty. He is elected on to the council of Middelburg. Jacob turns sixty, and his memoirs are still unwritten. His copper hair loses is burnish, his face sags and his hairline retreats until it resembles an elderly samurai’s shaven pate. A rising artist who paints his portrait wonders at his air of melancholic distance, but exorcises the ghost of absence from the finished painting.

The Vikings spoke of a place at the world’s northern rim, sometimes called Ultima Thule, where the oceans emptied into a vast hole that recharged all the springs and rivers on the earth. The Greeks believed in a realm called Hyperborea that lay far to the north. A place of eternal spring where the sun never set, Hyperborea was said to be bordered by the mighty River Okeanos and the Riphean Mountains, where lived the griffins—formidable beasts that were half lion and half eagle. The notion that Saint Nicholas—a.k.a. Kris Kringle or Santa Claus—lives at the North Pole seems to have a much more recent vintage. The earliest known reference to Saint Nick’s polar residence comes from a Thomas Nast cartoon in an 1866 issue of Harper’s Weekly—the artist captioned a collection of his Yuletide engravings “Santa Claussville, N.P.”Still, the larger idea behind Nast’s conceit—of a warm, jolly, beneficent place at the apex of the world where people might live—had ancient roots, and it spoke to America’s consuming fascination with the North Pole throughout the 1800s.

Most of the crime-ridden minority neighborhoods in New York City, especially areas like East New York, where many of the characters in Eric Garner’s story grew up, had been artificially created by a series of criminal real estate scams. One of the most infamous had involved a company called the Eastern Service Corporation, which in the sixties ran a huge predatory lending operation all over the city, but particularly in Brooklyn. Scam artists like ESC would first clear white residents out of certain neighborhoods with scare campaigns. They’d slip leaflets through mail slots warning of an incoming black plague, with messages like, “Don’t wait until it’s too late!” Investors would then come in and buy their houses at depressed rates. Once this “blockbusting” technique cleared the properties, a company like ESC would bring in a new set of homeowners, often minorities, and often with bad credit and shaky job profiles. They bribed officials in the FHA to approve mortgages for anyone and everyone. Appraisals would be inflated. Loans would be approved for repairs, but repairs would never be done. The typical target homeowner in the con was a black family moving to New York to escape racism in the South. The family would be shown a house in a place like East New York that in reality was only worth about $15,000. But the appraisal would be faked and a loan would be approved for $17,000. The family would move in and instantly find themselves in a house worth $2,000 less than its purchase price, and maybe with faulty toilets, lighting, heat, and (ironically) broken windows besides. Meanwhile, the government-backed loan created by a lender like Eastern Service by then had been sold off to some sucker on the secondary market: a savings bank, a pension fund, or perhaps to Fannie Mae, the government-sponsored mortgage corporation. Before long, the family would default and be foreclosed upon. Investors would swoop in and buy the property at a distressed price one more time. Next, the one-family home would be converted into a three- or four-family rental property, which would of course quickly fall into even greater disrepair. This process created ghettos almost instantly. Racial blockbusting is how East New York went from 90 percent white in 1960 to 80 percent black and Hispanic in 1966.

The notion that Saint Nicholas—a.k.a. Kris Kringle or Santa Claus—lives at the North Pole seems to have a much more recent vintage. The earliest known reference to Saint Nick’s polar residence comes from a Thomas Nast cartoon in an 1866 issue of Harper’s Weekly—the artist captioned a collection of his Yuletide engravings “Santa Claussville, N.P.” Still, the larger idea behind Nast’s conceit—of a warm, jolly, beneficent place at the apex of the world where people might live—had ancient roots, and it spoke to America’s consuming fascination with the North Pole throughout the 1800s.

This fetishistic transmutation separates Warhol from Duchamp and all his predecessors. For Duchamp, Dada, the Surrealists and all who worked to deconstruct representation and smash the work of art are still part of an avant-garde, and belong, in one way or another, to the critical utopia. For us moderns, at any rate, art has ceased to be an illusion; it has become an idea. It is no longer idolatric now, but critical and utopian, even when -- particularly when -- it demystifies its object or when, with Duchamp, it aestheticizes at a stroke, with its bottle-rack, the whole field of daily reality. This is still true of a whole segment of Pop Art, with its lyrical vision of popcorn or comic strips. Banality here becomes the criterion of aesthetic salvation, the means of exalting the creative subjectivity of the artist. Obliterating the object the better to mark out the ideal space of art and the ideal position of the subject. But Warhol belongs to no avant-garde and to no utopia. And if he settles utopia's hash, he does so because, instead of projecting it elsewhere, he takes up residence directly at its heart, that is, at the heart of nowhere. He is himself this no place: this is how he traverses the space of the avant-garde and, at a stroke, completes the cycle of the aesthetic. This is how he at last liberates us from art and its critical utopia.

A girl who is a writer… A girl who is a writer. She’s a woman who lives in her head because the voices of the characters who reside there are ever present demanding their voices be heard. A girl who is a writer. She’s the girl with a cup of coffee and a plate of food that has gotten cold because she couldn’t stop telling the story. A girl who is a writer. She’s the one who lives in a coffee stained flannel shirt but you won’t mind because it’s you who brings her the addiction that fuels her word count. A girl who is a writer. You’ll share her with the world and they will see parts of her naked soul, but you won’t mind because it’s who she is, not what she does. A girl who is a writer. She’s the one who dips her quill in the blood stains of her pain and splatters it on the world’s wall of graffiti filled artists. Her voice will stand out because she is a girl who is a writer. © Suzanne Steele

Walter’s escape had been built on his initial conviction that facts could save lives, that information would be the weapon with which he would thwart the Nazi plan to eliminate the Jews. Witnessing the fate of the Czech family camp, and its residents’ immovable faith, despite the evidence all around them, that they would somehow be spared, had led him to understand a more complicated truth: that information is necessary, to be sure, but it is never sufficient. Information must also be believed, especially when it comes to mortal threats. On this, if nothing else, he and Yehuda Bauer might eventually have found common ground: only when information is combined with belief does it become knowledge. And only knowledge leads to action. The French-Jewish philosopher Raymond Aron would say, when asked about the Holocaust, ‘I knew, but I didn’t believe it. And because I didn’t believe it, I didn’t know.

A lovely home atmosphere is one of the flowers of the world, than which there is nothing more tender, nothing more delicate, nothing more calculated to make strong and just the natures cradled and nourished within it. Those who have never experienced such a beneficent influence will not understand wherefore the tear springs glistening to the eyelids at some strange breath in lovely music. The mystic chords which bind and thrill the heart of the nation, they will never know. Hurstwood’s residence could scarcely be said to be infused with this home spirit. It lacked that toleration and regard without which the home is nothing. There was fine furniture, arranged as soothingly as the artistic perception of the occupants warranted. There were soft rugs, rich, upholstered chairs and divans, a grand piano, a marble carving of some unknown Venus by some unknown artist, and a number of small bronzes gathered from heaven knows where, but generally sold by the large furniture houses along with everything else which goes to make the “perfectly appointed house.

Beneath the window, set between gravel walkways, a few woody lavenders, etiolated rosemary bushes, and ornamental thyme made up the aromatherapy garden that he had seen described in the brochure. Beyond this, however, running a long arc down the gentle slope of lawn, camellias in unrestrained bloom provided an alternative tonic. The lawn gave way to a flower garden, itself fringed by a wood, so that the incarcerated had at least the consolation of a pleasant enough outlook. Gabe stood in front of the fireplace and examined the painting that hung above the mantelpiece. It was a still life. It showed two apples and a brown and white feather laid on a velvet cloth on a table placed by a window. Although the picture was not, Gabriel assumed, of the highest artistic value, and was cheap enough to reside at Greenglades, and though it could not be said to have a photographic reality, and though he suspected it of not being "good," he was drawn to look at it and could see the ripeness of the velvet, reckon the bursting crispness of the apples, and the feather had a certain quality that he had never before observed, just as the painted window offered something that he had failed to notice at all when looking through the real one: the texture, the tone, the way the light fell, the very glassness of the glass.

I don’t think we can separate the art from the artist, nor should we need to. I think we can look at a piece of art as the transformed or redeemed aspect of an artist, and marvel at the miraculous journey that the work of art has taken to arrive at the better part of the artist’s nature. Perhaps beauty can be measured by the distance it has travelled to come into being. That bad people make good art is a cause for hope. To be human is to transgress, of that we can be sure, yet we all have the opportunity for redemption, to rise above the more lamentable parts of our nature, to do good in spite of ourselves, to make beauty from the unbeautiful, and to have the courage to present our better selves to the world. The moon is high and yellow in the sky outside my window. It is a display of sublime beauty. It is also a cry for mercy — that this world is worth saving. Mostly, though, it is a defiant articulation of hope that, despite the state of the world, the moon continues to shine. Hope too resides in a gesture of kindness from one broken individual to another or, indeed, we can find it in a work of art that comes from the hand of a wrongdoer. These expressions of transcendence, of betterment, remind us that there is good in most things, rarely only evil. Once we awaken to this fact, we begin to see goodness everywhere, and this can go some way in setting right the current narrative that humans are shit and the world is fucked.

Moscow can be a cold, hard place in winter. But the big old house on Tverskoy Boulevard had always seemed immune to these particular facts, the way that it had seemed immune to many things throughout the years. When breadlines filled the streets during the reign of the czars, the big house had caviar. When the rest of Russia stood shaking in the Siberian winds, that house had fires and gaslight in every room. And when the Second World War was over and places like Leningrad and Berlin were nothing but rubble and crumbling walls, the residents of the big house on Tverskoy Boulevard only had to take up a hammer and drive a single nail—to hang a painting on the landing at the top of the stairs—to mark the end of a long war. The canvas was small, perhaps only eight by ten inches. The brushstrokes were light but meticulous. And the subject, the countryside near Provence, was once a favorite of an artist named Cézanne. No one in the house spoke of how the painting had come to be there. Not a single member of the staff ever asked the man of the house, a high-ranking Soviet official, to talk about the canvas or the war or whatever services he may have performed in battle or beyond to earn such a lavish prize. The house on Tverskoy Boulevard was not one for stories, everybody knew. And besides, the war was over. The Nazis had lost. And to the victors went the spoils. Or, as the case may be, the paintings. Eventually, the wallpaper faded, and soon few people actually remembered the man who had brought the painting home from the newly liberated East Germany. None of the neighbors dared to whisper the letters K-G-B. Of the old Socialists and new socialites who flooded through the open doors for parties, not one ever dared to mention the Russian mob. And still the painting stayed hanging, the music kept playing, and the party itself seemed to last—echoing out onto the street, fading into the frigid air of the night. The party on the first Friday of February was a fund-raiser—though for what cause or foundation, no one really knew. It didn’t matter. The same people were invited. The same chef was preparing the same food. The men stood smoking the same cigars and drinking the same vodka. And, of course, the same painting still hung at the top of the stairs, looking down on the partygoers below. But one of the partygoers was not, actually, the same. When she gave the man at the door a name from the list, her Russian bore a slight accent. When she handed her coat to a maid, no one seemed to notice that it was far too light for someone who had spent too long in Moscow’s winter. She was too short; her black hair framed a face that was in every way too young. The women watched her pass, eyeing the competition. The men hardly noticed her at all as she nibbled and sipped and waited until the hour grew late and the people became tipsy. When that time finally came, not one soul watched as the girl with the soft pale skin climbed the stairs and slipped the small painting from the nail that held it. She walked to the window. And jumped. And neither the house on Tverskoy Boulevard nor any of its occupants ever saw the girl or the painting again.

THE DEMANDS MADE by a work of this nature upon the generosity of specialists are very numerous, and the Editor would be wanting in all title to the generous treatment he has received were he not willing to make the fullest possible acknowledgment of his indebtedness. His thanks are due in the first place to the scholarly and accomplished Bahadur Shah, baggage elephant 174 on the Indian Register, who, with his amiable sister Pudmini, most courteously supplied the history of ‘Toomai of the Elephants’ and much of the information contained in ‘Servants of the Queen’. The adventures of Mowgli were collected at various times and in various places from a multitude of informants, most of whom desire to preserve the strictest anonymity. Yet, at this distance, the Editor feels at liberty to thank a Hindu gentleman of the old rock, an esteemed resident of the upper slopes of Jakko, for his convincing if somewhat caustic estimate of the national characteristics of his caste–the Presbytes. Sahi, a savant of infinite research and industry, a member of the recently disbanded Seeonee Pack, and an artist well known at most of the local fairs of Southern India, where his muzzled dance with his master attracts the youth, beauty, and culture of many villages, have contributed most valuable data on people, manners, and customs. These have been freely drawn upon, in the stories of ‘Tiger-Tiger!’ ‘Kaa’s Hunting’, and ‘Mowgli’s Brothers’. For the outlines of ‘Rikki-tikki-tavi’ the Editor stands indebted to one of the leading herpetologists of Upper India, a fearless and independent investigator who, resolving ‘not to live but know’, lately sacrificed his life through over-application to the study of our Eastern Thanatophidia. A happy accident of travel enabled the Editor, when a passenger on the Empress of India, to be of some slight assistance to a fellow-voyager. How richly his poor services were repaid, readers of the ‘White Seal’ may judge for themselves.

This city-and-corporate-led “pro-arts” agenda runs the risk of not only driving out present art-making residents out via a combination of gate-keeping and escalating living costs (including but not limited to rent), it also prevents people who co-habitated with or preceded underground artists – frequently communities of color and poor/working class people overall – from returning. Even leading up to periods of economic decline (which frequently include an influx of artists, due to the increase in more affordable housing), the potential of keeping people out when the gentrification cycle eventually reverses, and housing becomes affordable again – typically when middle-class and up whites leave the city, developers abandon future projects, and things start to decay – is real. In other words, the pro-arts agenda provides the convergence of moneyed, powerful interests that drive gentrification with an additional cultural and economic weapon against keeping undesirables out, if they so choose, by labeling them as “the bad sort of creatives” or otherwise less-than, while keeping the semblance of being pro-artist intact, to be utilized as needed. This utilization may include implementation during periods of decline, depending on the plans, interests and future needs of capital, in a local/global context. – The solution to this is for communities to organize for the sorts of transformative conditions that allow people the practical and life-altering means to make all kinds of art, not for artists to be played by corporate arts entities that collude with downtown interests – while collectively resisting gentrification as soon as it starts to happen. The Right To The City is real. We are not your puppets!

urban reinvention is what has been called the “consumer city.” The post-World War II years brought about the rise of suburbanization and the creation of the commuter city. People chose suburban life for its amenities and comforts and commuted into the city only for work and the occasional show. But Vancouver and Los Angeles are two urban areas that reversed the trend. They became consumer cities marked by a new phenomenon — the reverse commuter. Increasingly, these and other cities offer residents a quality of life they could not find elsewhere in the region — a dizzying variety of artistic, educational, cultural, and entertainment events and

Here’s another analogy. Human beings bring only a handful of facial features to the blueprint of how we look—two eyes, two eyebrows, a nose, a mouth, a pair of cheekbones, and two ears, all pasted onto a somewhat ovular-to-round face. That particular blueprint doesn’t often vary much, either. Interestingly enough, this is about the same number of essential storytelling parts and milestones that each and every story needs to showcase in order to be successful. Now, consider this: With only these eleven variables to work with, ask yourself how often you see two people who look exactly alike. In a crowd of ten thousand faces, you would be able to differentiate each and every one of them, other than a set of twins or two in attendance. Where we humans are concerned, the miracle of originality resides in the Creator, who applies an engineering-driven process—eleven variables— to an artistic outcome. Where art is concerned, there is something to be learned from that.

Wagner's basic idea was of mystical origin; he wanted to understand the whole human being, the inner person as well as what he revealed outwardly. Wagner knew that within human beings a higher being resides, a higher self that was only partially revealed in space and time. He sought to understand that higher entity that rises above the everyday. He felt that it must approached from as many sides as possible. His search for the superhuman aspect of man's being, for that which rises above the merely personal, led him to myths. Mythical figures were not merely human, they were superhuman: They revealed the superhuman aspect of a person's being. Characters like Siegfried and Lohengrin do not display qualities belonging to a single human being, but to many. Wagner turned to the superhuman figures portrayed in myths because he sought understanding of the deeper aspects of the human being. . . . We can do no more than turn a few spotlights on Wagner's inner experiences as an artist. In so doing we soon discover his strong affinity with what could be called 'man's mythical past.' His particular interest in the figure of Siegfried can easily be understood when seen in connection with his concept of mankind's evolution. Looking back to ancient times, Wagner saw that formerly the bond between human beings was based on selfless love within the confines of a tribe. Human consciousness at that time was duller; he did not yet experience personal independence. Each one felt himself, not so much an individual, but rather as a member of his tribe. He experienced the tribal soul as a reality.

She didn't wish to dampen his enthusiasm, yet she wanted him to remove her name and the gratuitous reference to her as an artist. He was an artist - not her. "Could you possibly make a few small changes before moving the sign to the window?" Her question brought him to a halt. "Did I spell something incorrectly?" "No, but if you could paint over my name and the wording below, it would please me." "But why? That is your name, and you are my artist-in-residence. Customers prefer knowing our names when they come into the store." She didn't want to upset him. No doubt he spent hours painting the sign, and he'd done a good job of it. "I suppose you could leave my name, but I don't think it's proper to advertise me as an artist." He waved his hand in a dismissive gesture. "Bah! You are one of the finest artists I've ever seen. Art comes in many forms. Some in sketching, some in painting, some in pottery, and some in your Scherenschnitte.

The value of story—of creator reputation—was vividly demon- strated in a social experiment conducted by the street artist Banksy during a 2013 New York residency. This is an artist whose work has sold for as much as $1.87 million at auction. Banksy erected a street stall on a sidewalk bordering Central Park and had a vendor sell his prints for sixty dollars each. He then posted a video of his experi- ment. Footage from a hidden camera captures some of his most iconic images displayed on a table. Tourists and locals meander by. His first sale doesn’t come for hours. A woman buys two small works for her children, negotiating a fifty percent discount. Around four in the afternoon, a woman from New Zealand buys two more. A little over an hour later, a Chicago man who “just needs something for the walls,” buys four. With each sale, the vendor gives the buyer a hug or kiss. At 6 p.m., he closes the stall, having made $420. In June 2015, one of these stenciled prints, Love Is in the Air—an image of a masked protestor throwing a bouquet of flowers—sold for $249,000. How much of the value of Banksy’s art is tied up in his name, his global brand?

Being invisible to your father hurts,” Val said. He fell silent, wondering where the words had come from. Growing up, he’d been the runt, too young, too dreamy, too artistic to keep up with his brothers or their friends. As a younger man, he’d been disinclined to academic brilliance, social wit, or business acumen, and denied by ducal fiat from buying his colors. For the first time, he wondered if he’d chosen the piano or simply chained himself to it by default. Nick shot him a curious glance. “Would it be so much better if you’d ended up like Bart and Victor? If Esther and Percy had to bury three sons instead of two, while you were spared the pains of living the life God gave you? I think the more important question now, Val, is are you invisible to yourself?” “No, Nick.” A mirthless laugh. “I am not, but just when I realize what a pit I had fallen into with my slavish devotion to a simple manual skill, just when I can begin to hope there might be more to life than benumbing myself on a piano bench, I find a woman I can love, but she can’t love me back.” “I think she does love you,” Nick replied, remaining seated as Val rose and crossed the room. “And you certainly do love her.” Val considered Nick’s words. They settled something inside him, in his head—where he planned and worked out strategies—and in his heart, where his music and his love for Ellen both resided. “I do love her.” Val lowered himself to sit on the little stage enthroning the piano. “I most assuredly do. It’s helpful to be reminded of this.” “Now I am going to cry,” Nick said with mock disgust as he crossed the room and once again sat right next to Val. “What will you do about Ellen?” “About Ellen? I agree with you: We love each other. She believes her love for me requires us to part. I believe our love requires us to be together for whatever time the good Lord grants.” “So you must convince her,” Nick concluded with a nod. “How will you go about this?” “I have some ideas.” Those ideas were like the first stirrings of a musical theme in Val’s head. Tenuous, in need of development, but they were taking hold in Val’s mind with the same tenacity as a lovely new tune. “God alone knows if my ideas will work.” Val

What is marriage anymore, anyway? How is the institution structured? What assumptions do we bring to it? Is it an irreducible economic unit, in which production and labor remain distributed along traditional lines (the model of husband as protector and breadwinner and wife as 'angel in the house,' domestic goddess, and nurturer)? Or is it a spiritual, intellectual, artistic, and social partnership - a lifelong collaboration, a project, a constant becoming? Is it what patriarchal society said it is, or what Hollywood pretended it was? What does it mean to be a modern woman? Where does a woman's 'modern-ness' reside? In what she looks like, how she acts, what she does, wears, or says? Or is it somewhere else entirely outside of her, in a larger system that allows her to be a whole, free person? that represents her as such? that allows her to represent herself? that recognizes her individuality and subjectivity? Is it about things like voting and birth control, the issues that Katharine Hepburn's mother devoted her life to fighting for? Is it about wearing pants, not aiming to please, sleeping around, and not getting married, like Katharine Hepburn did? Is it about smoking Virginia Slims? Is it not perhaps all and none of these things but the fact that we keep having to make a case for our personhood? Is it not the story that needs to be reframed? the heroine who needs to be allowed to create herself, from scratch?

Karl Giese seemed to supply all of Hirschfeld’s needs. He was his secretary, the guardian of the Archive and planner of new projects for the education of the public of homosexuality. His infinite knowledge of Hirschfeld’s work and ideas made him his natural confidant. In short, Giese had the unique position of being his lover and most trusted collaborator. He knew everything that could be known about the Institute, and, soon after he had taken up residence there, he guided visitors through its different departments. They were a mixed crowd—German and foreign doctors, other academics, writers, artists. and many members of the public. Giese was no academic, but he had native wit and considerable intelligence. He had been a brilliant autodidact. He was also an articulate speaker, and Hirschfeld entrusted him with lecturing to the general public on questions of sexual conflict and homosexuality. He fulfilled his many tasks with enthusiasm, and at the same time cared for Hirschfeld’s well-being like a mother.

But here’s the thing. The last person I would ever entrust to oversee any part of any criminal enterprise would be Tommy Wiseau. In fact, were I involved in illegal activity, I would think twice before launching a criminal enterprise in a country where Tommy Wiseau was even resident.

Shake Shack- The now multinational, publicly traded fast-food chain was inspired by the roadside burger stands from Danny's youth in the Midwest and serves burgers, dogs, and concretes- frozen custard blended with mix-ins, including Mast Brothers chocolate and Four & Twenty Blackbirds pie, depending on the location. Blue Smoke- Another nod to Danny's upbringing in the Midwest, this Murray Hill barbecue joint features all manner of pit from chargrilled oysters to fried chicken to seven-pepper brisket, along with a jazz club in the basement. Maialino- This warm and rustic Roman-style trattoria with its garganelli and braised rabbit and suckling pig with rosemary potatoes is the antidote to the fancy-pants Gramercy Park Hotel, in which it resides. Untitled- When the Whitney Museum moved from the Upper East Side to the Meatpacking District, the in-house coffee shop was reincarnated as a fine dining restaurant, with none other than Chef Michael Anthony running the kitchen, serving the likes of duck liver paté, parsnip and potato chowder, and a triple chocolate chunk cookie served with a shot of milk. Union Square Café- As of late 2016, this New York classic has a new home on Park Avenue South. But it has the same style, soul, and classic menu- Anson Mills polenta, ricotta gnocchi, New York strip steak- as it first did when Danny opened the restaurant back in 1985. The Modern- Overlooking the Miró, Matisse, and Picasso sculptures in MoMA's Sculpture Garden, the dishes here are appropriately refined and artistic. Think cauliflower roasted in crab butter, sautéed foie gras, and crispy Long Island duck.

Meantime, British organizations such as the London Business School and the Yorkshire Water Company have established artist-in-residence programs.

Someone will do anything to stop them from learning the truth . . . Eighty years after Breakdown, Detective Reese Parker has pulled herself up from the dregs of society in Welfare Colony 6 to become a sketch artist and enforcer for the CORE (Commonwealth Objective for Reform and Efficiency). She works hard with other enforcers to maintain peace and order among the CORE’s two million residents, especially against the radiation-crazed outsiders called fringers.

Many years ago, one of my life coaches gave me a metaphor. She compared life’s passage to that of peeling an onion. We continue to remove layer after layer of that onion, revealing new challenges and new realms. Our conscious beliefs reside in layers like those of an onion. As we continue to watch our thoughts and practice self-awareness, we’ll uncover new self-limiting beliefs. As we reveal each limiting belief, we grow as Spiritual Artists, and our creative results deepen.

Writing about the circulation of information, Berardi makes a distinction that’s especially helpful here, between what he calls connectivity and sensitivity. Connectivity is the rapid circulation of information among compatible units—an example would be an article racking up a bunch of shares very quickly and unthinkingly by like-minded people on Facebook. With connectivity, you either are or are not compatible. Red or blue: check the box. In this transmission of information, the units don’t change, nor does the information. Sensitivity, in contrast, involves a difficult, awkward, ambiguous encounter between two differently shaped bodies that are themselves ambiguous—and this meeting, this sensing, requires and takes place in time. Not only that, due to the effort of sensing, the two entities might come away from the encounter a bit different than they went in. Thinking about sensitivity reminds me of a monthlong artist residency I once attended with two other artists in an extremely remote location in the Sierra Nevada. There wasn’t much to do at night, so one of the artists and I would sometimes sit on the roof and watch the sunset. She was Catholic and from the Midwest; I’m sort of the quintessential California atheist. I have really fond memories of the languid, meandering conversations we had up there about science and religion. And what strikes me is that neither of us ever convinced the other—that wasn’t the point—but we listened to each other, and we did each come away different, with a more nuanced understanding of the other person’s position. So connectivity is a share or, conversely, a trigger; sensitivity is an in-person conversation, whether pleasant or difficult, or both. Obviously, online platforms favor connectivity, not simply by virtue of being online, but also arguably for profit, since the difference between connectivity and sensitivity is time, and time is money. Again, too expensive. As the body disappears, so does our ability to empathize.

Whether story-like or absurd, whether obviously relevant or not, dreams remind artists that, even when they feel blocked, the ability to create fictional worlds still resides within them.

From the outside, you might see my life as mundane: ‘Jane, you’re just running the Mural Arts Program and you’ve been doing that forever.’ I would say, ‘No, listen, today I went to a maximum security prison. I was in North Philly. I went to church. I was in a boardroom. I met with a deputy commissioner. I met with a city council person. I worked at an artists’ residency program. I saw kids graduating.’ ” Then Jane used a painter’s analogy: “I’m like an artist who looks at the sky every morning and sees a variety of really brilliant colors where other people would just see blue or gray. I’m seeing in the course of a single day this tremendous complexity and nuance. I see something that is ever evolving and rich.

Museums of primitive art are filled with masks, figurines, bas-relief sculptures, all looted from all over the world and robbed of their meanings. For those who created them, life resided not in the object itself, but rather in the spirit that inspired it. A corpse, even one artistically entombed, is still a dead body. They are no longer works of art, but simply objects. They are beautiful, whereas they should be alive, From time immemorial, humans have sculpted to magnify their gods. There is a reason why some religions are against any depiction of their gods while others are committed to the practice. There is some form of highly human insolence in recreating the god that created you, and there is a risk of adoring the tangible representation in itself instead of the discarnate deity. That is what sculpture is: both a tribute and a challenge to the gods. Some spiritualities tolerate this ambivalence, others don't. Others yet use representations to further tighten control over their flock and guarantee their submissiveness. They select the artists and dictate the dogma they should represent. Sculpture is both the easiest and the most delicate of art forms. It is more than just hewing a form out of a compact block, or reproducing a model: you have to breathe life into It. That is not something you can learn or improvise. There is always some part of yourself that you infuse into the material. In our modern world, where art is a business like any other, techniques are taught, but the magic, on the other hand, is still a gift, midway between bliss and suffering.

neuropsychologist Chris Niebauer explains how recent studies have shown that the right brain, long thought to be the place where creativity resides, can evaluate situations and lead us to take actions that are in our own best interest before we ever make a left brain, logic-based, or rational decision.

finally, the clean-up continues following the devastating series of earthquakes which killed almost half a million Los Angeles residents last week, including the actress and model Kim Kardashian, the artist formerly known as Justin Bieber, and all of the X-Factor Live tour’s acts, as well as 458,000 actual people.

Meeting the Marches *Hector March, the Earl March (b.1817) His beloved wife, Charlotte, is deceased. He divides his time between his Sussex estate, Bellmont Abbey, and his London home where he is active in Parliamentary debate, particularly over the question of Irish Home Rule. His hobbies are Shakespearean studies and quarrelling with his hermit. His children are: Frederick, Viscount Bellmont “Monty” (b. 1846) Married to Adelaide Walsingham. Resides in London. Represents Blessingstoke as a Member of Parliament. Lady Olivia Peverell (b.1847) Married to Sir Hastings Peverell. Resides in London where she is a prominent political hostess. Hon. Benedick March (b.1848) Married to Elizabeth Pritchett. Manages the Home Farm at Bellmont Abbey and is acknowledged to be Julia’s favourite brother. His two eldest children, Tarquin and Perdita, make an appearance in two of Lady Julia’s adventures. Lady Beatrice “Bee” Baddesley (b. 1850) Married to Sir Arthur Baddesley, noted Arthurian scholar. Resides in Cornwall. Lady Rupert “Nerissa” Haverford (b.1851) Married to Lord Rupert Haverford, third son of the Duke of Lincoln. Divides her time between London and her father-in-law’s estate near Nottingham. Lady Bettiscombe “Portia” (b.1853) Widow. Mother to Jane the Younger. Resides in London. Hon. Eglamour March (b.1854) Known as Plum to the family. Unmarried. A gifted artist, he resides in London where he engages in a bit of private enquiry work for Nicholas Brisbane. Hon. Lysander March (b.1855) Married to Violanthe, his turbulent Neapolitan bride. He is a composer. Lady Julia Brisbane (b.1856) Widow of Sir Edward Grey. Married to Nicholas Brisbane. Her husband permits her to join him in his work as a private enquiry agent against his better judgment. Hon. Valerius March (b.1862) Unmarried. His desire to qualify as a physician has led to numerous arguments with his father. He pursues his studies in London. *Note regarding titles: as the daughters of an earl, the March sisters are styled “Lady”. This title is retained when one of them marries a baronet, knight, or plain gentleman, as is the case with Olivia, Beatrice, and Julia. As Portia wed a peer, she takes her husband’s title, and as Nerissa married into a ducal family, she takes the style of her husband and is addressed as Lady Rupert. Their eldest brother, Frederick, takes his father’s subsidiary title of Viscount Bellmont as a courtesy title until he succeeds to the earldom. (It should be noted his presence in Parliament is not a perk of this title. Unlike his father who sits in the House of Lords, Bellmont sits in the House of Commons as an elected member.) The younger brothers are given the honorific “The Honourable”, a courtesy which is written but not spoken aloud.

Where, then, does your vision of the world reside? What part of your art is drawn from history? What part is prophecy? What part is grounded in fact? What part takes wing in fantasy? These are useful questions. Do you really want to leave it to outsiders and non-artists to make up your answers for you? Many

all its occupants had left without her. This troubled Frances not in the least. She already seemed to have made a lot of new friends, she was rich, twice-married, without roots. San Antonio suited her down to the ground. It was filled with painters, expatriates, writers and beatniks, and Frances, who had once lived for several months with an unsuccessful artist in Greenwich Village, felt entirely at home. Before long she had found this house, and when the initial occupations of settling-in were over, cast about for some way of filling in her time. She decided upon an art gallery. In a place where you had both resident painters and visiting tourists, an art gallery was surely a blue-chip investment. She bought

Despite all the lovely and undoubtedly accurate statements pertaining to what art is, perhaps art is merely a person creating a new ethical world in which they can reside. Perhaps when the sculptor, painter, writer, musician, and poet arrive at the point where after many trials and glorious errors they create art, they can put down their chisel, paintbrushes, pen, musical instruments, and verse making. Perhaps when the artist travels beyond the realm of the ordinary, they no longer feel a need to pay homage to a world where other people’s values and principles rule. Creating a new realm for their personal occupancy, they can now destroy all their crutches, burn, crush, and obliterate all their prior creations for what they now perceive as an abomination.

Starling, I haven’t stopped thinking of you--I can’t. I know that you are engaged and want to do right by your family, but you and I belong together. Call it fate if you like. I prefer to think of it as the natural order of things. Just as mixing ochre and sapphire produces the most vibrant green, you and I, when combined, become more alive. I’ve stopped doing business with Angelo de Gradi. I’ve left that life behind. I’m working as an artist in residence for a wealthy patron now. The work she has me do is a bit pedestrian, but perhaps it will lead to bigger projects. I meant what I said. One day I will paint whole chapels for you. I spend every waking minute becoming a better artist, a better man. One day I will offer you the life you deserve, the life we both desire. One day I’ll be good enough, or I’ll die trying…

Americans need no strong sense of personal identity premised upon personal values or shared experiences. Many of us gladly traded in a moral and ethical characterization of self for an identity provided by our jobs and brand name consumer goods. We describe ourselves to new acquaintances by stating our vocations. We all know the class ranking system associated with our respective occupations. Whatever trendy neighborhood development we reside in establishes our social class. We are what we drive to work, what we do for a living, what exclusive clubs we belong as members, what teams we root for, and what artists we follow. Instead of working to develop a mature inward state of consciousness and expand their knowledge of the world, many Americans including me suffer from a juvenile tendency to define ourselves based upon our embodied social status. Americans promote their status by touting their jobs, the housing developments that we live in, and the designer clothes and sportswear that we clad ourselves.

big cities nurture subcultures much more effectively than suburbs or small towns. Lifestyles or interests that deviate from the mainstream need critical mass to survive; they atrophy in smaller communities not because those communities are more repressive, but rather because the odds of finding like-minded people are much lower with a smaller pool of individuals. If one-tenth of one percent of the population are passionately interested in, say, beetle collecting or improv theater, there might only be a dozen such individuals in a midsized town. But in a big city there might be thousands. As Fischer noted, that clustering creates a positive feedback loop, as the more unconventional residents of the suburbs or rural areas migrate to the city in search of fellow travelers. “The theory . . . explains the ‘evil’ and ‘good’ of cities simultaneously,” Fischer wrote. “Criminal unconventionality and innovative (e.g., artistic) unconventionality are both nourished by vibrant subcultures.” Poetry collectives and street gangs might seem miles apart on the surface, but they each depend on the city’s capacity for nurturing subcultures.

Singer’s lethal potion is concocted of hundreds of outlandish facts and quotes—he is a tenacious reporter—and a style that barely suppresses his own amusement. It works particularly well on the buccaneers who continue to try the patience of the citizenry, as proved by his profile in The New Yorker of the developer Donald Trump. Noting that Trump “had aspired to and achieved the ultimate luxury, an existence unmolested by the rumbling of a soul,” Singer describes a visit to Mar-a-Lago, the Palm Beach spa converted by Trump from the 118-room Hispano-Moorish-Venetian mansion built in the 1920s by Marjorie Merriweather Post and E. F. Hutton: Evidently, Trump’s philosophy of wellness is rooted in a belief that prolonged exposure to exceptionally attractive young spa attendants will instill in the male clientele a will to live. Accordingly, he limits his role to a pocket veto of key hiring decisions. While giving me a tour of the main exercise room, where Tony Bennett, who does a couple of gigs at Mar-a-Lago each season and had been designated an “artist-in-residence,” was taking a brisk walk on a treadmill, Trump introduced me to “our resident physician, Dr. Ginger Lee Southall”—a recent chiropractic-college graduate. As Dr. Ginger, out of earshot, manipulated the sore back of a grateful member, I asked Trump where she had done her training. “I’m not sure,” he said. “Baywatch Medical School? Does that sound right? I’ll tell you the truth. Once I saw Dr. Ginger’s photograph, I didn’t really need to look at her résumé or anyone else’s. Are you asking, ‘Did we hire her because she trained at Mount Sinai for fifteen years?’ The answer is no. And I’ll tell you why: because by the time she’s spent fifteen years at Mount Sinai, we don’t want to look at her.

Everyone is her or his own philosopher; like a writer or artist in residence, our philosopher interprets life as it is being lived. This can be anything from paralyzing to fortifying. It all depends on the content of the philosophy being dispensed by ourselves or others