Found This In My Gallery Quotes

My dear, I could hardly keep still in my chair. I wanted to dash out of the house and leap in a taxi and say, "Take me to Charles's unhealthy pictures." Well, I went, but the gallery after luncheon was so full of absurd women in the sort of hats they should be made to eat, that I rested a little--I rested here with Cyril and Tom and these saucy boys. Then I came back at the unfashionable time of five o'clock, all agog, my dear; and what did I find? I found, my dear, a very naughty and very successful practical joke. It reminded me of dear Sebastian when he liked so much to dress up in false whiskers. It was charm again, my dear, simple, creamy English charm, playing tigers.

Be vulnerable. I have tried forever to stop being vulnerable. It’s not going to happen, so, fuck it, I’ll just embrace it. And how many times have I let myself be overwhelmed by fear, I can’t even count. But always, I have found the courage to overcome those two and make it. Being vulnerable has made me the artist I am and continues to be a part of my daily existence. How else could I open my heart and create? Worrying about not being good enough or being terrified to start a new project brings out the fear. So, fuck it, I’ll embrace the fear too. Being courageous has brought me rewards I should never forget. From accomplishing my first gallery exhibitions to realizing I could handle trauma in my family with strength I didn’t know I had. All I can hope for is that I continue to allow myself to be vulnerable, face my fears and go on with courage. Maybe when facing our very human vulnerability and fear, we should take off the armor and adopt those two with an open heart. Maybe that is the ultimate act of courage. Be vulnerable.

I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf. It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe. Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era. The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats. It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains. About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826.

My son is the man who is handing his passport to the policeman. My son is the policeman who is receiving the passport. My son is the old man in front of me in the queue, here, in the air-port, in Beijing. Over the last twelve months, I have been seeing the face of my son in the faces of all the Chinese people I have happened to meet. I was walking in Milan, Italy, when Laura called me and told me that our application had been finally sent to China. We would be receivinga son or a daughter from China. I was excited. I put my phone into my jacket pocket and slowed down in the Corso Vittorio Emanuele gallery. There was a multitude of people around me, but I was totally unaware of their existence. I was trying to picture my son’s, or my daughter’s face and hands. I wondered what age he or she was. For a while I kept imagining and reviewing all the possibilities, and all the hypotheses, but I was not able to create an image which would bring an end to my seeking. Then, suddenly, I found him. He was walking in front of me with his wife and little daughter. I was not sure about his origin, if he were truly Chinese or not, but it was definitely him. He was a little younger than I. I was happy to see he was so distinguished, with his gold-rimmed glasses and nicely ironed, blue shirt.

Comet, You told me a story once. You were standing in the kitchen making a taco casserole, wearing a fuzzy sweater that matched your eyes. It was a story about a bunny. When you were young, a little rabbit had found its way into your garage, injured and bleeding. You wanted to save it. You wanted to give it a second chance at life. Unfortunately, the story didn’t end well, and I wished so hard that I could go back in time and help you save that bunny. Since my powers are limited, I did what I could. Meet Hoppity. I hope that when you look at it, hold it, set it on your shelf, you think of me. I hope it serves as a constant reminder of your beautiful heart and the way it changes people. The way it changed me. You changed me, Halley, in all the best ways. Let this be your second chance at life. Take risks. Take opportunities. Take pictures that hang in galleries one day, so everyone can see your talent, your beauty, your immeasurable worth. Fight. Fight for you, for your future. Not with fists and kicks, but with what you’ve always fought best with: love. The night I met you, you sat down in a cold lake and said, “You’re welcome.” I said I didn’t thank you for anything and you replied with, “You might one day.” You were right. Thank you, Halley Foster. You’ve made me a better man. Reed

It was ten at night and everyone had gone home. I trudged up the dark stairway to clean out my desk. There was no sadness or nostalgia, only disgust that I’d wasted so much time on unnecessary labor when I could have been sleeping and feeling nothing. I’d been stupid to believe that employment would add value to my life. I found a shopping bag in the break room and packed up my coffee mug, the spare change of clothes I kept in my desk drawer along with a few pairs of high heels, panty hose, a push-up bra, some makeup, a stash of cocaine I hadn’t used in a year. I thought about stealing something from the gallery—the Larry Clark photo hanging in Natasha’s office, or the paper cutter. I settled on a bottle of champagne—a lukewarm, and therefore appropriate, consolation.

Natasha started to take notice. My sleepiness was good for rudeness to visitors to the gallery, but not for signing for packages or noticing if someone had come in with a dog and tracked paw prints all over the floor, which happened a few times. There were a few spilled lattes. MFA students touching paintings, once even rearranging an installation of shattered CD jewel cases in a Jarrod Harvey installation to spell out the word “HACK.” When I noticed it, I just shuffled the shards of plastic around, no one the wiser. But when a homeless woman set herself up in the back room one afternoon, Natasha found out. I’d had no idea how long the woman had been there. Maybe people thought she was part of the artwork. I ended up paying her fifty bucks out of petty cash to leave. Natasha couldn’t hide her irritation.

Up in the courtroom, I found my lawyer waiting. My cousin Mlungisi was there, too, in the gallery, ready to post my bail if things went my way. The bailiff read out my case number, and the judge looked up at me. “How are you?” he said. I broke down. I’d been putting on this tough-guy facade for nearly a week, and I just couldn’t do it anymore. “I-I’m not fine, Your Honor. I’m not fine.” He looked confused. “What?!” I said, “I’m not fine, sir. I’m really suffering.” “Why are you telling me this?” “Because you asked how I was.” “Who asked you?” “You did. You just asked me.” “I didn’t say, ‘How are you?’ I said, ‘Who are you?’ Why would I waste time asking ‘How are you?’! This is jail. I know everyone is suffering down there. If I asked everyone ‘How are you?’ we’d be here all day. I said, ‘Who are you?’ State your name for the record.” “Trevor Noah.

My parents died one after the other my junior year of college—first my dad from cancer, then my mother from pills and alcohol six weeks later. All of this, the tragedy of my past, came reeling back with great force that night I woke up in the supply closet at Ducat for the last time. It was ten at night and everyone had gone home. I trudged up the dark stairway to clean out my desk. There was no sadness or nostalgia, only disgust that I’d wasted so much time on unnecessary labor when I could have been sleeping and feeling nothing. I’d been stupid to believe that employment would add value to my life. I found a shopping bag in the break room and packed up my coffee mug, the spare change of clothes I kept in my desk drawer along with a few pairs of high heels, panty hose, a push-up bra, some makeup, a stash of cocaine I hadn’t used in a year. I thought about stealing something from the gallery—the Larry Clark photo hanging in Natasha’s office, or the paper cutter. I settled on a bottle of champagne—a lukewarm, and therefore appropriate, consolation.

The invitation came from Studio Morra in Naples: Come and perform whatever you want. It was early 1975. With the scandalized reactions of the Belgrade press fresh in my mind, I planned a piece in which the audience would provide the action. I would merely be the object, the receptacle. My plan was to go to the gallery and just stand there, in black trousers and a black T-shirt, behind a table containing seventy-two objects: A hammer. A saw. A feather. A fork. A bottle of perfume. A bowler hat. An ax. A rose. A bell. Scissors. Needles. A pen. Honey. A lamb bone. A carving knife. A mirror. A newspaper. A shawl. Pins. Lipstick. Sugar. A Polaroid camera. Various other things. And a pistol, and one bullet lying next to it. When a big crowd had gathered at eight P.M., they found these instructions on the table: There are 72 objects on the table that one can use on me as desired. I am the object. During this period I take full responsibility. Duration: 6 hours (8pm - 2am) Slowly at first and then quickly, things began to happen. It was very interesting: for the most part, the women in the gallery would tell the men what to do to me, rather than do it themselves (although later on, when someone stuck a pin into me, one woman wiped the tears from my eyes). For the most part, these were just normal members of the Italian art establishment and their wives. Ultimately I think the reason I wasn’t raped was that the wives were there. As evening turned into late night, a certain air of sexuality arose in the room. This came not from me but from the audience. We were in southern Italy, where the Catholic Church was so powerful, and there was this strong Madonna/whore dichotomy in attitudes toward women. After three hours, one man cut my shirt apart with the scissors and took it off. People manipulated me into various poses. If they turned my head down, I kept it down; if they turned it up, I kept it that way. I was a puppet—entirely passive. Bare-breasted, I stood there, and someone put the bowler hat on my head. With the lipstick, someone else wrote IO SONO LIBERO—“I am free”—on the mirror and stuck it in my hand. Someone else took the lipstick and wrote END across my forehead. A guy took Polaroids of me and stuck them in my hand, like playing cards. Things got more intense. A couple of people picked me up and carried me around. They put me on the table, spread my legs, stuck the knife in the table close to my crotch. Someone stuck pins into me. Someone else slowly poured a glass of water over my head. Someone cut my neck with the knife and sucked the blood. I still have the scar. There was one man—a very small man—who just stood very close to me, breathing heavily. This man scared me. Nobody else, nothing else, did. But he did. After a while, he put the bullet in the pistol and put the pistol in my right hand. He moved the pistol toward my neck and touched the trigger. There was a murmur in the crowd, and someone grabbed him. A scuffle broke out. Some of the audience obviously wanted to protect me; others wanted the performance to continue. This being southern Italy, voices were raised; tempers flared. The little man was hustled out of the gallery and the piece continued. In fact, the audience became more and more active, as if in a trance. And then, at two A.M., the gallerist came and told me the six hours were up. I stopped staring and looked directly at the audience. “The performance is over,” the gallerist said. “Thank you.” I looked like hell. I was half naked and bleeding; my hair was wet. And a strange thing happened: at this moment, the people who were still there suddenly became afraid of me. As I walked toward them, they ran out of the gallery.

I rise, Mr President, for the purpose of announcing to the Senate that I have satisfactory evidence that the State of Mississippi, by a solemn ordinance of her people in convention assembled, has declared her separation from the United States. Under these circumstances, of course, my functions terminate here. It has seemed to me proper, however, that I should appear in the Senate to announce that fact to my associates, and I will say but very little more.” His voice faltered at the outset, but soon it gathered volume and rang clear—“like a silver trumpet,” according to his wife, who sat in the gallery. “Unshed tears were in it,” she added, “and a plea for peace permeated every tone.” Davis continued: “It is known to senators who have served with me here, that I have for many years advocated, as an essential attribute of State sovereignty, the right of a State to secede from the Union.… If I had thought that Mississippi was acting without sufficient provocation … I should still, under my theory of government, because of my allegiance to the State of which I am a citizen, have been bound by her action.” He foresaw the founding of a nation, inheritor of the traditions of the American Revolution. “We but tread in the paths of our fathers when we proclaim our independence and take the hazard … not in hostility to others, not to injure any section of the country, not even for our own pecuniary benefit, but from the high and solemn motive of defending and protecting the rights we inherited, and which it is our duty to transmit unshorn to our children.” England had been a lion; the Union might turn out to be a bear; in which case, “we will invoke the God of our fathers, who delivered them from the power of the lion, to protect us from the ravages of the bear; and thus, putting our trust in God and in our own firm hearts and strong arms, we will vindicate the right as best we may.

Tharion finished Sofie’s inbox, checked the junk folder, and then finally the trash. It was mostly empty. He clicked open her sent folder, and groaned at the tally. But he began reading again. Click after click after click. His phone chimed with an alert: thirty minutes until he needed to get into the water. He could reach the air lock in five minutes, if he walked fast. He could get through another few emails before then. Click, click, click. Tharion’s phone chimed again. Ten minutes. But he’d halted on an email dated three years ago. It was so simple, so nonsensical that it stood out. Subject: Re: Dusk’s Truth The subject line was weird. But the body of her email was even weirder. Working on gaining access. Will take time. That was it. Tharion scanned downward, toward the original message that Sofie had replied to. It had been sent two weeks before her reply. From: BansheeFan56 Subject: Dusk’s Truth Have you gotten inside yet? I want to know the full story. Tharion scratched his head, opened another window, and searched for Dusk’s Truth. Nothing. No record of a movie or book or TV show. He did a search on the email system for the sender’s name: BansheeFan56. Another half-deleted chain. This one originating from BansheeFan56. Subject: Project Thurr Could be useful to you. Read it. Sofie had replied: Just did. I think it’s a long shot. And the Six will kill me for it. He had a good feeling he knew who “the Six” referred to: the Asteri. But when Tharion searched online for Project Thurr, he found nothing. Only news reports on archaeological digs or art gallery exhibits featuring the ancient demigod. Interesting. There was one other email—in the drafts folder. BansheeFan56 had written: When you find him, lie low in the place I told you about—where the weary souls find relief from their suffering in Lunathion. It’s secure. A rendezvous spot? Tharion scanned what Sofie had started to reply, but never sent. Thank you. I’ll try to pass along the info to my She’d never finished it. There were any number of ways that sentence could have ended. But Sofie must have needed a place where no one would think to look for her and her brother. If Sofie Renast had indeed survived the Hind, she might well have come here, to this very city, with the promise of a safe place to hide. But this stuff about Project Thurr and Dusk’s Truth … He tucked those tidbits away for later. Tharion opened a search field within Declan’s program and typed in the sender’s address. He started as the result came in. Danika Fendyr.

write to allow myself the luxury of painting. I am a painter and not a writer, and you will always see my books rather than hear them. I paint with type, and that is hard, for type has no colour, no variety beyond the dictionary and the stored information in the reader’s mind. Like music, painting starts where words end. ‘I have never attended one of my own exhibitions with any degree of pleasure. I always feel as if I were undressed and on exhibition myself. I always run away. I wish a way of acquiring pictures or dogs could be found other than by going into a gallery or a pet shop or buying them over a table.

After college, I started working in the gallery and found myself surrounded by a whole new set of people who had not yet grown accustomed to my antisocial tendencies, who had not yet learned to expect me to say no, and stopped asking. I was invited to go drinking and dancing again, and so, I tried.

Catawamteak,” meaning “the great landing,” is what the Abenaki Indians called the early settlement that became Rockland, Maine. Thomaston and Rockland can be bypassed by Route 90, an eight-mile shortcut which I frequently used as a midshipman, but our bus stayed on the main road and stopped to let passengers on and off in both places. At one time Rockland was part of Thomaston, called East Thomaston, but the two towns have long since separated, having very little in common. In the beginning, Rockland developed quickly because of shipbuilding and limestone production. It was, and still is, an important fishing port. Lobsters are the main export and the five-day Maine Lobster Festival is celebrated here annually. The red, three-story brick buildings lining the main street of Rockland, give it the image of an old working town. I have always been impressed by the appearance of these small towns, because to me this is what I had expected Maine to look like. When I first went through the center of Rockland on the bus, I was impressed by the obvious ties the community had with the sea. The fishing and lobster industry was evident by the number of commercial fishing and lobster boats. Rockland was, and still is, the commercial hub of the mid-coastal region of the state. The local radio station WRKD was an important source of local news and weather reports. This was also the radio station that opened each day’s broadcasting with Hal Lone Pine’s song, recorded on Toronto's Arc Records label: “There’s a winding lane on the Coast of Maine that is wound around my heart....” The United States Coast Guard still maintains a base in Rockland, which is reassuring to the families of those who go fishing out on the open waters of Penobscot Bay and the Gulf of Maine. Rockland remains the home of the Farnsworth Art Museum, which has an art gallery displaying paintings by Andrew Wyeth, as well as other New England artists. The Bay Point Hotel that was founded in 1889 had a compelling view of the breakwater and Penobscot Bay. The Victorian style hotel, later known as the Samoset Hotel, had seen better days by 1952 and was closed in 1969. On October 13, 1972, the four-story hotel caught fire in the dining area due to an undetermined cause. Fanned by 20-mile-an-hour north winds, the structure burned to the ground within an hour. However, five years later a new Samoset Resort was founded.

the anxious worry that I might be responsible in some way for what was on the walls of the gallery behind me, a wringing fear within me which gathered to its tight core two decades of consequence, so that it was now clear to me that this whole evening might be nothing less than a full reappraisal of myself as a man and as a father, something I had not reckoned on when I got into the car that evening and drove the sixty or seventy miles to the gallery, that I was travelling towards this moment of reckoning with myself because, like many another man, I had gone through life with little in the way of self-examination, my right to a life of peace from such persecution something I had taken for granted, something I might have acknowledged as the responsibility of others but not the type of inward harrowing I ever expected of myself but which nevertheless I now found myself subjected to in a way which took its prompt from a central, twitching nerve within me which kept asking had I failed my daughter had I pushed her towards this – whatever this was – on the walls of the gallery, this was the question that would not resolve one way or another beneath the sifting rain which shadowed the street in both directions, with the conviction hardening within me that having lived a decent life might not in itself be enough – or a life which till now I had honestly thought had been decent – since there was now some definite charge or accusation in the air which made it appear that not having done anything wrong was not enough

A remarkable pheromone-and-allomone combination is used as a “propaganda substance” by an American species of slave-maker ant. Slavery is widespread in ants of the north temperate zone. It starts when colonies of the slave-making species conduct raids on other ant species. Their workers are shiftless at home, seldom engaging in any domestic chore. However, like indolent Spartan warriors of ancient Greece, they are also ferocious in combat. In some species the raiders are armed with powerful sickle-shaped mandibles capable of piercing the bodies of their opponents. During my research on ant slavery I found one species that uses a radically different method. The raiders carry a hugely enlarged gland reservoir in their abdomen (the rear segment of the three-part body) filled with an alarm substance. Upon breaching the victim’s nest, they spray large quantities of the pheromone through the chamber and galleries. The effect on the defenders of the allomone (or, more precisely, pseudo-pheromone) is confusion, panic, and retreat. They suffer the equivalent of our hearing a thunderously loud, persistent alarm coming from all directions. The invaders do not respond the same way. Instead, they are attracted to the pheromone, and as a result they are able easily to seize and carry away the young (in the pupal stage) of the defenders. When the captives emerge from the pupae as adults, they become imprinted, act as sisters of their captors, and serve them willingly as slaves for the rest of their lives.

In the German and French pensions, which twenty-five years ago were crowded with American mothers and their daughters who had crossed the seas in search of culture, one often found the mother making real connection with the life about her, using her inadequate German with great fluency, gaily measuring the enormous sheets or exchanging recipes with the German Hausfrau, visiting impartially the nearest kindergarten and market, making an atmosphere of her own, hearty and genuine as far as it went, in the house and on the street. On the other hand, her daughter was critical and uncertain of her linguistic acquirements, and only at ease when in the familiar receptive attitude afforded by the art gallery and opera house. In the latter she was swayed and moved, appreciative of the power and charm of the music, intelligent as to the legend and poetry of the plot, finding use for her trained and developed powers as she sat "being cultivated" in the familiar atmosphere of the classroom which had, as it were, become sublimated and romanticized. I remember a happy busy mother who, complacent with the knowledge that her daughter daily devoted four hours to her music, looked up from her knitting to say, "If I had had your opportunities when I was young, my dear, I should have been a very happy girl. I always had musical talent, but such training as I had, foolish little songs and waltzes and not time for half an hour's practice a day." The mother did not dream of the sting her words left and that the sensitive girl appreciated only too well that her opportunities were fine and unusual, but she also knew that in spite of some facility and much good teaching she had no genuine talent and never would fulfill the expectations of her friends. She looked back upon her mother's girlhood with positive envy because it was so full of happy industry and extenuating obstacles, with undisturbed opportunity to believe that her talents were unusual. The girl looked wistfully at her mother, but had not the courage to cry out what was in her heart: "I might believe I had unusual talent if I did not know what good music was; I might enjoy half an hour's practice a day if I were busy and happy the rest of the time. You do not know what life means when all the difficulties are removed! I am simply smothered and sickened with advantages. It is like eating a sweet dessert the first thing in the morning.

So my exploration continued, up dark stairwells and down dim passages. I came across a room full of antelope and deer trophies, the walls lined with dozens of ribbed or twisted horns, as if it were the entrance lobby to some stately home owned by a bloodthirsty monomaniac. On another occasion I found my way into one of the towers that flanked the main entrance to the Museum- only to find that to get there one had to take a path that led over the roof. I came across a taxidermist's lair, where a man with an eye patch was reconstructing a badger. I failed to find the Department of Mineralogy altogether, apart from meeting some meteorite experts in their redoubt at the end of the minerals gallery. There seemed to be no end to it. Even now, after more than thirty years of exploration, there are corners I have never visited. It was a place... labyrinthine and almost endless, where some forgotten specialist might be secreted in a room so hard to find that his very existence might be called into question. I felt that somebody might go quietly mad in a distant compartment and never be called to account. I was to discover that this was no less than the truth.

She prayed no one had followed, but there were footsteps behind her, gaining steadily. “Miranda! Wait up!” She pretended not to hear. When Etienne grabbed her arm, she gasped as he swung her around to face him. “Come on, cher, where you going?” “It’s a mistake!” Miranda insisted. “What I said at the gallery. I didn’t know anything about it--I made it up!” “You know you didn’t.” She tried to shake him off, but he only held her tighter. “Etienne, please--I need to talk to my grandfather. I need him to explain. I need to understand what this is--what’s happening to me!” “He already told you. You can communicate in ways the rest of us can’t. With people the rest of us can’t.” “Dead people.” Miranda could barely choke out the words. “That’s what you’re saying, isn’t it? That suddenly I’ve got this--this horrible power…” “Gift, cher.” As his eyes fixed on hers with calm intensity, she found it impossible to look away. She wondered if those eyes had eve shown the slightest trace of fear. She wondered why her own fears seemed to be calming inside her, leaving only a quiet resentment in their place. “So I’m supposed to believe that. And accept that. Like it’s perfectly normal.” “Yes. Your grand-père, he always helped them. When they had secrets they needed to share. When they were in pain. He was the only one they could turn to.” Miranda’s heart was an icy knot. “Please don’t tell me this.” “You need to hear the truth. And I promised him.” “This is crazy. You know that, right? Things like this don’t happen to normal people.” Biting her lip, she fought back sudden tears. “Why did that hurricane ever have to hit? Why did I ever have to come here in the first place?” “Because,” Etienne said gently, “maybe this is the place you’re supposed to be.

I would no longer rely on men for my happiness. I had found it in my gallery, in my friends, in my family. I had carved a place for myself in the DC world.

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