Macabre is the only word to use for the contents that are pouring out of the revelations of the actions of the past administration. Incredible, unimaginable, unbelievable are hackneyed words. Even bizarre may not be the right description. Perhaps “evil” is the most compelling adjective.
With each forensic audit, the nation learns about skullduggery, illegalities, immoralities. The audits lay bare the nature of the mentality of the actors. But where are the actors? Continue reading →
President Barack Obama’s hilarious final White House correspondents’ dinner speech
Published on Apr 30, 2016 – President Barack Obama didn’t hold back in his final speech at the White House correspondents’ dinner firing barbs at himself, Donald Trump, Justin Trudeau, Hillary Clinton, Bernie Sanders and Ted Cruz.
Hew Locke’s Wine Dark Sea – A VQR TrueStory Essay – By Gaiutra Bahadur
April 18 2016 – VQR:A National Journal of Literature & Discussion
Boats in Manhattan’s Edward Tyler Nahem Fine Art gallery.
Nave (as in a church) has as its root the Medieval Latin word for ship, “navis.” The etymology cues a tradition dating back to at least the fifteenth century: Survivors of shipwrecks and captains prosperous at sea would donate miniature models of boats to churches. Hung from the eaves of European—particularly Scandinavian—cathedrals, these votive boats were a form of thanks but also prayer. They’ve inspired art before, Renaissance painter Vittore Carpaccio’s “The Apparition of the Ten Thousand Martyrs,” for one. British artist Hew Locke didn’t know of the boats until encountering them in a Portuguese fisherman’s chapel in 2009. Ships had long been in his visual vocabulary, but in that sacred setting he saw them anew: In constellation, in the context of journeys so difficult they require either pleas or gratitude to the gods.
That lens illuminates his work, most recently with the flotilla of thirty-five boats that hang from the ceiling at Manhattan’s Edward Tyler Nahem Fine Art gallery. Cruise ships, gold-filigreed galleons, a Coast Guard boat, a dugout canoe, and sailboats all careen together in suspended motion, in an installation consecrated to refugees from Syria and Iraq. Locke christened it “The Wine Dark Sea” in homage to Homer’s “Odyssey” but also to Derek Walcott’s epic poem “Omeros,” which recasts the ancient Greek tale in the Antilles. The title “bends together two seas,” Locke tells me—the Caribbean and the Mediterranean, both scenes of precarious migrant crossings. [Read more]
Hew Locke’s Wine Dark Sea – A VQR TrueStory Essay – By Gaiutra Bahadur
Hew Locke’s Wine Dark Sea – A VQR TrueStory Essay – By Gaiutra Bahadur
April 18 2016 – VQR: A National Journal of Literature & Discussion
Boats in Manhattan’s Edward Tyler Nahem Fine Art gallery.
Nave (as in a church) has as its root the Medieval Latin word for ship, “navis.” The etymology cues a tradition dating back to at least the fifteenth century: Survivors of shipwrecks and captains prosperous at sea would donate miniature models of boats to churches. Hung from the eaves of European—particularly Scandinavian—cathedrals, these votive boats were a form of thanks but also prayer. They’ve inspired art before, Renaissance painter Vittore Carpaccio’s “The Apparition of the Ten Thousand Martyrs,” for one. British artist Hew Locke didn’t know of the boats until encountering them in a Portuguese fisherman’s chapel in 2009. Ships had long been in his visual vocabulary, but in that sacred setting he saw them anew: In constellation, in the context of journeys so difficult they require either pleas or gratitude to the gods.
That lens illuminates his work, most recently with the flotilla of thirty-five boats that hang from the ceiling at Manhattan’s Edward Tyler Nahem Fine Art gallery. Cruise ships, gold-filigreed galleons, a Coast Guard boat, a dugout canoe, and sailboats all careen together in suspended motion, in an installation consecrated to refugees from Syria and Iraq. Locke christened it “The Wine Dark Sea” in homage to Homer’s “Odyssey” but also to Derek Walcott’s epic poem “Omeros,” which recasts the ancient Greek tale in the Antilles. The title “bends together two seas,” Locke tells me—the Caribbean and the Mediterranean, both scenes of precarious migrant crossings. [Read more]
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