July 28, 2011
Down the Decumanus Maximus till the rutted cobbles give way, just as so many lives have gone before this, past the stubs of the insulae, while each Airbus at Fiumicino heaves itself aloft over the beach umbrellas in row on row where the Tyrrhenian Sea laps, soft; and I, too, have felt Rome drop astern of that imperative bound west, have settled back and been home by afternoon. But this time I smell the dust and heat as I walk an open field to Room 16, Trench 3, Layer 3 where he works, my tousle-headed man-child,
Oh, the Humanities!
March 26, 2010
Why draw from the model? A number of years ago, my husband and I and some friends—all, except for me, artists who also teach at art schools here in New York—spent hours discussing this question, though without arriving at anything particularly convincing. A few of them recalled drawing from the model as undergraduates, but none had done so in graduate programs—these were the heady, experimental days of the early '70s, when all the action took place in the seminar room; in my husband's program, studios had been dispensed with altogether.
Varieties of Love
May 02, 2005
EROS (Warner Independent) WINTER SOLSTICE (Paramount Classics) MICHELANGELO ANTONIONI, a master of masters, has contributed a short film to a trio of shorts called EROS. His film is “The Dangerous Thread of Things,” which is also the title of one of three brief prose pieces in a book of his. (The book itself is That Bowling Alley on the Tiber.) The pieces were adapted for the screen by Tonino Guerra, his collaborator since L’Avventura (1960). For any Antonioni enthusiast, and I insist on a place in the front rank, all this advance information was exciting.