Chiickpea

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Diamanda Galás

—Interlude (Time)

kryz:

Diamanda Galás » Interlude (Time)

(See also, also.)

(via tumbleword)

snowonredearth: Georgia O’Keefe with Juan Hamilton’s pots. Dan Budnik.

snowonredearth:

Georgia O’Keefe with Juan Hamilton’s pots.

Dan Budnik.

For me, there’s a likeness between poetry and prayer that is not so much thanks or supplication or other conscious activity, but the more unconscious activity of meditation or dreaming. The likeness lies in poetry and meditative prayer and dreaming all being (potentially anyhow) healing, and all being out of our hands. For me, poetry is mostly silence. The deeper the better. There’s much to be said for consciousness and the rational mind, but it wouldn’t be said in support of the kind of art that I feel most touched by. For me, the unconscious life and beauty (so, truth and beauty!) feel closer to the whole world we live in that is God than other consciousnesses in my life. It goes without saying that you can be close to these two states of mind in suffering, as well as in places. When I say the poetry I like best is mostly silence, I mean that it seems to have come out of silence, to exist in the midst of silence, and to go toward silence.

Suzuki Roshi used to say that what was needed most in the monastery were people who were good at cleaning out the corners. The most perverting ideas are the ones that lie for years and years in the dark corners of our mind. Like spiders, they creep out while we are sleeping and spin their webs of illusion. Only when the mind is clean, in order, and uncluttered can the present moment be fully realized. If we hang onto past memories, trophies of our good-old-days, in time our mind and our home will be a museum instead of a place to encounter the present reality. The relationship between house cleaning, garden cleaning, and mental caretaking is not just symbolic. It is very direct.

—

—Marian Mountain, The Zen Environment

(h/t Joan Halifax)

(Source: beingblog, via catherinewillis)

thepacegallery: Reblog of the day!  An amazing article about Pace artist, Antoni Tàpies. letmypeopleshow: ‘The Last of a Kind’: Soon after Spain’s most famous artist died, El Periódico, a newspaper in his native city of Barcelona, published a spread with a plaintive headline: “No One Like Tàpies.”  Antoni Tàpies, 88, was a local hero who rose to international prominence by bringing Great Spanish Painting into the postwar era. His metaphysical abstractions are infused with the legacy of his modernist forebears, Picasso and Miró—along with medieval Catalan mysticism, Eastern spirituality, anti-fascist sentiment, and an assortment of humble materials, like dirt and straw, imbued, as his champion Roland Penrose put it, with “a profound hidden meaning.”  Admired for his pro-democracy stance during the Franco era, when many other artists were in exile, Tàpies grew into an éminence grise, a public and much-published intellectual who built a foundation to share not only his own work but also his fascination with other cultures and disciplines. “From the time I was very young, I felt like a missionary,” the artist told me in his home in 1990, surrounded by art objects from Africa, Oceania, and other parts of the world. “It’s always the story that poets are something of the loco, hero, priest, teacher.” …Asking artists and curators who they thought could fill his shoes as artist or as icon, El Periódico came up empty. “He was the last of a kind,” says Manuel Borja-Villel, founding director of the Fundació Antoni Tàpies in Barcelona, who now runs the Reina Sofía in Madrid. “Tàpies was a bridge between the historical avant-garde and the younger generation. He wasn’t modern anymore, and not postmodern. That makes him very interesting. You cannot understand Spanish art and culture without his presence.” Read more in my story in ARTnews. Porta metàl·lica i violí (Metal Shutter and Violin), 1956. Collection Fundació Antoni Tàpies, Barcelona.

thepacegallery:

Reblog of the day!  An amazing article about Pace artist, Antoni Tàpies.

letmypeopleshow:

‘The Last of a Kind’:

Soon after Spain’s most famous artist died, El Periódico, a newspaper in his native city of Barcelona, published a spread with a plaintive headline: “No One Like Tàpies.” 

Antoni Tàpies, 88, was a local hero who rose to international prominence by bringing Great Spanish Painting into the postwar era. His metaphysical abstractions are infused with the legacy of his modernist forebears, Picasso and Miró—along with medieval Catalan mysticism, Eastern spirituality, anti-fascist sentiment, and an assortment of humble materials, like dirt and straw, imbued, as his champion Roland Penrose put it, with “a profound hidden meaning.” 

Admired for his pro-democracy stance during the Franco era, when many other artists were in exile, Tàpies grew into an éminence grise, a public and much-published intellectual who built a foundation to share not only his own work but also his fascination with other cultures and disciplines. “From the time I was very young, I felt like a missionary,” the artist told me in his home in 1990, surrounded by art objects from Africa, Oceania, and other parts of the world. “It’s always the story that poets are something of the loco, hero, priest, teacher.”

…Asking artists and curators who they thought could fill his shoes as artist or as icon, El Periódico came up empty. “He was the last of a kind,” says Manuel Borja-Villel, founding director of the Fundació Antoni Tàpies in Barcelona, who now runs the Reina Sofía in Madrid. “Tàpies was a bridge between the historical avant-garde and the younger generation. He wasn’t modern anymore, and not postmodern. That makes him very interesting. You cannot understand Spanish art and culture without his presence.”

Read more in my story in ARTnews.

Porta metàl·lica i violí (Metal Shutter and Violin), 1956. Collection Fundació Antoni Tàpies, Barcelona.

(via artcomingoutofmyfists)

… and we r still nonetheless “blind”.

metaconscious:

Mysterious objects at the edge of the electromagnetic spectrum

NASA’s Fermi Gamma-Ray Telescope is finding hundreds of new objects at the very edge of the electromagnetic spectrum. Many of them have one thing in common: Astronomers have no idea what they are.

(via cosmicate)

I come not to entertain you with worldly festivities but to arouse your sleeping memory of immortality.

—Paramahansa Yogananda (via nirvikalpa)

(via kenikila)