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NYT's 'Modern Love'

Modern Love Essays

Illustrations: Brian Rea 

"Dance Olympics"

My Illustration for a Russian performance of Ludwig Minkus’s “Don Quixote.” 

Read more in this week's New Yorker.

'Wim Crouwel: A Graphic Odyssey'

‘WEGA 3300 HI-FI STEREOPHONIC SYSTEM’ by VERNER PANTON (1963)

Painted wood, painted metal, chrome-plated metal, brushed aluminium, rubber, plastic  60.5 x 42.5 x 42.5 cm. (23 3/4 x 16 3/4 x 16 3/4 in.) closed. 

Manufactured by Wega-Radio GmbH, Germany. Together with a pair of associated HMV speakers.

via: Private

Happy Easter

 

Gone Missing

A collection of more than 200 richly colored, painstakingly detailed antique illustrations culled from rare 19th century scientific volumes. Lost Fish offers a chance to meditate on the dazzling beauty of marine life before it is too late.

Good Friday

The wounded surgeon plies the steel

That questions the distempered part;

Beneath the bleeding hands we feel

The sharp compassion of the healer's art

Resolving the enigma of the fever chart.

 

Our only health is the disease

If we obey the dying nurse

Whose constant care is not to please

But to remind us of our, and Adam's curse,

And that, to be restored, our sickness must grow worse.

 

The whole earth is our hospital

Endowed by the ruined millionaire,

 Wherein, if we do well, we shall

Die of the absolute paternal care

That will not leave us, but prevents us everywhere.

 

The chill ascends from feet to knees,

The fever sings in mental wires.

If to be warmed, then I must freeze

And quake in frigid purgatorial fires

Of which the flame is roses, and the smoke is briars.

 

The dripping blood our only drink,

The bloody flesh our only food:

In spite of which we like to think

That we are sound, substantial flesh and blood-

Again, in spite of that, we call this Friday good.

 

- T.S. Eliot, from "East Coker"

via: Ross Douthat,The Atlantic

Washing of the Feet

In Roman Catholic Church, the ritual washing of feet is now associated with the Mass of the Lord's Supper, which celebrates in a special way the Last Supper of Jesus, before which he washed the feet of his twelve apostles.

Evidence for the practice on this day goes back at least to the latter half of the twelfth century, when "the pope washed the feet of twelve sub-deacons after his Mass and of thirteen poor men after his dinner."

From 1570 to 1955, the Roman Missal printed, after the text of the Holy Thursday Mass, a rite of washing of feet unconnected with the Mass. The 1955 revision by Pope Pius XII inserted it into the Mass. Since then, the rite is celebrated after the homily that follows the reading of the gospel account of how Jesus washed the feet of his twelve apostles (John 13:1-15). Some men who have been selected - usually twelve, but the Roman Missal does not specify the number - are led to chairs prepared in a suitable place. The priest goes to each and, with the help of the ministers, pours water over each one's feet and dries them. In the United States it is common to have a communal observance: lay members of the congregation take turns washing one another's feet. There is some controversy, or at least variation in practice, as to whether this ritual should properly include laypeople, and, if so, whether women should be excluded.

At one time, most of the European monarchs also performed the Washing of Feet in their royal courts on Maundy Thursday, a practice continued by the Austro-Hungarian Emporer and the King of Spain up to the beginning of the 20th century.

Read More HERE

Painting: DUCCIO di Buoninsegna 

 

Fall Down Laughing: The Hilarious, Risky Cinema of Buster Keaton

Often categorized with great silent comedy masters Charlie Chaplin and Harold Lloyd, Buster Keaton (1895 – 1966) stands out as the most fearless, difficulty-defying physical showman of his era. Combining riotous comedy with heart-stopping risk, Keaton truly understood the place of peril in comedy, and his films offer the best proof that laughs and gasps naturally go hand-in-hand. An intuitive actor and deft choreographer of sight gags, Keaton’s films exhibit a surprising subtlety, and a beauty in composition that rivals the best silent directors of any genre.

As a very young child, Keaton toured in vaudeville with his parents and trained from an early age to be hurled and swung about for chuckles. Whether being thrown into an orchestra pit or through a bass drum (hence the nickname “Buster”), he would emerge from these alarming stunts with a deadpan expression that brought down the house. This would eventually be part of his grown-up onscreen signature: a solemn mug in the face of uproarious disaster. This contradiction is at the heart of all of Keaton’s films, and is seen most terrifically in his finest works, including the railroad thrill-ride THE GENERAL (in which Keaton famously sits on the front of a moving locomotive), the seafaring romp THE NAVIGATOR (complete with a scuba-diving sequence) and the fantasy detective comedy SHERLOCK JR. (during which Keaton actually fractured his neck while performing a dangerous stunt).

"It's said that Chaplin wanted you to like him, but Keaton didn't care. I think he cared, but was too proud to ask. Buster survives tornadoes, waterfalls, avalanches of boulders and falls from great heights, and never pauses to take a bow: He has his eye on his goal. And his movies, seen as a group, are like a sustained act of optimism in the face of adversity; surprising how, without asking, he earns our admiration and tenderness." - Roger Ebert

 Aero Theatre

  1328 Montana Avenue,
 Santa Monica, CA 

 Fri, April 22 - Sun, April 24

 

"Pina"

PINA is a film for Pina Bausch by Wim Wenders.

The feature-length dance film was shot in 3D with the ensemble of the Tanztheater Wuppertal Pina Bausch and shows the exhilarating and inimitable art of the great German choreographer who died in the summer of 2009, inviting the viewer on a sensual, visually stunning journey of discovery into a new dimension: right onto the stage of the legendary ensemble and together with the dancers beyond the theater, into the city and the surrounding industrial landscape of Wuppertal – the place that was the home and center of Pina Bausch's creative life for more than 35 years.