news, work in progress, projects, studio shots, text
here are a couple of images to prolong the summer feel
and then there’s an october chill in hopper’s paintings of transit and waiting, possibly to if not from destinations such as the new england ponds (the stone bridge through the train window)
finally, it’s the waiting places that seem to be worn from the anticipation in these photographs by Ursula Schulz-Dornburg of bus stops in Armenia (see also the Hejaz railway photographs on Schulz-Dornburg’s website)
There are no more clues on the back. another favorite: “I liked the way you said goodbye” written below a lake scene that’s mostly obscured by foreground branches.
for the moment, i’ve gone over the edge into a crazy obsession with postcards. the views that are both generic and obscure combined with a shorthand intimacy make me wonder what sort of narrative could be invented. the brief text was necessary because the so-called postcard era (1900-1906) precluded any text save for address on the back. A new body of work may be forthcoming..
“Let’s spend our vacation in…”
I will be in a group show in the spring of 2010. my piece will be a maquette of a power plant type of structure set into a rocky cliff bordering a lake, waterfall and bridge. The piece will be about anticipation.
here are a two new drawings made while traveling by bus. these will be backgrounds in new constructions for photographs.
Here are more Hitchcock film stills, this time from The Lady Vanishes, 1938. It starts off with a wintery view of four peaks on the brink of an avalanche (notice that moon between the two distant mountain tops), a pan across rocky chasms and foothills, with an unbroken downward swoop past what could be a miniature set but for the barely perceptible movement of a bell in the conductor’s hand. This unbroken shot disolves at the window of an inn (several buildings to the right of the train depot), taking us into the still reverie of a fire-warmed interior. The impression lasts only a moment as Miss Froy mischievioulsy opens the door, letting in a gust of a storm. With a jolt, the band splutters to life, a cockoo clock clucks, and here enters Margaret Lockwood. The rest of the movie is comprised of spectacular and tensly close shots on a train and impecably composed landscapes, like this one of the train speeding across a viaduct.
I’m not sure what the Hudson Tunnels line became, but Chambers St. has the tall square tiled columns too. There is a goldmine in source images at cardcow. For example, this form of transportation:
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