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Pick of the Week Archives

The Aristocrats

Britney Spears
and now Paris Hilton


Review of Judd's work at Leo Casteli Gallery, Art News, April 1966 by Jane Gollin:
"Donald Judd allows his neatly finished boxes to measure out evenly the walls from which they are cantilevered. Identical units of galvanized iron, aluminum or stainless steel, often combined with colored plexiglas or painted aluminum, are aligned with the slow, determined beat of a stamping machine. Larger, they might be buildings; smaller they might be models. But their in-between scale disturbs the peace of an otherwise coldly inorganic order."


Review of Noland's work at Emmerich Gallery, Art News, April 1966 by Lawrence Campbell:
"Kenneth Noland, most audacious, if not the most sensitive, of the color imagists, is now working with very long paintings, and with large diamond-shaped canvases, usually stretched vertiginously sideways or upwards, each with four parallel color bands. His color is now more opaque than before, and less bright, and sometimes it seems to modulate from light to dark (illusion) or make a statement about color values (also an illusion.) The over-all effect is interesting and disquieting. Instead of bathing the spectator in color, he is plunged instead into a world of strange perspectives, as in Renaissance experiments. It is interesting that this school of purists should have made themselves adepts of a new kind of trompe-l'oeil."

09/05/2006 - The globalization of services and products in many industralized countries is a reality, for better or worse, and is far too complex to be analyzed in depth here. Where I believe it has the most impact is on smaller businesses trying to compete in offering a similar service and quality, and it affects as well, the artisans who produce, market and sell their produits du terroir. Take for example the current controversy in France, concerning the use of oak wood chips to "flavor" the wine instead of storing the wine in oak barrels for several months voir years. You can read a current article here. In September 2005, the European Union and the US signed an agreement that would allow wine that was "flavored" by the use of wood chips, principally produced in the States, to be sold on the European market in exchange for a stronger crackdown on conterfeit wines and spirits sold in the US and passed off as the real thing from Europe - such as Chablis, Chianti, Porto etc. This is what the Europeans call an "appelation contrôlée" - produced in a specific region and in a specific manner. The European Commission also let its European members decide how and in what form they would enforce this agreement, for example, limiting the number of flavored brands into their country and/or an obligatory mention on the label - much like we do now with cigarettes and health warnings. Curiously enough, 5 years earlier, there was a ruling in the courts that proclaimed that introducing wood chips into the wine making process was a falsification. However, the debate is once again on the floor as fabrication costs rise and exports diminish.

Spain is apparently the most reluctant to standardize it's wine making industry, Italy on the other hand is favorable to the use of New World methods of production. And so is Bordeaux and a majority of its producers of Bordeaux supérieurs, stating that it costs 10 times less to use oak wood chips then it is to buy one new oak barrel. But what happens when we notice that a wine turns suddenly "bitter" after three years of having only been bottled? Adding wood chips in the fabrication of wine can certainly help to enhance certain natural flavors as well as mask its defaults. What it doesn't do is let a phenomenon called micro-oxygenation that occurs naturally from the porosity of wooden oak barrels, which act equally on the goût(taste) of the wine - fruity, woodsy, etc. - the result is much more balanced and predictable. The upside is that the wood chips react quickly to younger wines enhancing their flavor and "quality;" the downside is that you can no longer store them until your daughter's wedding. However unfortunate this scenario may seem, one should note that agreements were also made between Europe and the United States, to litterally cut the wine with water which among other disastrous things would reduce its alcohol content. Fortunately for now, good sense still prevails.

For those of you who don't drink wine, good wine, you might find this to be a lot about nothing and you would be probably be right. Fortunately, for those of us who do drink wine and appreciate this art form in its most pure and strictest form, it is a loss and one more bastion crumbling under the weight of a standardized world market. France knows this all too well as it has already made concessions to a demanding and highly competitive economy, in its fabrication of cheese and more recently, the percentage of cacao required to make chocolate. This is an all too familiar trend in France, the rest of Europe and increasingly so in America. Traditions are one thing, holding on to the gifts and savoir faire of one's culture and heritage enables it to grow and survive and is what makes it unique and different. To uniform one's façon d'être would be wrong and a bastardization of his/her potential and productivity.

Less we forget, it was our friends the Gaulois' who invented the oak barrel or "barrique" used primarily for the transportation of this precious red liquid. It was much later that we learned to use it to its fullest potential. Let's hope that it continues. Cheers! *article source, journal Le Monde 4/27/06

15/04/2006 - Death & Taxes


Graffiti S.D. Style (click on image for larger view)


AGAM

13/06/2006 - "Selon la Bible, Dieu a donné à l'homme la possibilité de créer, mais Dieu, étant en désaccord avec les créations de l'homme, a tout détruit par le Deluge, ne sauvant que Noé. Pour convaincre Noé de sortir de l'Arche qui n'avait pas le courage de tout recommencer pour que tout soit de nouveau détruit, Dieu a passé un contrat avec lui, l'Arc-en-ciel, fait de lumière décomposée dans toute la gamme des couleurs mais qui reste l'un des mystères de la science puisque le phénomène de la lumière reste inexplicable. Pour moi, le symbole de l'Arc-en-Ciel c'est l'art qui traverse les frontières et est universel. Si tous les hommes faisaient de l'art, la paix mondiale arriverait." Interview with Agam by François Le Lionnais, July 21, 1972, Cnacarchives.

AGAM AGAin

Dans son Hommage aux Pyramides, 1972, Agam fait jaillir des bulles de savon d'une sculpture par télécommande. "Nous sommes des bulles de savon. Nous avons de l'air à l'intérieur et de l'eau autour. Une bulle de savon dure 80 secondes et l'homme 80 ans. Dans le perspective des siècles, les hommes éclatent comme des bulles de savon. Personne n'est jamais triste quand éclate une bulle de savon. La bulle de savon, c'est notre portrait."


"Le beau n'est que le commencement du terrible"
RILKE



(click for larger image)

AL-ZARQAWI
This Pick of the WEEK is not for the man, but for the image of the man. TIME magazine has been known for its provocative covers in the past - this one of al-Zarqawi is no exception. The illustrator, Tim O'Brien, has pulled off a superb graphic image that needs no words, no sensational title and accepts no excuses for mis-understanding. You gotta love the blood red X, dripping, across the face. Powerful stuff !


PETER MAX

As a prospering young graphic designer, Peter Max finds inspirations for many of his book jackets, record covers, and advertisements in the lacy tendrills, rich textures, and organic structures of Art Nouveau. In our illustrations, however, his symbols are the chrome and chromo material of the 1960's. Even so, like the forms of Art Nouveau, they suggest the possibility of proliferating indefinitely beyond any arbitrary limits of space. But their reiteration of the commonplace paraphernalia of life is in the idiom of Pop Art. By mechanically repeating combinations of single, familiar images, Max suggests, he achieves a visual intensity that transcends the effects produced by the original individual elements. He describes the resulting patterns as "realistic hallucinations ... focusing into something relating to everything," a statement that may not clarify his intentions, but clearly emphasizes the ambiguous mood of his presentations. Realistic Hallucinations, Horizon A Magazine of the Arts, Spring 1965 Volume VII, Number 2, p.116



Peter Voulkos, Walking Man 1956 - Stoneware with low-fire overglaze - Scripps College, collection of Mr. and Mrs. Fred Marer (click for larger view)


"J'ai appris la brasse quand la masse nageait le crawl. Maintenant je roule des mécaniques: je connais mon rôle."
MC SOLAAR


ANTHONY CARO

The central fact about the so-called "minimal" or "ABC" sculpture that currently dominates the scene is its concentrated anonymity. So impersonalized are the products of its most polished practitioners - such as Anthony Caro, a 42-year-old British engineer-turned-artist - that the hand of the sculptor is nowhere apparent. Instead, Caro and his fellow neo-Constructivists prefer to arrange the functional materials of an industrial age into spare, impersonal forms, making, in the view of one critic, cool and plain statements of self-sufficiency. Needless to say, the advent of these "primary structures" - to use still another term for them - has unleashed almost as many different critical reactions as there are angels from which to view them. Hilton Kramer of the The New York Times, for instance, concluded that a new aesthetic era is upon us, to which Time magazine responded by describing Caro's sculpture as "an explosion in a boiler factory." Barbara Rose, writing in Art in America, even addresses part of her essay to the numerous complaints about the neutrality of minimal art: Boring the public is one way of testing its commitment. All discussions of ABC sculpture must eventually touch on the works of Caro, the former apprentice of Henry Moore and the man who, in 1960, discovered that you didn't need to make a sculpture of somebody crying in order to make a sculpture cry. A measure of his success came last summer when his red-coated Early One Morning, a melange of I-beams and steel rods, was exhibited in the British Pavilion at the Venice Biennale; he was the only British sculptor so honored. I-beams and steel rods turn into sculpture under the welding torch of Anthony Caro, Horizon A Magazine of the Arts, Winter 1967 Volume IX, Number 1, p.76


In case you didn't know...

Art Is Among Worst-Performing Investments, Merrill Lynch Says July 19 (Bloomberg)
Art is one of the worst ways for investors to try to make money, even as paintings by Picasso and Klimt sell for more than $100 million apiece, according to a Merrill Lynch & Co. study.

While stocks or bonds are almost certain to make investors a profit over five years, art has a high chance of declining in value, the world's biggest brokerage company said. The probability of losses on small-cap stocks, corporate bonds and long-term treasury bonds is 3 percent or less if they're held for five years. Art investors have a 17 percent chance of losing money over five years, Merrill said.

Soaring prices for art stirred interest from banks and dealers in 2004, when about 12 art funds seeking to raise as much as $150 million were planned. Only one or two, including London's Fine Art Fund, ever got off the ground. Merrill's investment strategy report, dated July 17, helps to explain why. "Art, gold and commodities offered the least attractive risk-reward potential, providing inferior returns while generating substantially more risk,'' Merrill said. The three asset classes "may be more appropriate investments for those who have truly long-term horizons,'' it said.

Merrill's study uses data on returns going back to 1969 for most assets and to 1976 for art, provided by index-maker Art Market Research, which tracks auction prices. Merrill aims to show that most investors do better if they hang on for three years or more, while many day traders and short-term investors lose money.

Klimt Purchase

Modern art prices have more than doubled since 1998, and some contemporary price indexes have trebled in 10 years, according to Art Market Research. Broader measures of the art market haven't fared as well and modern and contemporary prices are being buoyed by a narrowing group of the most expensive paintings, the indexes show. Ronald S. Lauder, the cosmetics magnate, made headlines in June when he paid $135 million for a Gustav Klimt portrait in a private transaction -- more than any painting has ever fetched at auction. The top auction prices are a Pablo Picasso work that sold for $104.2 million in 2004 at Sotheby's in New York, and the same artist's portrait of his mistress, "Dora Maar au Chat,'' which fetched $95.2 million at a Sotheby's New York auction in May. Philip Hoffman, who runs the Fine Art Fund, said he's made big profits by selling paintings within a year or so and aims to expand. However, he has never officially disclosed the size of his fund, or which paintings he sold.

Gold Tops 1970s

Art has done worse in some decades than in others. In the 1970s, art had the lowest 12-month return of eight asset classes and the highest chance of losses, Merrill calculated. Gold was the best investment in that decade, outperforming stocks and bonds with less risk. Art swapped places with gold in the 1980s, doing better than stocks, bonds and real estate. In the 1990s, art was again a loser, only a little ahead of commodities and gold, which racked up 12-month losses more than 50 percent of the time. Standard & Poor's 500 shares were the best investment.

Real estate and small U.S. stocks are faring best in the current decade. Art, foreign stocks and S&P 500 shares are the worst performers, Merrill's charts showed.

Linda Sandler, Bloomberg.com



JEAN DUBUFFET, THE CONTEMPORARY FRENCH MASTER, HAS JUST COMPLETED HIS TWENTY-THIRD PERIOD - WHICH HE DEVOTED TO THE MAKING OF JIGSAW PATTERNS

Jean Dubuffet may well be the most restlessly prolific artist of this decade. The paintings shown here represent his latest work and, by his own reckoning, his twenty-third period. Dubuffet rocketed to fame after 1944 and sustained his reputation through the fifties by producing "primitive" works based on his theory of l'art brut (art brutal, savage, and vulgar), reminiscent of the theatre of Alfred Jarry and Antonin Artaud.

His latest period was initiated in 1963 when he published the booklet l'Hourloupe (a meaningless word invented by Dubuffet), containing drawings made with red and blue ball point pens. His intent was, and is, to rearrange cityscapes, people, and the most familiar of everyday objects into jigsaw-puzzle patterns, to teach the eye to look at things afresh. In keeping with the current fashion, art critics have doggedly searched Dubuffet's water taps and stoves and scissors for evidence of alienation - and found it. They are, after all, "fragmented"; they are labyrinths.

Yet, like children's puzzles, they are also fun. They are even - as one critic has pointed out - "anthropomorphic." That is, they imply the people who use the objects. Some of them have human forms. Dubuffet, in his twenty-third period, has come some distance from the art of assault and cruelty. HORIZON A magazine of the Arts, Summer 1967 Volume IX, Number 3, p.60 (click on image for larger view)



RECOVERED !


Edvard Munch - "The Scream"
read more here




FOR IMMEDIATE RELEASE
Contact: Rebecca Lowery

June 27, 2006 202.315.1310
rebecca@culturaldc.org

The Gallery at Flashpoint presents:

Axelle Rioult: Non sans émoi (As I Lay Myself…)

Curated by Xavier Courouble
July 7 – August 19, 2006

Opening reception July 6, 6-8 pm



WASHINGTON, DC – In the site-specific installation Non sans émoi (As I Lay Myself…), French artist Axelle Rioult draws on her personal experience to investigate the nature of self-identity, using photography, video and sculptural installation to create a "psychological self-portrait." Curated by Xavier Courouble, this multi-media exhibition will evolve throughout the course of its presentation, with new elements being added to the installation every
two weeks to further engage the complex interactions between all of the aspects of the installation. Non sans émoi is on view in the Gallery at Flashpoint from July 7 – August 16, 2006.

The multiple components of Non sans émoi trace Rioult’s examination of the physical aging process and its relation to the numerous roles she plays in her life as artist, mother and lover. From the gallery’s center, Rioult will hang one of her textile works, a gauze drapery that alludes to maternity and that will direct the viewer to a multi-part video projection at the gallery’s rear. This video traces the life cycle of jellyfish, most of whom assume two entirely distinct physical stages during their life spans; the gender differentiated roles of jellyfish and their physical transformation as they reach sexual maturity represent important facets of Rioult’s examination of identity. Of the artist’s use of video in this process, Courouble notes, “Contemporary works [like Rioult’s] create a kind of aesthetic, an aesthetic of emotional and psychic intensities. For the artist, the video technology and the computer have allowed for new means to construct images, to create devices that engage the viewer in increasingly imaginative ways.”

Throughout the project, the artist also alludes to skin in all of its stages of aging, making synecdochic use of it as a stand-in for the process of maturation and eventual decay. A series of photographs of her hands, a body part often considered to be a “tell-tale” indicator of aging, will be directly adhered to the gallery’s walls, forming a skin-like covering that will absorb and reflect the walls’ own textures, its pockmarks and imperfections. Buckets of fresh milk and apples will be arranged throughout the gallery, the milk a signifier of the artist’s relationship to her daughter and the apples referencing romantic relationships. During the course of the exhibition, both will be allowed to naturally decay – the apples’ skin becoming wrinkled and sagging, the milk forming its own skin and curdling below this surface. The artist will continue to add to the installation during its course, creating in addition to this natural change a movement in time in which the viewer must revisit periodically to experience the project’s evolution.

ABOUT THE ARTIST
Axelle Rioult lives and works in Hérouville Saint Claire, France. She received her formal art education at the Ecole des Beaux-Arts du Havre and has exhibited widely throughout France. She has been a resident artist at the Fonderie Hérouville Saint Clair and took part in Ho[use]-Ho[me], curated by Xavier Courouble and Kevin Freitas (Abel Joseph Gallery), in the inaugural season of the Gallery at Flashpoint. Non sans émoi is Rioult’s first solo presentation in the United States. The artist’s website is http://a.rioult.free.fr

ABOUT FLASHPOINT
Flashpoint, a Cultural Development Corporation project, is a non-profit, multi-disciplinary arts space dedicated to nurturing emerging artists and cultural organizations in order to build their professional capacity. Flashpoint provides services and training for cultural organizations to help strengthen their management capacity and offers exhibit and performance spaces that enable arts groups to focus on their artistic goals and expand their visibility. Flashpoint includes a contemporary art gallery, the 75-seat Mead Theatre Lab, the Coors Dance Studio and shared office space. In a typical week, a dramatic reading in the performance space, a rehearsal for a modern dance piece and cutting-edge contemporary installations in the gallery enliven Flashpoint's spaces – actively defining it as a true creative laboratory.

Axelle Rioult: Non sans émoi (As I Lay Myself…)
Opening Reception: Thursday, July 6, 6-8 pm
Exhibition: July 7 – August 19, 2006
Gallery Hours: Tuesday – Saturday 12-6 pm or by appointment
For more information: Call 202.315.1310 or visit www.flashpointdc.org

The Gallery at Flashpoint • 916 G Street, NW • Washington, DC 20001
A CULTURAL DEVELOPMENT CORPORATION PROJECT
General: 202-315-1305 Press: 202-315-1310 Fax: 202-315-1303
E-mail: rebecca@culturaldc.org



Q. WHAT IS THE DIFFERENCE BETWEEN AXL ROSE, ANDY WARHOL, AND JOHN LENNON?

A. ABOUT $1.15 MILLION

IT seems Axl Rose, the frontman for the hard rockin' band Guns N' Roses, is himself between a rock and a hard place, after a lawsuit was filed against him for allegedly not following through on the purchase of a $2.65 million (reduced to $2.36 million as a gesture to Rose) Warhol portrait of John Lennon. Apparently, Rose's manager and attorney told the seller, Acquire d'Arte, that Rose would not be paying the remaining 1.15 million because he didn't have enough money and "the painting was not worth the price he had agreed to pay." Not exactly a case of buyer's remorse I would say.

I admit, I'm a bit perplexed as to why such a un-sensational story as this gets such a knee-jerk reaction from the press. Yes I know that these days, the only thing fit to print are corporate logos and what Angelina and Brad are doing with their respective millions but still, it makes one wonder beyond the obvious reasons why a rock star would want to buy art. Have Warhol, Lennon and Axl Rose become such household names, such buzz words that it incites such a perverse interest when their names are mentioned? I mean really, where is the real focal point of this juicy tidbit of news? On Lennon? On Warhol? On Rose? - why?? Is it because a rock star was almost foolish enough to spend $2.36 million on a Warhol that he uhh... LIKED? Was it because it was John Lennon? - anyone's guess. I realize we're all somewhat obliged to like Warhol and appreciate Lennon - doesn't everyone?, but this plays perfectly into the society's grasp or lack thereof, of their iconic lives and respective contributions. It's sensationalism at its best.

C'mon wasn't Rose just a baby at the height of Lennon's career? And wasn't Warhol producing some of the most un-interesting and un-flattering portraits of his career when he produced the portrait of Lennon, amongst other cultural icons such as Mick Jagger, Truman Capote ... ad nauseam. So what's the point? The point is that no one really cares. Is it not just more insidious propaganda and cultivated image management that does nothing more than confirm the appeal of rock star celebrity, ridiculous sums of arbitrary and abundant discretionary cash, unchecked art market value and a very bored press corps? You decide.



MUNCH & MUNCH's


(click for larger image)



COLD WAR

AN ESCALATION LADDER

AFTERMATHS
44. Spasm or Insensate War
43. Some Other Kind of Controlled General War
42. Civilian Devastation Attack
41. Augumented Disarming Attack
40. Countervalue Salvo
39. Slow-Motion Countercity War

CITY-TARGETING THRESHOLD
38. Unmodified Counterforce Attack
37. Counterforce-with-Avoidance Attack
36. Constrained Disarming Attack
35. Constrained Force Reduction Salvo
34. Slow-Motion Counterforce War
33. Slow-Motion Counter-"Property" War
32. Formal Declaration of "General" War

CENTRAL-WAR THRESHOLD
31. Reciprocal Reprisals
30. Complete Evacuation
29. Exemplary Attacks on Population
28. Exemplary Attacks against Property
27. Exemplary Attack on Military Targets
26. Demonstration Attack on Zone of Interior

CENTRAL-SANCTUARY THRESHOLD
25. Evacuation
24. Unusual, Provocative, and Significant Countermeasures
23. Local Nuclear War-Military
22. Declaration of Limited Nuclear War
21. Local Nuclear War-Exemplary

NO-NUCLEAR-USE THRESHOLD
20. "Peaceful" Worldwide Embargo or Blockade
19. "Justifiable" Counterforce Attack
18. Spectacular Show or Demonstration of Force
17. Limited Evacuation
16. Nuclear "Ultimatums"
15. Barely Nuclear War
14. Declaration of Limited Conventional War
13. Large Compound Escalation
12. Large Conventional War
11. Super-Ready Status
10. Provocative Breaking Off of Diplomatic Relations

NUCLEAR-WAR-IS-UNTHINKABLE THRESHOLD
9. Dramatic Military Confrontations
8. Harassing Acts of Violence
7. "Legal" Harassment-Retortions
6. Significant Mobilization
5. Show of Force
4. Hardening of Positions-Confrontation of Wills

DON'T-ROCK-THE-BOAT THRESHOLD
3. Solemn and Formal Declarations
2. Political, Economic, and Diplomatic Gestures
1. Ostensible Crisis

Byron Riggan, HORIZON A magazine of the Arts, Summer 1966 Volume VIII, Number 3, p.45


The one soirée that virtually no one in New York missed this year was The Party, given by the talented and amusing Marisol Escobar at the Sidney Janis Gallery. Composed of fifteen life-sized figures, all wearing variations - in plaster or plastic - of Marisol's own face, the exhibit coolly demonstrated the wooden sameness of such affairs, varied only by dress and affectation. It was so accurate, in fact, that opening-night guests had a tendency to meld with the figures, one into the other; where did The Party leave off and the party begin? Marisol, of course, demolishes with a mascara brush, not with a scimitar; as a result, her inventive mélange of wood, glass, fabric, paint, leather, and domestic objects conveys more affectionate mockery than acidulous indignation. Little imagination is required to envision the woman with the TV set on her head in animated conversation with the three-faced waiter at the next party; she is describing - what else? - Marisol's show, and the only thing needed to bring her vapid comments into focus is a slight adjustment of her antenna and her vertical-hold knob.

The day when the public had to travel to look at art may be ending, now that dynamic forms have been literally translated into motion; in their battery-propelled trek toward everchanging interrelationships, these objects may eventually and perhaps inevitably seek out the viewer. Creepy? Not to sculptor Robert Breer, who built the motorized polyhedrons. His styrofoam objects, coated with a glossy white acrylic paint and programmed to switch direction whenever they encounter resistence, are intended "to put emphasis on the change of position rather than motion itself." The limitless possibilities of position were demonstrated earlier this year when one of Breer's larger "floats" had to be physically restrained from departing the premises of the Galeria Bonino in New York.

HORIZON A magazine of the Arts, Autumn 1966 Volume VIII, Number 4, p.92


Cocktails, Commotion, and Creepies

Open the door of Edward Kienholz's Back Seat Dodge-'38 and, in a blaze of triggered light and mirrors, you are transformed from viewer to voyeur. The interior of the truncated car is littered with beer bottles and cigarette wrappings, and features, flagrante delicto, a partial plaster girl in the embrace of a chicken-wire youth. The experience so unnerved officials in Kienholz's home town of Los Angeles a while ago that they almost vetoed his controversial show at the controversy-ridden County Museum of Art. "My wife knows art," explained one official, "but I know pornography." Only the firm resolve of the museum's trustees and staff, not previously noted for their unity of purpose, kept the exhibit open, albeit with the car door closed. The irony, if it is fair to impose still another level upon Kienholz's assemblages of junk, is that the artist is convinced he has executed a series of static morality plays - or, as he puts it, "three-dimensional social cartoons." His Dodge, for example, effectively destroys whatever "romantic nonsense" the next generation may harbor about its cherished mobile privacy. The intention behind Kienholz's social tableaux seems to be to confront the public with the frailties of man in his unnatural urban existence. Conceivably, Kienholz may someday attempt the ultimate metropolitan tableau, a colossal montage of neon, freeways, and air-borne wastes. He might even decide to call his creation "Los Angeles."

Kienholz's corpse was seated in the front seat of a 1940 Packard - a back-seat Packard. He was seated in the passenger side, with a bottle of wine, a deck of cards, the cremated remains of his dog Smash, and a dollar bill as sort of emblematic companions, then his wife drove the car down a ramp about twenty feet below the ground. Once she got out, he was entombed - all the earth, with dollar bills thrown in, was dumped onto him. He was buried like a pharaoh. It was profoundly moving, actually. Partly, of course, because of the car. Without the car there, it would have just been another burial.
-- J.G. Ballard

HORIZON A magazine of the Arts, Autumn 1966 Volume VIII, Number 4, p.92



Should you be scared of this?





Avec elle aussi, il fallait moucher la chandelle et elle n'avait pas la dextérité de Suzette ; aussi, plutôt que de lui livrer la suite de l'opération quand je me retirais de la chapelle, je mettais le sire sur le beau chat noir.




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