3.11 / And I Say, It’s All Right

March 15 2012


March 15, 2012. I am trying to imagine the weather when photographer Arthur Tress arrived in San Francisco in March 1964; I bet it was raining. As I write this, the sun has just peeked through the clouds for the first time in three days, and now that damn Beatles song is stuck in my head. I spent too much time this morning looking at Tress’s image of teenage girls rallying for a Ringo presidency and thinking about the Republican National convention that year, which nominated Goldwater over Rockefeller, and how it’s presaged the coming one this summer. The luxury of hindsight is its capacity to weave together disparate events and images into narratives that cohere into logical and predetermined patterns. The present, though, as Hillary Wiedemann and R.H. Quaytman suggest in their work, is full of glares and blind spots; we have to rely on sensory perception and peripheral vision to see. Solar flare disruptions and partisan bile are in the forecast for the remainder of the year; it will be interesting if the look back tells us something different. Enjoy—PM


The Forbidden Body: Notes on the Latin American Live Art Scene

The Forbidden Body: Notes on the Latin American Live Art Scene

By Gabriela Salgado, Guillermo Gómez-Peña

This is the ultimate challenge for us: to relay in a symbolic body language capable of holding up the semiotic breakdown, or at least of putting it in evidence. If we don’t embrace this challenge, we are at risk of being exoticized and misunderstood.

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