[quoting Hemingway] "'I like Canadians: they let women stand up in the street cars/Even if they are good-looking. They are all in a hurry to get home to supper/And their radio sets.'"
something that made survival possible."
like drifting on air."
Later we will return, and photograph for the neighbors the Taj Mahal by moonlight; first, though, and unforgettably, we will encounter the bodies along the road, the campfires in the unlit night, the urchins grabbing at one’s sleeve outside the Taj Mahal Hotel."
kept me on the road."
indifferent to personal identity.'"
Hayden King appears in a video to explain this more fully and convincingly, along with some less magnetic academics. Such a reading makes many pleasing, anodyne works suddenly problematic and suddenly complex. It gives the viewer much more to ponder than the technical proficiency so clearly on display: usually we're just asked to consider the magnificent beauty of a landscape painting. At some institutions, we are directed to appreciate the difficult rustic circumstances in which it was created. But a charged political reading provokes welcome conflict in the viewer; it's a gratifying art experience to judge the work both beautiful and simultaneously repulsive. Why didn't the AGO position Picturing the Americas more strongly to the public? Why do art institutions persist in their own outdated belief that audiences are their intellectual inferiors? Arts marketing should never be so bland.
"Sunsets impose a heavy burden on the sightseer. A spot acquires such a reputation as the place from which 'to watch the sunset' that you are virtually obliged to go there. Phnom Bakheng was just such a spot...When we finally got to the top it was rammed, like a party waiting to kick off. We expected to see a DJ, decks, banks of speakers. There were hundreds, possibly thousands of people, but they weren't waiting for a party--they were waiting for the sunset. The Japanese were out in force. Everyone--us included--were spraying or smearing themselves with insect repellent because the mosquitoes were also out in force. Serious photographers had their cameras on tripods. One such photographer turned to his wife and said, "Fifteen minutes to go," as though they were colleagues at Mission Control at NASA. Everyone else simply waited. For the sunset...Waiting for the sunset becomes an activity, an exercise in abeyance."
I'll do the best I can."