Approximations to the truth. Again, a fruitless invective advocating acceptance, a background image of faux France from 'An American In Paris' (1951) seen on the big screen the weekend this was drawn, a graphic representation of the formula behind a computerized color correction process, and a quote from a new find that week: Black Mountain artist Ray Johnson, discovered quite out of the blue, and fascinating. His statement, here, unsurprisingly resonant.
Been flat out: absorbed by work, and the cold of Vermont winter, and the constant self-absorption that comes with being myself, so I'm not sure whats under this comic specifically. I like the fish-like curvy swoop of the faux pasted-bill advertising in the second frame, and the look of the grids in the third. It works in the traditional way that loats works, but it doesn't take me anywhere unusual. Also, Johnson's chin will forever haunt me. B minus, I guess.
The title a track from Robert Wyatt's 'Rock Bottom' (1974):
"I can't understand the different you in the morning When it's time to play at being human for a while, please smile You'll be different in the Spring, I know."
That album, and 'Ruth is Stranger than Richard', given to me, once, by my late brother. I've been revisiting them, and those lines stuck out.
Approximations to the truth. Again, a fruitless invective advocating acceptance, a background image of faux France from 'An American In Paris' (1951) seen on the big screen the weekend this was drawn, a graphic representation of the formula behind a computerized color correction process, and a quote from a new find that week: Black Mountain artist Ray Johnson, discovered quite out of the blue, and fascinating. His statement, here, unsurprisingly resonant.
ReplyDeleteBeen flat out: absorbed by work, and the cold of Vermont winter, and the constant self-absorption that comes with being myself, so I'm not sure whats under this comic specifically. I like the fish-like curvy swoop of the faux pasted-bill advertising in the second frame, and the look of the grids in the third. It works in the traditional way that loats works, but it doesn't take me anywhere unusual. Also, Johnson's chin will forever haunt me. B minus, I guess.
The title a track from Robert Wyatt's 'Rock Bottom' (1974):
"I can't understand the different you in the morning
When it's time to play at being human for a while, please smile
You'll be different in the Spring, I know."
That album, and 'Ruth is Stranger than Richard', given to me, once, by my late brother. I've been revisiting them, and those lines stuck out.