1. Train of Thought: On the ‘Subway’ Photographs by Bruce Davidson | NYRblog | The New York Review of Books →

    Woman on a platform

    Often I try to remember what New York was like when I was a kid. What the street felt like. And I see photos and think, was it really that gritty and crappy? I remember walking up the Bowery with my parents from one grandparents’ apartment to the other. I was a kid growing up in the suburbs, so walking felt far, but never felt unsafe, but maybe that’s because I didn’t know any better.

    I do remember the corner where the Whole Foods on Second Ave is now…it was an empty lot, filled with tires and needles and was totally uncared for and unloved. But I always felt the possibility and energy in the city. No joke, in third grade I made a drawing of myself surrounded by tall buildings and the caption was something like “I will be a ballerina and own a condominium in New York City”.

    (via Instapaper)

  2. fyeahwomenartists: Bonnie Devine Installation photo from the exhibit Writing Home 2008 From the curator: In this work Devine remodels the act of ‘writing home’ into an actualization of her correspondence with home, specifically Serpent River. Through photographs, sound, and impressions cast in glass, the artist presents her home, replete in texture and history. Writing and text have always figured in Devine’s practice; words and their meanings, their ‘look’ on the surface of the paper akin to the stitching of red thread on a white surface. The stitches become legible as memory and the handwritten letters are missives to her place in this landscape. Each of the components in this body of work is indicative of the immersive process the artist employs with her material and medium. In this way “Writing Home” merges absence and presence… words become threads and the rock transformed into the lens of glass remains the rock.

    fyeahwomenartists:

    Bonnie Devine
    Installation photo from the exhibit Writing Home
    2008

    From the curator:
    In this work Devine remodels the act of ‘writing home’ into an actualization of her correspondence with home, specifically Serpent River. Through photographs, sound, and impressions cast in glass, the artist presents her home, replete in texture and history. Writing and text have always figured in Devine’s practice; words and their meanings, their ‘look’ on the surface of the paper akin to the stitching of red thread on a white surface. The stitches become legible as memory and the handwritten letters are missives to her place in this landscape. Each of the components in this body of work is indicative of the immersive process the artist employs with her material and medium. In this way “Writing Home” merges absence and presence… words become threads and the rock transformed into the lens of glass remains the rock.