Warhol (at Dia:Beacon)
98 year old dobri dobrev, a man who lost his hearing in the second world war, walks 10 kilometers from his village in his homemade clothes and leather shoes to the city of sofia, where he spends the day begging for money.
though a well known fixture around several of the city’s churches, known for his prostrations of thanks to all donors, it was only recently discovered that he has donated every penny he has collected — over 40,000 euros — towards the restoration of decaying bulgarian monasteries and churches and the utility bills of orphanages, living instead off his monthly state pension of 80 euros.
Twentieth-century Los Angeles was built on technology: the railroads that brought millions of migrants, and the streetcars and internal-combustion automobiles that ferried them across an increasingly sprawling metropolis once they got there; the massive pumps that pushed water from the Central and Owens Valleys and the Colorado River to a thirsty city; and, yes, the massive, whirling turbines, driven by falling water or hot steam, and the hundreds of miles of transmission lines that fed the juice to power-hungry homes and factories and cast the city’s web across much of the American West.
More highlights from “Form and Landscape: Southern California Edison and the Los Angeles Basin, 1940–1990,” part of the Getty’s Pacific Standard Time Presents: Modern Architecture in L.A.
Photographer unknown, The receiver (boiler) glows brilliantly during acceptance tests at Solar One in April, 1982, 1982. Huntington Library, Art Collections, and Botanical Gardens. Included in TECHNOLOGY / TECNOLOGÍA, curated by Peter Westwick.
Photographer unknown, Chevrolet two-door sedan with wrecked front end, 1949. Huntington Library, Art Collections, and Botanical Gardens. Included in COLLISIONS / CHOQUES, curated by William Deverell.
Joseph Fadler, Victorian home exteriors, 1966. Huntington Library, Art Collections, and Botanical Gardens. Included in NOIR / RELATO NEGRO, curated by D. J. Waldie.
All Things Considered (A Response to Marianne Moore’s Poem “A Grave”)
A short video dealing with the concept of memory as it pertains to reading poetry I made for my Vision, Voice, and Practice class. The images are videos from Youtube found by searching for phrases and words from Moore’s poem. They are then projected onto spaces in my house to create a quasi-physical embodiment of the memories brought to mind by the original poem.