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Chris Burden Cross Communication

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Roscoe Mitchell

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Raymond Pettibon

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Raymond Pettibon (American b. 1957, lives and works in New York City), Untitled (Hermosa Beach), 2019. Color lithograph with hand-colouring, 45 1/8 × 67 1/2 in. | 114.6 × 171.5 cm. 

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Raymond Pettibon (1957- ) Crystal blue cathedral, 1994. Translucent and opaque watercolor, with pen and inks and black acrylic paint, on ivory wove paper, 34.5 × 25.8 cm.

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Letter from Joseph Cornell to Dorothea Tanning

1947

The "mermaid friends" are found in the painting The Truth About Comets (1945).

Dear Dorothea,

What a fairyland we find ourselves in! Never have we been piled higher with the topiary art and crystallized downfalls and drifts, as you probably know from the radio.

But even warmed I’m afraid that I’d still be an ungracious host to all this richesse. Dorothea, I’m in need of and await some flashings of your little mermaid friends who make such exquisite and poetic use of their native metamorphosed element. Have any of their sisters or cousins been showing up lately in any of your work?

What we are experiencing is an extravagant extension of an already white Christmas and this overflow of old fashioned winter, while really bad for the city, has aspects that I’ll probably have to enjoy in a happy afterglow. Reactions these days do not seem to be so sustained as heretofore and their intensities – while momentarily acute – short lived.

The aspect of our paysage reminds me of an object (new) that I think you’d like. It has lain in the attic for almost a year and a half and has no direct connection with the winter season (for inspiration and time of year that it was worked on, I mean). It is a box (very large) of snow owls in a rocky (beige) habi-tat (base), the upper part taken up by silvery crystalized branches – all against a singing blue(light) ground. It is too much on the Victorian side (at present) to be a bona fide “object”, and yet this is what I like about it. I think I’ll touch it up a bit still keep it pretty much the same – to enjoy in the company of people like yourself and our little comet friends. I am sure that the snow owls do not know – wise as they are – many secrets that have been kept from these latter.

I had looked forward to seeing you as had many others and was sorry to hear of the indisposition that kept you home. Hope things are O.K. with you out there and that your paintings shape up fast enough for a feast some day in the not too distant future.

Love to you and Max.

Joseph

December 29, 1947

* Green for Ondine

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Dorothea Tanning

La Truite au bleu (Poached Trout)

It was French for Blue Trout, which was a thing on the menu. Once we were in a mountain village inn and I was served a ‘truite au bleu,’ which consists of fishing the trout out of a rushing torrent that runs by the hotel and plunging it into boiling water live. At this point it turns bright blue and arches its back in a kind of ecstasy of death, I like to think.

–from unpublished notes, 1989

Dorothea Tanning

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Martin Creed, Work No. 203, Everything is going to be alright, 2001

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Beautiful Girl

1945

Dorothea Tanning

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One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows, and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness. As I realised it was actually happening and not just in my imagination, I was frightened. I knew I had to run away lest I should be deprived of my life by the spell of the red flowers. I ran desperately up the stairs. The steps below me began to fall apart and I fell down the stairs spraining my ankle.

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According to tradition, Lazarus never smiled during the thirty years after his resurrection, worried by the sight of unredeemed souls he had seen during his four-day stay in Hell. The only exception was, when he saw someone stealing a pot, he smilingly said: "the clay steals the clay."[1][46]

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New Mark Bandcamp with freshly rendered tracks for the 2024 experience. A new kind of world. Engineered and mastered by Ben Chasny. Mixed by Elisa, that’s me.