little bohemia

2

UNTITLED (LINES BODIES)

I HAD NOTHING TO SAY
WHILE TRYING TO GRAPPLE WITH SOMETHING THAT SEEMED SO OBVIOUS, OBTUSE, REDUNDANT.
THE IMAGES, TRINKETS OF OLD NEW YORK
NAUSEATING TRADEMARKS OF A LATE HUMANISM
WERE UBIQUITOUS—HYDROGEN BONDS OF “VISUAL CULTURE”
… A DIZZYING YAWN

THEY CIRCULATED IN MEMORY PLANNED TO PUSH OUT CLIPART PAINTSTROKES OF THE RC COLA CAN, BUT FORGETTING THE NOSTALGIA OF A FAMILY BBQ.

THE IMAGES SHARE THE SAME BOLDLY DETERMINED FIGURATION
CIRCULATED POP, QUOTIDIAN, COLLEGE POSTER

THEY WERE EVERYWHERE I DIDN’T WANT TO BE
SHOPPING WITH MY MOTHER ON CLEARANCE RACKS IN SECOND-RATE SHOPPING MALLS, CLUTTERING 42ND ST MANHATTAN ONTRIPS FROM NEW JERSEY WITH MY FATHER TO SEE RENT AFTER ‘EXPLORING THE CITY’

IN BANNER ADS FOR WALL DECALS AND COFFEE MUGS CLUTTERING THE ONLINE MAGAZINES I WANTED TO READ IN A PEACE, AWAY FROM FACEBOOK’S POOR ATTEMPT AT UNDERSTANDING MY CONSUMER DESIRES.

LET THEM CIRCULATE IN REINCARNATION, DANCING ON SCREEN SAVERS.

TRAINS AND SIDEWALKS IN THE CITY PROVIDE A CERTAIN FREEDOM TO
UNMEDIATED MOVEMENT
TRAVEL ACROSS AND, IN AN ACT OF FREEDOM (NO CARS) AND RITUAL, IN THE NAME OF PHYSICAL UNBOUNDEDNESS, EVEN IF IN SPITE OF THE POLICING OF THE SAME,

RECOGNIZE THE LINES IN SUBWAY STATIONS
HOLDING ON TO THEIR BRICK EMBANKMENTS
WALKING BY
FACE UP IN AIRPLANE MODE

INITIALLY, TESTAMENTS TO AN ERA WHERE THE CITY WAS ANIMATED BY THE CITIZEN-CREATED PUBLIC WORK ON PUBLIC SURFACES (UNCOMISSIONED).
HOW BEAUTIFUL, A VIBRANT SPLASH OF COLORFUL OPTIMISM IN A CYNICAL AND CYNICALLY DESIGNED CITY

LINES AND BODIES, CONGENIALITY IMBUED IN THEIR COLORFUL MOVEMENT AND ALSO SOMETHING OTHER … SINISTER, SARDONIC, AND DYSTOPIC IN THEIR PREDILECTIONS

MIRAGES OF GREETING CARD SENTIMENTALITY GIVE WAY
AND WITH IT THE BASTARDIZED OFFSPRING OF ART-AS-COMMERCE
LEAVING BEHIND A VICTIM

REAL EYES IN A REAL CITY-IN-TRANSIT WHERE THE NOSTALGIC LAMENTS OF THE LIVING LEGENDS OF DOWN- AND UP- TOWN BOHEMIAS NEED LITTLE CITATION IN THEIR JADEDNESS

THE LOSS OF ZEITGEIST AS SUCH / NOTED, REFERENCED Id. INFINITUM, WITH PAPERWORK
TO PROVE AND EXPANSIVE WINDOWS FOR SCALE, IN NEUTRAL TONED, CHEAP AND DERIVATE MODERNIST CONDOS

OVER-DISTRUBUTED OBJECTS OF CONSUMPTION SATURATING THE LIQUIDATED
MARKETS OF FACTORY PRODUCED HOUSEHOLD ORNAMENTS
SIMULTANEOUSLY SUPPORTING THE FOUNDATION’S ENTERPRISE AND TEACHING ME FUNDAMENTALS OF A VISUAL LANGUAGE CASTRATED OF ITS GRAMMATICAL STRUCTURE IN THIS FORM

FIGURES DELIVERED AS SYMBOLS OF A NEU HUMANISM

REPRODUCTIONS FLATTENED THE TEXTURES LEFT IN THE TRAILS OF BRUSH STROKES AND MERGED THE MOST BENEVOLENT SYMBOLS IN THIS LEXICON TO THE MOST IMMEDIATE “ON SALE” MONSTERS OF THE NEOLIBERAL ORDER.

AND ELSEWHERE
OUTLINED FIGURES SNICKER IN HOSPITAL WALKWAYS
DANCE ABOVE PUBLIC POOLS
FUCK FREELY IN MENS BATHROOMS IN WEST VILLAGE BUILDINGS WHERE THE PLUMBING HAS SINCE BEEN RE-ROUTED
REMIND EVERY EYE PASSING BY A CERTAIN ROADSIDE IN HARLEM OF THE VILLAINS (AND SAINTS) THAT POSSES THE CITY

CONTINUITY IN THE LINE(S) REMAINS UNBROKEN
ALL THE MORE APPARENT IN THE LIMINAL ZONE OF A CITY WHERE THE MTA CONNECTS THE
BORDER OF ONE MURAL AT THE STATION OF DEPARTURE TO THE
FOLD OF A LEG ON MOUNTED FIGURE IN A PARK OUTSIDE THE STATION OF ARRIVAL.

IT HAS MADE ITS WAY ACROSS GENERATIONS OF BULBS-TURNED-PIXELATED CARTOGRAPHY IN ANIMATED SIGNAGE AND IT PROTESTS THE
RACIST STATE SPONSORED BRUTALITY OF THE NYPD
TRACING AND DISTORTING THE FIGURE OF MICHAEL STEWART
FILLING THE FACELESS FIGURES WITH BROWN SKIN AND ARTICULATED FEATURES

RADIANT BABIES GROW INTO
ECSTATIC FIGURES MANIPULATING AND PUNCTURING ONE ANOTHER
A COITUS PATTERN ARTICULATED BY MOIST HIPS
UNDULATING LIMBO SPREAD LED JUNGLES WHERE CYLINDRICAL FRUIT FALLS
INTO HANDS MOUTHS IN VEINS
EMERGES ON THE SURFACE OF SKIN
TAUGHT, IN DENIAL

LINE, FIGURES IT GRANTS CERTAIN VITALITIES TO
A REVELATORY POWER

THE NATURE OF THEIR WIDE AND RAPID PROLIFERATION
COULD HAVE FORESEEN LEGACIES AS POOR IMAGES PROMPTING THE CONSUMER OF
GIFT WRAP ON SALE AT MACYS TO GOOGLE WHO IN FACT WAS RESPONSIBLE
SYMBOLS, DEPLETED KINECTIC AUDACITY
A SUGGESTION/ MARKER
INVITATION TO LINES, BODIES TRANSFORMATIONS
OF EMBOD-IED ENERGIES
IN ON A JOKE / COGNIZANT OF A MISSION
HOMAGE TO THE
CURRENT RECURRENT TENDER AGE

Margaret Burroughs was born in St. Rose, Louisiana, on November 1, 1917, and moved with her family to the South Side of Chicago in 1922. Burroughs studied at Englewood High School and also attended George Neal’s art classes. Her earliest involvement in political activism began when she and classmate Gwendolyn Brooks joined the NAACP Youth Council. She studied at Chicago State and became an art teacher at DuSable High School. She married fellow artist Bernard Goss in 1939, and their coach-house flat became a social center, dubbed “little Bohemia,” for a wide and interracial circle of friends and colleagues. Burroughs worked tirelessly to establish the South Side Community Art Center which opened in 1940  and became the youngest member of its board. She also studied at the Art Institute of Chicago and received her MFA in 1948. During her travel to Mexico she studied at the Esmerelda School of Art and Taller de Grafica under Leopoldo Mendez, a prominent printmaker of the Diego Rivera circle. The Mexican muralists use of social commentary inspired her work. Burroughs worked in many mediums, showing special facility in watercolors and linocut print-making. She is also an accomplished poet and author of children’s books. In 1961, with second husband Charles Burroughs, she founded the DuSable Museum of African American History in Chicago. The linocuts on this display were donated by the artist during her visit to Oakton on March 14, 2008. Margaret Burroughs died Sunday, Nov. 21, 2010

Visual Pleasure and Narrative Sherlock pt. 3: Power, pleasure, and epistemological desire, or Sherlock as sapiosexual

(Part 1, “Watching the detective”; Part 2, “Objectifying The Woman.”)

(This post was originally titled “Knowledge, asexuality, and power,” but a recent discussion showed me that my focus is actually a little different. I love readings of Sherlock as asexual, but I think in the end I’m going to stay away from asexual identity claims for him; it’s not my place, and it’s too loaded. I’ve got my own understanding and term for how he experiences desire, and more qualified people can tell me if that fits anywhere in the constellation of asexuality. If what I say here bears on sexuality, then it’s sexuality in its widest terms: desire, pleasure, intimacy, and contact.

Please note that this is essentially the text of a lecture on cinematography given to first-year students who hadn’t had instruction in film or sexuality; it tends to be very basic, and I kept it simple and left stuff out not because that stuff isn’t important but because there was only so much students could absorb.)

***

“To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. All emotions, and that one particularly, were abhorrent to his cold, precise but admirably balanced mind. He was, I take it, the most perfect reasoning and observing machine that the world has seen, but as a lover he would have placed himself in a false position.” (Sir Arthur Conan Doyle, “A Scandal in Bohemia.”)

While the BBC version of “Scandal in Bohemia” bears little resemblance to the original, they seem to have gotten this paragraph right at least. Yes, Irene Adler is the Woman. In SiB it’s how she names herself, it’s her professional title, and her profession is sexual. (And no, Sherlock doesn’t love her–that’d be a “false position”–but I’ll get to that later.) And as the woman, the representative of all women, the heterosexist visual economy of film says she must be objectified by the desiring male gaze. That’s definitely what happens in ASiB, as we’ve seen. To a certain point her objectification, her sexual appeal, gives her power over Sherlock and the narrative. But Sherlock is first and foremost a show about knowledge, and in the end the power of intellect, Sherlock’s power, wins out.

For knowledge is not just power for Sherlock, it’s pleasure. Identifying his sexual identity is fraught, and has sparked oh so many fiery discussions. But in the end, the most essential question is the easiest to answer: what does Sherlock want? He wants to know shit. He is driven by epistemological desire. He takes profound pleasure in knowledge, and often that pleasure looks distinctly erotic. To me, Sherlock is sapiosexual: he desires to know, and when he knows, he gets off. Not genitally (I haven’t checked his pants), but it often looks just like physical pleasure and a satisfaction of lust.

Keep reading

Little Bohemia, one of our favorite restaurants up here. The place where John Dillinger was almost caught on Star Lake. The film ‘Public Enemies’ was filmed here a few years ago, so they now have photos and news clips not only of John Dillinger but also of Johnny Depp. The place has been very well preserved, you feel like you have gone back in time. If you are ever in the Wisconsin North Woods, I highly recommend stopping in for a good meal. Oh and they have a Dillinger museum, too.

Known for her non-conformist & unconventional style, newcomer Natasha Una is already making a name for herself in the Arts & the world of Avant Garde. Her Grilled Cheese paintings are selling like hotcakes!

Her latest sales afforded her this charming home in St. Claire’s ‘Little Bohemia" village (an artistic haven of galleries, theaters, and coffeehouses)