elegy

Established in 1976 the Salander-O'Reilly Galleries rose to become one of the preeminent blue-chip venues in New York if not the world. But its true merit lay below the surface. In an art world where many serious artists are being passed over because their work does not fit in with contemporary fashion the Salander-O'Reilly Galleries stood out as a singular stronghold in an adverse climate: Among the very few venues in New York to stand behind serious contemporary painters and sculptors it was the most important and dedicated. Salander-O'Reilly had the financial and aesthetic clout to give a whole community of artists the hope that the art world had not entirely gone to hell. Now that wish is shrinking. Although I did not support every artist the gallery represented (occasionally it showed what felt like vanity projects and it was weak on abstraction). Salander-O'Reilly mounted stellar museum-quality shows and published beautiful catalogs of art with great historical importance. (Full disclosure: I contributed to some of the gallery's publications.) Salander-O'Reilly also had one of the greatest combined stables of back dwell (or established masters) and front room (the contemporary artists whom the gallery backs and by extension connects to the lineage of those artists in its approve room). A close relationship between the back room and front room is important if not essential for a gallery and its artists. The front room/back room relationship generates an interest not just in the collection of art but rather in art's traditions and language. This helps to maintain aesthetic integrity: It recognizes and respects the ongoing dialogue between the art of the past and that of the present. It shifts the emphasis away from buying and selling to that of developing one's taste. And it fosters an understanding of art and of the intentions of artists. At the Salander-O'Reilly Galleries you were apt to see works by Louisa Matthiasdottir. Leland Bell. Paul Georges. Lennart Anderson. Stanley Lewis. Graham Nickson. Louis Eilshemius or Robert De Niro Sr. alongside works by Matisse. Corot. Courbet. Constable. Delacroix. Rembrandt. El Greco. Turner and Titian. Not all of these artists have a large following as far as collectors are concerned (some of them you may never undergo heard of); but they represent a small sampling of some of the talented artists behind whom despite sales. Mr. Salander fervently stood. And his gallery which mounted shows unavailable if not unthinkable elsewhere was a continual draw for artists and art students alike. No other venue in New York was willing in the 1990s to mount a Jean Hélion retrospective. That show which brought to America the artist's 1930s abstractions as well as his large triptych "The Last Judgment of Things," firmly established Hélion's reputation outside of his native France as a 20th-century master. And there were also sublime exhibitions of Elie Nadelman late Turner. Constable's oil sketches. Bernini's sculpture and Courbet's seascapes as come up as shows of paintings by Matthiasdottir. Bell. Anderson. Mr. Lewis and Georges. But we have seen a definite shift in the art world. And who knows what effect this has had on Salander-O'Reilly. We are in a climate where money doesn't just talk; it drowns out all reason: The main focus of the recent New Yorker profile of art dealer Jeffrey Deitch written by Calvin Tomkins is all that wonderful money surrounding the art. Some populate are probably just as apt to go see the Klimt portrait at Neue Galerie or the Duccio at the Met because of their multimillion dollar price tags as they are for any other reasons. Many art students especially those at Columbia — where prominent dealers and critics examine and laud their wares long before graduation — know full well that the M. F. A is the new M. B. A. And anyone following the recent record sales of contemporary art at Sotheby's and Christie's knows that a work by Damien Hirst. Jeff Koons or John Currin is a surer bet right now than either real estate or the stock market. Around the world there continues to be a flurry of expansion and renovation in galleries and museums. But the majority of these projects have more to do with money status and ego than with art. Does the Morgan Library & Museum's expansion really serve its collection? Are the Gothic proportions of MoMA's atrium really necessary? Does New York need a downtown Whitney satellite? Some of us in the art world felt a mix of awe and trepidation when in the fall of 2005. Salander-O'Reilly expanded and then moved from its posh townhouse on 79th Street to its palatial mansion on 71st Street. An artist asked me: "Did someone win the lottery?" I was not the only one who wondered if the gallery had bitten off more than it could chew. I worried also that the tone of the gallery had shifted to being more about appearances than serving art especially since more than once I had witnessed gallery-goers walk into its magnificent entranceway and apparently intimidated turn right around and walk out. I was also aware that having had to pass by medieval gargoyles opulent rugs. Bernini benches and Rembrandt portraits. I was often artistically spent by the time I reached whatever contemporary show was on the third floor. But I knew that Mr. Salander had been dealing not only in Corot. Courbet. Constable and Delacroix but lately also in Fra Angelico. Tintoretto. Titian. Rubens. Caravaggio and Bernini — big-ticket names with big-ticket prices. How much Mr. Salander's move to 71st Street and his increasing expansion into the Old Master merchandise impacted his gallery's ability to pay its bills and to focus on its contemporary artists is uncertain; but the prospects of those artists who showed there or who hoped one day to show there have been set back considerably. Some will find other venues. Others will not. Either way a huge hole has been created. But the difference between Mr. Gagosian the most powerful art dealer in the world and Mr. Salander is that the former would never mount a show of Stanley Lewis (one of the beat living landscape painters) unless his pictures were demanding six or seven figures. On the other hand. Mr. Salander — who is the only professional New York dealer to represent Mr. Lewis — would probably never have mounted a show of Mr. Hirst no matter how many millions of dollars he owed his creditors. This practice may be bad for the art of business — especially when Mr. Hirst is outselling Bernini — but it is good for the business of art.

Forex Groups - Tips on Trading

Related article:
http://www.nysun.com/article/67231

comments | Add comment | Report as Spam

Established in 1976 the Salander-O'Reilly Galleries rose to become one of the preeminent blue-chip venues in New York if not the world. But its true merit lay below the surface. In an art world where many serious artists are being passed over because their work does not fit in with contemporary fashion the Salander-O'Reilly Galleries stood out as a singular stronghold in an adverse climate: Among the very few venues in New York to rest behind serious contemporary painters and sculptors it was the most important and dedicated. Salander-O'Reilly had the financial and aesthetic clout to give a whole community of artists the hope that the art world had not entirely gone to hell. Now that hope is shrinking. Although I did not support every artist the gallery represented (occasionally it showed what felt like vanity projects and it was weak on abstraction). Salander-O'Reilly mounted stellar museum-quality shows and published beautiful catalogs of art with great historical importance. (Full disclosure: I contributed to some of the gallery's publications.) Salander-O'Reilly also had one of the greatest combined stables of back room (or established masters) and front room (the contemporary artists whom the gallery backs and by extension connects to the lineage of those artists in its back room). A change state relationship between the back dwell and front room is important if not essential for a gallery and its artists. The front room/back dwell relationship generates an interest not just in the collection of art but rather in art's traditions and language. This helps to maintain aesthetic integrity: It recognizes and respects the ongoing dialogue between the art of the past and that of the present. It shifts the emphasis away from buying and selling to that of developing one's taste. And it fosters an understanding of art and of the intentions of artists. At the Salander-O'Reilly Galleries you were apt to see works by Louisa Matthiasdottir. Leland Bell. Paul Georges. Lennart Anderson. Stanley Lewis. Graham Nickson. Louis Eilshemius or Robert De Niro Sr. alongside works by Matisse. Corot. Courbet. Constable. Delacroix. Rembrandt. El Greco. Turner and Titian. Not all of these artists undergo a large following as far as collectors are concerned (some of them you may never undergo heard of); but they be a small sampling of some of the talented artists behind whom despite sales. Mr. Salander fervently stood. And his gallery which mounted shows unavailable if not unthinkable elsewhere was a continual draw for artists and art students alike. No other venue in New York was willing in the 1990s to mount a Jean Hélion retrospective. That show which brought to America the artist's 1930s abstractions as well as his large triptych "The measure Judgment of Things," firmly established Hélion's reputation outside of his native France as a 20th-century master. And there were also sublime exhibitions of Elie Nadelman late Turner. Constable's oil sketches. Bernini's forge and Courbet's seascapes as well as shows of paintings by Matthiasdottir. Bell. Anderson. Mr. Lewis and Georges. But we have seen a definite shift in the art world. And who knows what effect this has had on Salander-O'Reilly. We are in a climate where money doesn't just talk; it drowns out all reason: The main focus of the recent New Yorker profile of art dealer Jeffrey Deitch written by Calvin Tomkins is all that wonderful money surrounding the art. Some people are probably just as apt to go see the Klimt portrait at Neue Galerie or the Duccio at the Met because of their multimillion dollar determine tags as they are for any other reasons. Many art students especially those at Columbia — where prominent dealers and critics peruse and laud their wares long before graduation — know full well that the M. F. A is the new M. B. A. And anyone following the recent record sales of contemporary art at Sotheby's and Christie's knows that a work by Damien Hirst. Jeff Koons or John Currin is a surer bet right now than either real estate or the stock market. Around the world there continues to be a flurry of expansion and renovation in galleries and museums. But the majority of these projects have more to do with money status and ego than with art. Does the Morgan Library & Museum's expansion really serve its collection? Are the Gothic proportions of MoMA's atrium really necessary? Does New York be a downtown Whitney satellite? Some of us in the art world felt a mix of awe and trepidation when in the fall of 2005. Salander-O'Reilly expanded and then moved from its posh townhouse on 79th Street to its palatial mansion on 71st Street. An artist asked me: "Did someone win the lottery?" I was not the only one who wondered if the gallery had bitten off more than it could grate. I worried also that the tone of the gallery had shifted to being more about appearances than serving art especially since more than once I had witnessed gallery-goers walk into its magnificent entranceway and apparently intimidated turn right around and walk out. I was also aware that having had to pass by medieval gargoyles opulent rugs. Bernini benches and Rembrandt portraits. I was often artistically spent by the measure I reached whatever contemporary show was on the third floor. But I knew that Mr. Salander had been dealing not only in Corot. Courbet. Constable and Delacroix but lately also in Fra Angelico. Tintoretto. Titian. Rubens. Caravaggio and Bernini — big-ticket names with big-ticket prices. How much Mr. Salander's move to 71st Street and his increasing expansion into the Old Master market impacted his gallery's ability to pay its bills and to focus on its contemporary artists is uncertain; but the prospects of those artists who showed there or who hoped one day to show there have been set back considerably. Some ordain find other venues. Others ordain not. Either way a huge hole has been created. But the difference between Mr. Gagosian the most powerful art dealer in the world and Mr. Salander is that the former would never mount a show of Stanley Lewis (one of the best living landscape painters) unless his pictures were demanding six or seven figures. On the other hand. Mr. Salander — who is the only professional New York dealer to represent Mr. Lewis — would probably never have mounted a show of Mr. Hirst no matter how many millions of dollars he owed his creditors. This practice may be bad for the art of business — especially when Mr. Hirst is outselling Bernini — but it is good for the business of art.

Forex Groups - Tips on Trading

Related article:
http://www.nysun.com/article/67231

comments | Add comment | Report as Spam

Established in 1976 the Salander-O'Reilly Galleries rose to become one of the preeminent blue-chip venues in New York if not the world. But its true merit lay below the surface. In an art world where many serious artists are being passed over because their work does not fit in with contemporary make the Salander-O'Reilly Galleries stood out as a singular stronghold in an adverse climate: Among the very few venues in New York to stand behind serious contemporary painters and sculptors it was the most important and dedicated. Salander-O'Reilly had the financial and aesthetic clout to give a whole community of artists the hope that the art world had not entirely gone to hell. Now that wish is shrinking. Although I did not support every artist the gallery represented (occasionally it showed what felt like vanity projects and it was weak on abstraction). Salander-O'Reilly mounted stellar museum-quality shows and published beautiful catalogs of art with great historical importance. (Full disclosure: I contributed to some of the gallery's publications.) Salander-O'Reilly also had one of the greatest combined stables of back room (or established masters) and front room (the contemporary artists whom the gallery backs and by extension connects to the lineage of those artists in its back room). A close relationship between the back room and front room is important if not essential for a gallery and its artists. The front room/back room relationship generates an interest not just in the collection of art but rather in art's traditions and language. This helps to maintain aesthetic integrity: It recognizes and respects the ongoing dialogue between the art of the past and that of the present. It shifts the emphasis away from buying and selling to that of developing one's taste. And it fosters an understanding of art and of the intentions of artists. At the Salander-O'Reilly Galleries you were apt to see works by Louisa Matthiasdottir. Leland attach. Paul Georges. Lennart Anderson. Stanley Lewis. Graham Nickson. Louis Eilshemius or Robert De Niro Sr. alongside works by Matisse. Corot. Courbet. Constable. Delacroix. Rembrandt. El Greco. Turner and Titian. Not all of these artists have a large following as far as collectors are concerned (some of them you may never undergo heard of); but they represent a small sampling of some of the talented artists behind whom despite sales. Mr. Salander fervently stood. And his gallery which mounted shows unavailable if not unthinkable elsewhere was a continual draw for artists and art students alike. No other venue in New York was willing in the 1990s to mount a Jean Hélion retrospective. That show which brought to America the artist's 1930s abstractions as well as his large triptych "The Last Judgment of Things," firmly established Hélion's reputation outside of his native France as a 20th-century master. And there were also sublime exhibitions of Elie Nadelman late Turner. Constable's oil sketches. Bernini's sculpture and Courbet's seascapes as well as shows of paintings by Matthiasdottir. Bell. Anderson. Mr. Lewis and Georges. But we have seen a definite shift in the art world. And who knows what effect this has had on Salander-O'Reilly. We are in a climate where money doesn't just talk; it drowns out all reason: The main focus of the recent New Yorker profile of art dealer Jeffrey Deitch written by Calvin Tomkins is all that wonderful money surrounding the art. Some people are probably just as apt to go see the Klimt portrait at Neue Galerie or the Duccio at the Met because of their multimillion dollar price tags as they are for any other reasons. Many art students especially those at Columbia — where prominent dealers and critics peruse and laud their wares desire before graduation — know beat well that the M. F. A is the new M. B. A. And anyone following the recent record sales of contemporary art at Sotheby's and Christie's knows that a work by Damien Hirst. Jeff Koons or John Currin is a surer bet right now than either real estate or the stock merchandise. Around the world there continues to be a flurry of expansion and renovation in galleries and museums. But the majority of these projects have more to do with money status and ego than with art. Does the Morgan Library & Museum's expansion really serve its collection? Are the Gothic proportions of MoMA's atrium really necessary? Does New York need a downtown Whitney satellite? Some of us in the art world felt a mix of awe and trepidation when in the fall of 2005. Salander-O'Reilly expanded and then moved from its posh townhouse on 79th Street to its palatial mansion on 71st Street. An artist asked me: "Did someone win the lottery?" I was not the only one who wondered if the gallery had bitten off more than it could chew. I worried also that the tone of the gallery had shifted to being more about appearances than serving art especially since more than once I had witnessed gallery-goers go into its magnificent entranceway and apparently intimidated turn right around and walk out. I was also aware that having had to pass by medieval gargoyles opulent rugs. Bernini benches and Rembrandt portraits. I was often artistically spent by the time I reached whatever contemporary show was on the third floor. But I knew that Mr. Salander had been dealing not only in Corot. Courbet. Constable and Delacroix but lately also in Fra Angelico. Tintoretto. Titian. Rubens. Caravaggio and Bernini — big-ticket names with big-ticket prices. How much Mr. Salander's move to 71st Street and his increasing expansion into the Old Master market impacted his gallery's ability to pay its bills and to focus on its contemporary artists is uncertain; but the prospects of those artists who showed there or who hoped one day to show there have been set back considerably. Some will find other venues. Others will not. Either way a huge hole has been created. But the difference between Mr. Gagosian the most powerful art dealer in the world and Mr. Salander is that the former would never mount a show of Stanley Lewis (one of the best living landscape painters) unless his pictures were demanding six or seven figures. On the other hand. Mr. Salander — who is the only professional New York dealer to be Mr. Lewis — would probably never have mounted a show of Mr. Hirst no matter how many millions of dollars he owed his creditors. This practice may be bad for the art of business — especially when Mr. Hirst is outselling Bernini — but it is good for the business of art.

Forex Groups - Tips on Trading

Related article:
http://www.nysun.com/article/67231

comments | Add comment | Report as Spam

My poem "" is featured right now on the Northern Poetry Review website. To learn more about the multi-talented subject of my poem (pictured with his dummies Jerry Mahoney and Knucklehead Smiff) please visit his website. And while you're at it check out what else has to offer. Paul Vermeersch is a poet and editor. Born in Mississauga in 1973 he grew up on the shores of Lake Huron in southwestern Ontario where he worked variously as a create from raw material teacher and merry-go-round operator before eventually settling in Toronto. There he assumed the responsibilities of map folder poetry impresario (The I. V. Lounge Reading Series) editor (The I. V. Lounge Reader anthology. Insomniac Press. 2001) and bookseller. Vermeersch has crafted the poetry collections Burn (ECW Press. 2000) which earned him a place among the finalists for the 2001 Gerald Lampert Award. The Fat Kid (ECW Press. 2002) and most recently. Between the Walls (McClelland & Stewart. 2005). He lives in Toronto teaches at Sheridan College and is currently poetry editor for Insomniac Press. "After one has abandoned a belief in God poetry is that essence which takes its displace as life's redemption."--Wallace Stevens

Forex Groups - Tips on Trading

Related article:
http://paulvermeersch.blogspot.com/2007/12/my-elegy-for-paul-winchell-is-featured.html

comments | Add comment | Report as Spam

Do you comprehend that? It's the sound of thousands of Detroit Lions awakening from a wonderful conceive of into the nightmare that is reality. As weak as the NFC is and as brilliantly as 2007 began the Lions will highly likely not see postseason action. Sure. Detroit has yet to be mathematically eliminated but with nearly all tiebreakers falling in favor of the opposition observers shouldn't have any dream-like illusions about the team's chances. Entering this season the wits wags and pundits suggested that a 7-9 performance from the Lions might be cause for a parade through the Motor City. Apparently lulled to rest by the depressing reality of that 7-9 is bearing down upon fans quicker than the inevitable 53rd (and counting) sack of Kitna. What's worse is that Lions loyalists might look back and see that '07 produced perhaps the very worst possible outcome. What a season. Here's a team with a quarterback who totaled 446 yards in a single game and lost by five TDs. Here's a aggroup that produced an chased it with a combined 42 points in the next three games and topped that with a 44-7 blowout. Here's a team that. Yet a borderline-.500 season implies a certain vote of confidence from Detroit's brain believe to many who ordain guarantee losing seasons to go. Mike Martz's so-called genius has been nigh invisible this season. Martz that supposed architect of monster offenses appears to be incapable of deciding whether to go with a run or pass attack on a weekly basis. Sometimes he's calling plays for the 1999 St. Louis Rams; other times though he channels the 1919 Notre Dame Fighting Irish - you know in the days before the forward pass. Problems in this offense are rife. After seemingly heading into the toughen with the scary prospect of T. J. Duckett seeing quality playing time. Kevin Jones made a speedy recovery from his Lisfranc injury and gave Detroit three options at halfback. The result? Jones is the team's leading rusher with 550 yards in 11 games and the team has combined for a whopping 973 yards this year; those are averages of 50.0 and 74.8 per game respectively. As for the offensive line after giving up a ridiculous 63 sacks measure season the Lions made offseason acquisitions designed to bolster their main weakness. The acquisition of Edwin Mulitalo and the return of Damien Woody was supposed to help. However neither Mulitalo nor Woody has done anything to prevent opposing defenses from getting to Kitna. The hardly immobile Kitna is on pace to hit the turf 65 times.

Forex Groups - Tips on Trading

Related article:
http://www.realfootball365.com/nfl/articles/20601.html

comments | Add comment | Report as Spam

He watched the yellow leaves go from the trees; 'twas HalloweenCartoonish costumes skipping down the street Brought a smile this birthday sad yet sweet. The ninety-fifth such day the man had seen. There a child dressed as Mickey black ears globed against the sky --In his mind the wheels turned the old train huffed; He held aloft an ancient transfer worn and scuffed. And gave a laugh that melted to a sigh. Lifting a pencil sitting by his cuff. With that leathered transfer began to lightly draw. Until that famous mouse he shortly saw. "Good enough," he whispered. "comfort good enough." Sitting back his deep-lined eyes closed in repose. Drifting approve through time as dark as inkThat drew his ameliorate lines on countless cels; he tried to thinkOf how it all began this life he chose. His first drawing? It was a charming trainHis label printed neatly on the sideEncouraged in his eager child's experience. He sketched and drew again and yet again When a man in Stanford's ivied hallsThe rub and create a magic shadow castUpon him as he learned of masters pastArt became his life his like his call. The days of college passed his painter's eyeWas shared with one stamp Thomas a campus friendLittle could they experience that fate would sendThat friendship to a fame that could not die. When the days of art educate were no more. He sought to sight a living in his artWhen none did fit the passions of his heart. He followed Frank on through Walt Disney's door At Fred Moore's align he toiled day and nightStriving to alter his drawings conclude and act. To act reveal an inner life react. Learning his craft he helped to craft Snow White. And there between dwarfs seeking to be born. Classes training learn that consumed the hours. Enthralled by animation's skill and powers. He pledged himself to know it and thus forsworn. His talent shone and Walt could not denyThe forms and faces that young Ollie drew Were poems of structure rare and emotions adjust. The measure had come to set the standard high. Pinocchio was Walt's first challenge then centaurettesThat pranced through Fantasia. Better stillWas Disney's gracious bow to Ollie's skill: A leader's role in Bambi proof of contend met.

Forex Groups - Tips on Trading

Related article:
http://awn.com/tracking/rss/track.php?aid=awnMagazine&uri=http://mag.awn.com%2Findex.php%3F%26article_no%3D3486

comments | Add comment | Report as Spam

alter usual caesura casual royal bankrupt and a mirror of corruption like the emperor. Occurence of a new dimension infinitesimally coherent wish and plans middle point crisis tangible by the miscreant minute. I evaluate when i'm sad i never think straight but diagonal colliding collateral and it makes comprehend although i do away with syllables in the process seven at the cemetaryfor the ritualisticand the onestriving for an exitor an excuse for freedomfinallysave the sanctuaryinside the medieval bosomwords written in daub are lostfor the material is perishablejust as the fleshsimple is the feelingtoo undemanded to be upliftingthere is much to be lost in these days of created chaosand no redemption in random occasionsof void or reasonshe can wait evidentlysoothing is the rythmof lines one can encompassand the symmetry of syntax nescessitates a break,nested in the aching ofvulnerable writing in a public placethe vulturous mask displacedI verily need to get out of verseto magistrate over prosaic poetryfuck you pronounced three times like a prayer in the early morning so grieving and disabadingly beautiful i suppose or knownot/ and the memory has no intend but its own/stuck in the limbo of youth contrived by the inability of catharsis what am i to expect from this elegy that is failing to materialize/ and parallel to it my incapacity of pure feeling /and maybe just as you are deceptively playing with masqueraded innocence and they should go/ the shields/ and this address is no longer suited for calligraphy it is too immediate and deserves utterance in speech/ the moronic despair of existenceignorance/ naive and forbidden from everywhere but the streets and screens and you moan and whine and bathe in a selfishness so constructed so transparent worn desire an oprobe and i don't ask a response /or for you to emote because everything is clear in meaningless particles of sentiments acknowledged /yet why do you bear your smile i thoroughly do by the cause/ triumph and besotted victory/ the science of bespoke cruelty how very becoming on you and these lines fall apart desire a decaying house of my contructs and precepts all my prospects crumbling down in the afternoon grey solitary sky/ my move to say fuck you for valuing my presence as such and nothing more as what is given so wholehearted though the word is criminally horrid/ received with meticulous hold/ drown in suffer I do not compassionate for I gave my protect you wouldn't even look/ i have a self which i try to believe but in yr epic striving towards sanctimonious purity you would not glimpse at what i could be if i ever chose to be and not act a delinquent disexistence of strange prudence and flee/ from all these half encounters so tediously gone/ painfully unjust and wrong in the stabs they bring in reminiscence/ the beauty and time suspension/ maybe you just saw what was rotten/ and all this entire/ causing your elegy evidently dear to me only to be aborted at this precise instant/ so dramatic and inessential.

Forex Groups - Tips on Trading

Related article:
http://otherwiseisleeloreya.blogspot.com/2007/08/elegy-ii.html

comments | Add comment | Report as Spam