Anne Sexton

THE GOLD KEY

The speaker in this case

is a middle-aged witch, me—

tangled on my two great arms,

my face in a book

and my mouth wide,

ready to tell you a story or two.

I have come to remind you,

alI of you:

Alice, Samuel, Kurt, Eleanor,

Jane, Brian, MaryeI,

alI of you draw near.

Alice,

at fifty-six do you remember?

Do you remember when you

were read to as a child?

Samuel,

at twenty-two have you forgotten?

Forgotten the ten P.M. dreams

where the wicked king

went up in smoke?

Are you comatose?

Are you undersea7

Attention,

my dears,

let me present to you this boy.

He is sixteen and he wants some answers.

He is each of us

I mean you.

I mean me.

I t is not enough to read Hesse

and drink clam chowder

we must have the answers.

The boy has found a gold key

and he is looking for what it will open.

This boy!

Upon finding a nickel

he would look for a wallet.

This boy!

Upon finding a string

he would look for a harp.

Therefore he holds the key tightly.

Its ,secrets whimper

like a dog in heat.

He turns the key.

Presto!

It opens this book  of  odd tales

which transform the Brothers Grimm.

Transform?

As if an enlarged paper clip

could be a piece of sculpture.

(And it could. )

transformations

anne sexton

Mariner Books

                                                             
                                                                  Camila Rodrigo Graña

                                                                            Jen Davis

                                                                     Kristoffer Axen

                                                               Geoffrey H. Short

                                                                    Dan Holdsworth

                                                                    Di Liu

http://www.geoffreyshort.com/Geoff_Short/GEOFF_SHORT.html

http://www.designboom.com/weblog/cat/10/view/12471/di-liu-animal-regulation-series.html

http://www.aperture.org/regen2/artist-detail.php?id=62

http://efe24.blogspot.com/2008/12/florian-joye.html

http://jendavisphoto.com/

http://kristofferaxen.com/

http://www.danholdsworth.com/

Sobre Bali

David Lynch

Beauty and the Sublime

in

the Art of David Lynch

Just the words "dark secret" are so beautiful. 

I. Lynchs Beautiful

David Lynch has a particular fondness for the adjective beautiful. Whether in official interviewsor in private conversations, his characterization of a wide range of things with this designationis evident. As if he were essentially looking at the world with enthusiastic eyes/ the

artist describes many things as beautiful. He rarely speaks of the opposite. The words terrible and awful are not among the expressions he often makes use of. When addressed about this point he reacts amazed, mischievous, and amused. What does the artist associate with this adjective?

To approach his concept on the matter, we must take a look at the immediate contexts in which something seems beautiful to him. ln a 2007 conversation with Kristine McKenna for the exhibition of his paintings, drawings, and photographs at the Fondation Cartier in Paris Lynch was incessantly enthusiastic about his own works. He stands by them and finds them “cool” or ”beautiful” although they would hardly strike the detached observer as such.  What does “beautiful“ mean in the reception of these works? What David Lynch regards as “beautiful” would certainly not be described as such by most viewers.

The factory photographs taken in Poland and the former East Germany in 2006, while filming Inland Empire, are a good example of Lynch´s fascination for a destroyed environment that stems from the era of industrial euphoria. The abandoned/ gloomy, lost atmosphere of decline and decay is hardly reconcilable with our accepted notions of beauty.

..............................................................................

Thomas W. Gaehtgens

 David Lynch-Dark Splendor

Edited by Werner Spies

With essays by

Dietmar Dath, Stefanie Diekmann,

Thomas W. Gaehtgens, Andreas Platthaus, Peter-Klaus Scuster, Werner Spies

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