Our House in the LA Times- go to article below

Our house in the LA times

Jeunesse Doreé

It was indeed

the time of 

cruelty and horror

Our

innocence was not so

easily lost. 

we clung on to it

hungrily

like spoiled children

extending

our days in the sun

Yes it was

stupid

and pathetic

and selfish being young

no we did

not deserve such pleasures

But by what right

could we deny the deafening

cry of your beauty

the eloquent

swell of her breast

or

the dark allure

of my hunger

Who could ignore

the call from the heart

the racing of our pulses

the giddy whirl

of friendship

a stolen kiss

in a dark

parked car

of two young boys

and

the sweet loneliness

of a talented

girl 

this is perhaps

not as dumb

as all 

that 

It was a time for firsts

where one stands on the perilous edge of

youth 

thinking forever

is a long time

It was she that gave my heart away

before I ever met you

it was I that tried to get it back

but it would never  belong

to anyone

else

ever 

again

Melanie Acevedo

this is what people mean when a space lives.

this is what people mean when they say it's so bad it's good.

 t

Art in Print

http://artinprint.org/Art_in_Print_1-1.pdf

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Focus on artisan printmaking

Old school and totally beautiful

Peacock Room

ABSTRACT: THE ART WORLD about James McNeill Whistler’s Peacock Room. In 1876-77, James McNeill Whistler altered the décor of the London dining room of his patron Frederick Leyland, a Liverpool shipowner who used the room’s shelves to display his vast collection of blue-and-white Chinese porcelains. The result was one of the most intoxicating decorative ensembles in the world: “Harmony in Blue and Gold: The Peacock Room,” which, since 1923, has been the star attraction of the Freer Gallery, a museum rich in Asian and Islamic art, in Washington, D.C. Charles Lang Freer, an American railroad-car manufacturer, bought the room, after Leyland’s death, from a London dealer, in 1904, and had it installed at his home, in Detroit. Upon Freer’s death, in 1919, his will endowed the Freer Gallery, which opened, four years later, as the first of the Smithsonian art museums. Last week, the Freer débuted a temporary reinstallation of the Peacock Room, by the curator Lee Glazer, which re-create its look in photographs from 1908— adorned not with porcelains but with two hundred and fifty-four of Freer’s own Chinese, Japanese, Korean, and Middle Eastern earthenware and stoneware ceramics, which he left the museum. The effect is wonderful. Leyland and his wife, Frances, championed Whistler in England. The gifted architect Thomas Jeckyll had lined the Peacock Room with latticed walnut shelving to accommodate Leyland’s porcelains. Where Jeckyll had envisioned a sun-dappled Chinese pavilion, Whistler contrived a chamber of the night. It realizes a synesthetic fusion of dazzling spectacle and intimate touch. Whistler was quite as modern as his friends among the French Impressionists, though he took a different tack from their common sources in the vehement realism of Courbet and the Spanish revivalism and dandyish urbanity of Manet. Whistler missed the express train to modernism when he moved from Paris to London, in the eighteen-sixties, and set up as a bad-boy darling of high society. But, for a great spell that peaked in the Peacock Room, he achieved a unity of avant-garde spirit and civil decorum. The amazing keynote of the room, given its crowding with visual incident, is simplicity.

Read more http://www.newyorker.com/arts/critics/artworld/2011/04/18/110418craw_artworld_schjeldahl#ixzz1JcM2rnlc

Tim Walker

sometimes my heart beats quicker than it should when facing such beauty.  Is the exposure so perilous 

Ferragamo residence in Florence

photo-Peter Estersohn

Ferragamo Residence - Florence, Italy

Since I'm into circles again today

what better than a circular

swimming pool

re-enforced by wedges

in the

hedges

and stripes

at the edges