BOMB 30 Winter 1990
Her style is a hybrid of classic French chic and witty flamboyance. She’s a woman’s woman—passionate and self-invented.
“People’s bodies haven’t changed but women’s clothes especially can completely distort.” Sylvia Heisel
“I think what a masochist wants is deep intimacy and closeness, and they don’t know how to experience it except as an act of violation. They don’t have a concept of two people just, you know, touching together.”
“My biggest fear when I’m making a film is whether or not that contrivance calls attention to itself and distances you from the suspension of disbelief.”
Anish Kapoor and Ameena Meer discuss sex and death, subjectivity, and colors. Kapoor’s new work is on view now at Gladstone Gallery.
“Sentimentality is so powerful and dangerous because it touches peoples emotions without any reason, without any consciousness.”
“You have to get under the skin of a character so much more profoundly, to write about it as opposed to filming it.”
“Not any one play is precious. You do the best you can in each situation as it comes to you. No writer is made of one play. If they are, they’re not very good writers.”
“That’s why coming back to dreams, I know what people mean when they say that but dreams are not abstract. In my dreams I use images from the world to make stories. I don’t think of my work in terms of storytelling. Perhaps as instantaneous potential for a story, you could look at one of my paints and say, something’s happening. But not in the sense of a plot line.”
“I may write plays now so that they’re really open on some level, but I’d like to see if there’s a more visual level, rather than just the inherent truth of the language that I’ve always gone for. I want to find a sort of visual shorthand. I’m just beginning to play with that now.”
“I work out of good faith. I don’t think one operates out of a sense of doom. I think one operates out of a sense of hope. Even if that hope becomes frustrated. It’s the only way to do anything.”
“Making an art work involves the transformation of matter, paper and materials into a process of animation or psychic elevation of material stuff.”
There was a brief moment once, as we reached the apex of the Manhattan Bridge, when the setting sun pierced the thin opening between rain clouds and horizon, casting the Westward side of Wall Street into a sudden blood orange glow, while the Eastern edges were all still and grey and pounded by black rain.
1. “As I am not the first to observe,”
I. The One You Weren’t Waiting For
Hi Gilby. I have seen the face of God.
After walking through a dark place that reflected neither sight nor sound I turned onto a country road and felt the soft reassurance of ice patches half melted and giving way underneath the weight of each step I took.
Your thumb hooked me going down Robertson.
Snow threatens. For weeks now.
The sisters had long ago been given that inefficacious space offered to the limited and circumscribed, who roam there freely in a twilight of swirling perfumed skirts, gazing at patterns of vines and gourds embroidered on bright specious heavens, naming constellations, sighing at the vague, whistling line of a meteor, really all the while tracing stitches on the backside of old brocade.
Being caught by Tina Barney’s eye is to be familiar, to be loved, to be embraced and to be exposed; torn asunder. What is immutable speaks. It is impossible to be loved without being seen. Which is why most people step back when looking at her photographs.