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8241. alistairconnor - 6/26/2006 10:35:56 AM I understand about DLL Hell, Adam...
And the show sounds great. It's been a long time since I've seen a decent musical. 8242. Adam Selene - 6/26/2006 1:56:41 PM lol - we do crosswords together. She's the technical expert, I'm a domain expert. She knows all those little special words that crosswordists are so fond of, while I know a lot of trivia and junk. Makes for a good team. Not that she needs me... she has been doing crosswords in pen ever since I met her. 8243. judithathome - 6/26/2006 10:00:29 PM True crosswordists do that...I have a special pen, even. 8244. wonkers2 - 6/26/2006 11:36:30 PM Mourning Doves 8245. judithathome - 6/26/2006 11:57:04 PM Tonight on PBS, we have a program called Hpw Art Changed The World. Check it out! 8246. judithathome - 6/26/2006 11:58:14 PM Sheesh...I screwed it up on two threads!
HOW 8247. Adam Selene - 6/27/2006 1:37:57 AM What's this "we" have a program? Are you invovled in it Judith? (Looks very interesting. I'm gonna check it out tonight. Thanks for the notice!) 8248. arkymalarky - 6/27/2006 3:13:12 AM I'd do mine in pen before I went to sleep, and when I got sleepy I'd make pen splotches on the sheets, which really irritated Bob. But we bought really nice sheets a few weeks ago (a first for us), so no more pen-crosswords. I read now anyway, because it's the only remote possibility I have of getting everything I need to read read, if that makes sense. Underlining and highlighting can be a problem, but I have it under control--so far. 8249. arkymalarky - 6/27/2006 3:15:57 AM Yes, fill us in Judith! I haven't gotten to watch tv in over a week, except news at my parents' house where I'm eating lunch and supper--no time to go home, too expensive to eat out, and too fattening to eat what the seminar provides--except steak Thursday and Cornish hens Friday. 8250. judithathome - 6/27/2006 3:46:56 AM I just meant anyone reading has a chance to watch it...those of us on the Mote...we.
I'm going to tape it...it runs 5 weeks so I'm going to tape it every week. 8251. alistairconnor - 6/27/2006 11:23:52 AM A little political spat here!
Subtext : Judith's "we" referred (if only subliminally) to the fact that PBS belongs to everyone.
This offends Adam the alleged libertarian... 8252. Ulgine Barrows - 6/27/2006 11:32:35 AM hey there, alistairconnor, I saw you up on the board and it brightened my day. 8253. alistairconnor - 6/27/2006 11:45:25 AM Happy to be of service
Or to service you, but that's another thread 8254. Adam Selene - 6/27/2006 7:34:26 PM Oh, that "we." I just wondered if Judith had something to do with the show.
And I have donated to PBS, believe it or not - libertarians also believe in paying for quality tv... sheesh. Although I do get tired of hearing: "Only PBS brings you quality shows like this without commercials..." When they are showing music concerts that they NEVER show except during pledge week, with commercials! 8255. wonkers2 - 7/3/2006 3:39:26 AM Carl Milles' Orpheus Fountain 8256. wonkers2 - 7/3/2006 3:38:00 PM The Gypsy Strings at the Rivera Court 8257. alistairconnor - 7/3/2006 4:59:44 PM erm, those "hubpages" links don't work for me Wonk... gives me a login page. 8258. wonkers2 - 7/3/2006 5:40:41 PM Sorry, I guess it's still password protected because it's still in beta testing mode. The site is being developed by my son and two of his buddies in Berkeley, CA. Thanks for letting me know the link didn't work. The software works quite well for publishing web pages with or without photos. Also, it works for video. 8259. TheWizardOfWhimsy - 7/18/2006 7:22:51 PM Sorry for the indulgence, but I wanted to share this with some of the people here who are rooting for this guy's efforts . . .
Review by Patricia Rosoff for September Issue of Art New England Magazine, Boston
Exhibition: Italy, Ephemeral and Eternal, at the Center for Contemporary Printmaking, Matthews Park, 229 West Avenue, Norwalk, Connecticut, April 2-May 20, 2006.
A salient reality of Bob Dente’s prints—filtered through the dreamlike haze of their incorporeal yearning—is the fingerprint of pigment, which constitutes both the temporal and the ephemeral in this work. A sensitive photograph might render as well the ageless vistas set before us and their sleepy dance of tone, but it is the powdery reality of earthen color that lends these twilights their mood and these dawns their misty, blushing warmth. Always, beyond the dreamlike quality of these images, so evocatively pensive, there is always the utter factuality of printmaking as a physical act.
Much as these views of the ancient Italian countryside may echo in the footsteps of such earthy nineteenth-century poetic romantics as the Frenchman Jean-Baptiste-Camille Corot (1796-1875) and the American George Inness (1825-1894), they proclaim their modernity in their emphasis on image-making—and image-seeing—as a physical act. Consequently, the “narrative” in these works is as thoroughly abstract as their agenda is ethereal.
These are meditations, all right, but they are also stories of pigment smeared and pigment stamped. Of pigment brushed wetly across a printing plate that must suffice for a sky, of landscape that overlays it with a sticky thumbprint of earthen architecture. Devoid of human figures, though pregnant with the fact of timeless human occupation, these are pictures animated, literally by the touch of the artist—who is in effect, and for our benefit, their sole occupant.
What is most interesting and poetic, ultimately, is the way the pictures play with the construction of pictorial space. A landscape, by all conventional rights, should read in perspective depth; instead, Dente’s somehow read vertically—rise, rather than recede, more like a Rothko. Their interplay of push-and-pull constitutes a compressed dialogue of surface color and touch.
In works like “Tuscan Farm, Longs Shadows with Early Morning Mist,” the distant, misty view of serpentine woods snaking through ochred hills rises like a dream above the foreground in which a glinting cubicle of a red-roofed farmhouse paired against a dark curtain of woods with the solitary sentinel of a cyprus tree. A dream within a dream, worthy of a haiku, and indelibly grounded in a dialogue between the art of today and that of the nineteenth century.
8260. wabbit - 7/18/2006 8:41:32 PM WoW, great review, and fully deserved! I'm going to pick up the mag next time I'm in Borders.
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