Stills from Untitled, (Grass Breathing), 1974, Colour Silent Film

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Stills from Untitled, (Grass Breathing), 1974, Colour Silent Film

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Anaïs Nin modeling for a painter as Cleopatra, 1921
Eva Hesse “Ennead” 1966 x Jil Sander S/S 09

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Garlic scape symbology
Lynda Benglis
Victor, 1974
Aluminum screen, cotton bunting, plaster, sprayed zinc, steel, tin
The lotus communicates in its wholeness, in its organic indissociability from the turbid ooze of the reality in which it is rooted, and as an expression of all-that-is, only when we find ourselves quiet and still among beings (inter esse), with an “inter/est” which is no idle curiosity, nor even the insistent passion to “know,” but an openness, a wonder, which as Burke discerns, “is the originary question that the look addresses to the world, but, unlike the questions of cognition, does so without expectation or demand . . . Indeed, “[t]he philosopher’s manner of question is . . . not that of cognition”. We cannot wrest the secret, extract the secret. Yet . . . this openness, this wonder, the authentic vitality of the question, “provides a reflective and intuitive access to Being which philosophers of intuition and reflection quickly sought to close up by trying to prove that the answer was already contained in the question . . . Both intuition and reflection, as commonly understood, assume a domain to be dis/covered, dis/closed, un/veiled, in effect, denuded. But the repudiation of disclosure, of a presence prior to presentation (a being, in Heidegger’s idiom, prior to Being), prior, in fact, to the demand for disclosure . . . is not the occasion for despair.
Steven W. Laycock, Nothingness and Emptiness: A Buddhist Engagement with the Ontology of Jean-Paul Sartre

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Me as Elizabeth Taylor in National Velvet Before Horse Race, 1988,
ed ruscha
lawrence lek

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