Generalelective - GENERAL ELECTIVE

Cy Twombly

Leon Berkowitz - Source #7 (1976)

piet hein, cutouts of the super-ellipse, 1966

Sauquet Arquitectes - Lacy studio, Barcelona 2014. Photos © José Hevia.

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Sheet of Studies, Carlo Maratti, 17th century, Harvard Art Museums: Drawings

Harvard Art Museums/Fogg Museum, Gift of Paul J. Haldeman Size: 37.7 x 26 cm (14 13/16 x 10 ¼ in.) Medium: Brownish red and white chalk on off-white antique laid paper prepared with a red chalk wash, laid down on cream card

https://www.harvardartmuseums.org/collections/object/146426

Anastasia Savinova

Beautiful architectural collages, very neatly-organized.

When women writers of my generation speak in awed tones of Didion’s “style,” I don’t think it’s the shift dresses or the sunglasses, the cigarettes or commas or even the em dashes that we revere, even though all those things were fabulous. It was the authority. The authority of tone. There is much in Didion one might disagree with personally, politically, aesthetically. I will never love the Doors. But I remain grateful for the day I picked up “Slouching Towards Bethlehem” and realized that a woman could speak without hedging her bets, without hemming and hawing, without making nice, without poeticisms, without sounding pleasant or sweet, without deference, and even without doubt. It must be hard for a young woman today to imagine the sheer scope of things that women of my generation feared women couldn’t do—but, believe me, writing with authority was one of them. You wanted to believe it. You needed proof. And not Victorian proof. Didion—like her contemporary Toni Morrison—became Exhibit A. Uniquely, she could be kept upon your person, like a flick knife, stuffed in a back pocket, the books being so slim and portable. She gave you confidence. Shored you up.

—Zadie Smith on Joan Didion

https://www.newyorker.com/culture/postscript/joan-didion-and-the-opposite-of-magical-thinking

Angela Lindvall | ph. Enrique Badulescu

@henni.kristin https://ift.tt/2EgKv54 -> Telegram Design Bot