INTERVIEWER: You once said you based the Wild Things on your elderly, uncouth Jewish relatives. Have you become one yourself?
SENDAK: Apparently I have, and I’m not even a relative. It’s just being Jewish and old age. I’ve become an old person like the old Jews I knew. Sort of bitter, yet not bitter. I would say strangely that this is a good time for me. This is a good time for me to put aside all kinds of things and just to go back what it was like when I fell in love with William Blake and saw the world through his eyes for a minute and was so happy. And that world still exists in spite of us. This is the only time I have ever felt a kind of inner peace.
I mean, it’s great to have a successful book. I’m not so dumb as to not know that is a good thing. But that is not the thing, and that’s why this is a good time. Because the important things – what were considered important to me – are no longer important. They’re not shame-faced, they’re not bad. They’re just not what interests me any more.
Peter Schjeldahl in a video/slideshow on CA “Finish Fetish” minimalism: “It helps to imagine these works in Southern California light, which is soft and fierce, as opposed to New York light, which is clear and mild.”
“But of all my complaints, the most legitimate and depressing is that so many of my dearest friends are so spread out from Belgrade to Amsterdam to Paris to London to North Carolina to Toronto to Chicago to Santa Fe to San Francisco to Seattle to Fairbanks that I don’t get to see most of them once in two years. […] It’s the price many of us pay for picking our friends from among those we have most in common with professionally, rather than those who happen to live in the neighborhood…”
– From Kyle Gann’s PostClassic tribute to his friend, the recently deceased composer Art Jarvinen. This postscript on what it’s like to lose a dear but faraway friend reminded me, very much, of Ron Allen, and others.
“At what point did acquiring performance art switch from owning objects associated with the actions, such as videos and photographs, to possessing the “idea” behind the piece? Berlin-based artist Tino Sehgal has evidently turned collecting criteria on their heads. He sells his performance art pieces by means of verbal transactions in the presence of a lawyer with no written contract. Instructions on how to re-enact his works are delivered literally by word-of-mouth, with collectors under strict orders never to photograph or video his “constructed situations”. Yet they sell in editions of four to six for $85,000 to $145,000 each, according to The Art Newspaper. “
“Across Europe the age of austerity is beginning to drain the reservoir of talent. Cecilie, half-German, half-French, was in the dance chorus at one of the big Berlin opera houses. “It was not enough to live on but we all supplemented our fees by giving dance or piano lessons,” she says of 2007. “Then came the first stage of the financial meltdown and I got maybe two or three performances a month. We all took on more and more private lessons. So the rates went down — and I ended up teaching yoga.”
Now there are no more stage performances, yoga is done on the cheap and Cecilie works as an evening shelf-stacker for a supermarket.”
“…how should an artist cope with color deficiencies?
Most of my color deficient readers recommend the use of a limited palette, in particular a selection of paints that creates minimally confusing color mixtures. It’s worth considering the fact that traditional easel painters, because of their historically limited palettes, rendered colors with gamut limitations that are easily as extreme as many types of color deficiency.” (emphasis mine)
– from Bruce MacEvoy’s Handprint essay on color deficiency (colorblindness)