klimt
yesterday i couldn't stand being cooped up inside any longer and decided to go for a walk even though it was drizzling. it actually felt great once i got out there. i walked down 6th street to avenue d (i love how when you get there, the billboards turn into spanish and chinese), then past it to the f.d.r., then over the pedestrian bridge. the walk along the east river has been fenced off for over a year now, because they say that the concrete isn't stable and they need to reinforce it. today i saw a tear in the fence that had been mended with a sheet of fence, but the sheet was loose. i looked around for cops and then crawled through. you hardly get anything all to yourself in the city—it pretty much starts and stops with your shitty studio—so this was kind of a treat for me, to walk up and down the east river with nobody around and an unadulterated view of the domino sugar factory sign and the smokestacks and williamsburg bridge and the wind blowing the river southward. i saw some people pointing at me but no biggie. for a second i imagined the sidewalk crumbling underneath me and falling into the river, but i guess the stairmistress time earlier that day saved me from weighing things down too much.
today i had my little consultation and showed anil some of my grid ideas: five, six, and eighteen. five and eighteen are now on my right and left shoulders, respectively, in magic marker. for now i'm leaning towards 18 with slightly thicker lines and maybe one or two boxes shaded. i was nervous. i talked about working with architects and liking things that are beautiful and emotional but that also had some precision to them. he showed me some klimt paintings that he thought had a similar idea as what i'm going for:
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eighty-seven members of the university . . . accused klimt of presenting 'unclear ideas through unclear forms' . . . a puzzle which seemed to suggest that the mysteries of life were ultimately impenetrable and that human existence consisted of nothing more than the infinitely repeated cycle of birth, copulation and death . . . klimt's painting annoyed virtually every ideological faction in vienna: the academics found the symbolism too vague, and the catholics took exception to the nudity."posted September 03, 2002 in art, delivery