|March 15, 2013|
by Legacy Russell
1. The Mom-to-Be
“The mom-to-be” played by Adrea Teasdale.
2. The Party Girl
“The party girl” played by Rance Palmer.
3. The Bride
“The bride” played by Maria Dizzia
4. The Mourner
“The mourner” played by Elizabeth Koke
Commissioned for the Museum of Arts and Design, New York
About the Artist:
Legacy Russell is a writer, artist and curator. She has worked at and produced programs for The Bruce High Quality Foundation, Creative Time, the Brooklyn Museum, the Whitney Museum of American Art, and the Metropolitan Museum of Art, NY. Legacy is one-third of the curatorial production team Limited Time Only. In September 2011, she was appointed as Art Editor of BOMB Magazine’s renowned online journal, BOMBlog, where she has since stayed on as a Contributing Editor. Outside of BOMB, her work can be found in a variety of publications:DIS, Canteen, The Well & Often Reader, Exit Strata, The Society Pages, Guernica, Berfrois and beyond. A candidate for an MRes of Visual Culture at Goldsmiths University, her creative and academic work explores mourning, remembrance, iconography, and idolatry within the public realm.
Inherent Vice’s Two Directions
The jokes certainly strike one as sophomoric and the latter one as clichéd, further below Pynchon’s intelligence than one would like to think he would stoop, at least in print. Discounting them and moving on, or throwing the book across the room as Parker half implies we should do, however, would be to lose sight of “that high magic to low puns”.
Auden, Larkin and Love
I was prompted to revisit these ancient questions anew by a long footnote about a single line in the new Complete Poems edition of Philip Larkin’s poetry. The footnote refers to “An Arundel Tomb” contains a provocative remark about that the poem’s celebrated, controversial, closing line, the one about the true nature of immortality: “What will survive of us is love.”
Plato, Our Comrade?
Not surprisingly, there have already been critics of Badiou’s translation. The first is that his translation breaks the formal rules of translation to such a degree that the original meaning of the text has lost its significance. But this critique is inadequate at face value because Badiou’s hyper-translation is forthright in its intention of taking Plato’s concepts and modifying them into his own lexicon.