If you’re interested in another translation of the poem, see East Asian Student’s translation here: The Ballad of Changgan by Li Bai. Maybe, I’ll be brave enough to share it here. I remember discussing the poem in one of my high school classes (Literature or Creative Writing?) and falling so in love with the line “I desired my dust to be mingled” that I used it as the title of one of my own poems. I was drawn to the maturation processes of the couple and the complicated emotions of the poem. I read this poem for the first time when I was in high school. And since I am in a mood for poetry, I’m sharing them with 20th century American poet Ezra Pound’s (1885- 1972) translation of “Traveling to Chang-kan,” the first of 8th century Tang Dynasty poet Li Po’s (Lǐ Bái 701-762) Two Letters from Chang-kan. I love the delicate artwork of these pieces and did my best to imitate them–minus the insects. □įor today’s post, I’m sharing three postcards my friend Cy picked up in China a few years ago. Thus, the empty mailbox can serve a positive purpose. In addition to sending good mail out into the world, I will take advantage of this lull and catch up on some mailbox “show and tell.” Even though my “to be blogged” mail file is stuffed with interesting pieces waiting to be shared with you, for the last few months, I’ve focused on the “Pics” part of my blog title and neglected the “Posts”. The snail mail gods are apparently displeased, so I’ll have to do a little work to gain their favor again. In fact, my snail mail life has been so chaotic that I just read a letter that was sent to me in April. I have not been the best snail mail revolutionary lately. Not one! I was devastated! Okay, I was not really surprised at all. Box, we finally went to retrieve the mail and found not one piece of mail in the box. The Tate Modern’s 2007 retrospective of her works, which subsequently traveled to the Centre Pompidou in Paris The Guggenheim Museum in New York The Museum of Contemporary Art in Los Angeles and The Hirshhorn Museum & Sculpture Garden in Washington D.C., cemented her legacy as a foremost grande dame of late Modernism.“Katydid,” New World Press, Beijing ChinaĪfter two weeks of forgetting to check the P.O. In 2001, Bourgeois was the first artist commissioned to fill the Tate Modern’s cavernous Turbine Hall. Major breakthroughs on the international scene followed with The Museum of Modern Art in New York's 1982 retrospective of her work Bourgeois's participation in Documenta IX in 1992 and her representation of the United States at the 45th Venice Biennale in 1993. Her installation of these sculptures as clustered ‘environments’ in 19 foreshadowed the immersive encounters of installation art twenty years before the genre’s rise to prominence.īourgeois’s work was included in the seminal exhibition ‘Eccentric Abstraction,’ curated by Lucy Lippard for New York's Fischbach Gallery in 1966. The ‘Personages’ served as physical surrogates for the friends and family Bourgeois had left behind in France, while also highlighting an interest in architecture dating back to her childhood. Although her oeuvre traverses the realms of painting, drawing, printmaking, and performance, Bourgeois remains best known for her work in sculpture.īourgeois’s early works include her distinct 'Personages' from the late 1940s and early 1950s a series of free-standing sculptures which reference the human figure and various urban structures, including skyscrapers. Rather than pursuing formalist concerns for their own sake, Bourgeois endeavored to find the most appropriate means of expressing her ideas and emotions, combining a wide range of materials-variously, fabric, plaster, latex, marble and bronze-with an endless repertoire of found objects. Employing motifs, dramatic colors, dense skeins of thread, and vast variety of media, Bourgeois's distinctive symbolic code enmeshes the complexities of the human experience and individual introspection. ‘Art,’ as she once remarked in an interview, ‘is the experience, the re-experience of a trauma.’ Arising from distinct and highly individualized processes of conceptualization, Bourgeois's multiplicity of forms and materials enact a perpetual play: at once embedding and conjuring emotions, only to dispel and disperse their psychological grasp. Bourgeois’s work is inextricably entwined with her life and experiences: fathoming the depths of emotion and psychology across two- and three-dimensional planes of expression.
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