A day late to revisit one of my pandemic blog-posts. In honour of yesterday's birthday of Joseph Merrick, and my 2020 revisit to David Lynch's The Elephant Man.
Sad to hear about Lynch's emphysema too.
https://t.co/F2Psu1EFCd
Not content with taking over even more of Finsbury Park, this year @Krankbrother's massive fence runs right along the New River, evicting the Mallards from their home. More evidence, if it were needed, that @haringeycouncil is not fit to run our park @FinsParkFriends
Earlier Caravaggios, seen in isolation, are spectacular. Yet, Judith Beheading Holofernes, seems almost cartoon like when compared to his later paintings such as The Martyrdom. And any chance, to show Artemisia Gentileschi's superior depiction of that story.
Caravaggio's final painting, on display at the National Gallery at the moment. And some thoughts on Netflix's Ripley. And how Caravaggio painted mouths in the last few months of his life.
https://t.co/J5xvvODv69
It's been pointed out to me, that there's another terrifyingly empty, black mouth in the very same room as 'The Martyrdom'. Also, included alongside that painting, is 'Salome With the Head of John the Baptist'.
An education secretary telling school staff, support staff and kids well done on their work on their SATS, and then telling them they're worth so much more than their SATs. Wonderful.
‘Walter Benjamin once remarked that the memory of oppressed ancestors is more catalytic of rebellion than any dream of liberated descendants; Käthe Kollwitz seems to agree.’
Hal Foster at MoMA: https://t.co/YlTvsyP0V5