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IMG_0837 by Purgatory Pie Press @greenlightbklyn

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Love in the Age of Photomechanical Reproduction

She is sitting in a white canvas chair on the porch reading a book about native grasses and scanning a place where she has just planted some.

If you think of them, the grasses, as people, they are slender, blond, and massed like marathon runners; or, as animals, they are a herd of Thomson’s gazelles.

Her shoulders are slightly hunched over the book whether from concentration on the deer-resistant qualities of certain grasses or from the sling of the chair or the curve of the earth.

Were she using binoculars or a microscope, she might be mistaken for Erwin Rommel, Marie Curie, or a scout; without a scope, she appears to be daring the grasses to rise to full height by the force of her eyesight alone, today.

If our children were grasses, they would be tall enough to screen the road, which is why she has planted them, the grasses, in the first place: to screen the road. I, on the other hand, dreamy, stand and look

at her looking at grasses through a screen door that divides her from me and her person into dots as a continuous-tone photograph must be turned into dots

before it can be reproduced in print. Our eyes turn the dots back into what we see. It is called the halftone process.

Love works that way: it is not a continuous-tone anything, but an imperfect impossible facsimile of what we think it should be.

bambauno66-deactivated20160425

whiteysplace-deactivated2016080

Been there, done that. :-)

@bkgnd

Jamaican Jerk

Indeed.

1951 De Soto dealer brochure by Chris Holmes

erica-scourti

NAUMAN, Bruce. CLEA RSKY. [1968].

NAUMAN, Bruce. LAAIR. New York: Multiples Inc., 1970.

CLEAR SKY was a way to have a book that only had colored pages–pictures of the sky. I like the idea that you are looking into an image of the sky, but it is just a page. LA AIR was the same idea, but it is also a response to CLEAR SKY using polluted colors instead.

—Bruce Nauman