The U.E.S. Journal

Monthly Archives: January 2008

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The Windy Block ak.a. Anti-Skateboarding Block at it’s Worst Today

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Photographic Survey of U.E.S. Garbage

New and Old Toys

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Introducing P.U.E.S.

The U.E.S. Journal’s Archive of
Pictures (of or relating to the) Upper East Side.

P.U.E.S. is located in the sidebar menu. I will add as many categories as appropriate and welcome submissions.  I recently added an exciting new category: Ads (Vintage Advertisements)

Here is one I acquired last week:

The Pierre Hotel – 1939
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Notes on “Real Time” or Some Notes on Hillary Rodham

by Jesse Max Creed

At the MoMa, whose location below Central Park should provoke no dispute over territorial possession as is being discussed about the east-west divide for the Met, I discovered a bawdy, yet compelling piece on women in history entitled Notes in Time (1979) by the artist-against-injustice-turned-feminist Nancy Spero.

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The piece finds itself in the middle of a dazzling exhibition most accurately described by its titled, Multiplex: Directions in Art 1970 to Now, open from now until July, 2008. The central message of the exhibition flows from the post-1945 artistic obsession with paradox, long brewing since impressionism’s ability to, at once, represent, yet distort reality. We have long abandoned the Platonic obsession with perfect imitation and harmony and embraced the beauty of asymmetries and paradoxes. In the section of works called Abstractions, the museum describes the paintings as visually communicating a message without conventional representation. To put it differently, a painting communicates to its viewer more a mood than a picture; in short, it is, paradoxically, the anti-image image. The paradoxes proliferate as the works are at once centralizing and decentralizing, structuring and de-structuring, layering and delaying, constituting and de-constituting, constructing and destructing, ad infinitum, reductio ad absurdum etc. I have always believed that these antitheses Read more →

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