SLOWLY EASING.
FLIP, FLIP:
STORY:
mothers hunts for xmas music. dad runs through jazz. i purchased a hat box.
========================================
STABLIZING THE CAMERA:
(l to r: mom)
SISTER WENDY HIDEAWAYS:
(l to r: dad and mom)
STORY:
went up to the NORTON SIMON. the collection was really respectable and the presentation of everything was very nice. i believe my favorites were degas' ballerinas.
========================================
FAMILY FOREVER:
(l to r: dad, mom, [infinity symbol], and me)
========================================
ONE LAST TIME:
(l to r: mom, mike, brooke, mary ellen, kathy, and dad)
STORY:
had one last moss-esque dinner. the company brought joy and smiles to my face. thanks to todd and brooke for dinner as well!
FLIP, FLIP:
STORY:
mothers hunts for xmas music. dad runs through jazz. i purchased a hat box.
========================================
STABLIZING THE CAMERA:
(l to r: mom)
SISTER WENDY HIDEAWAYS:
(l to r: dad and mom)
STORY:
went up to the NORTON SIMON. the collection was really respectable and the presentation of everything was very nice. i believe my favorites were degas' ballerinas.
========================================
FAMILY FOREVER:
(l to r: dad, mom, [infinity symbol], and me)
========================================
ONE LAST TIME:
(l to r: mom, mike, brooke, mary ellen, kathy, and dad)
STORY:
had one last moss-esque dinner. the company brought joy and smiles to my face. thanks to todd and brooke for dinner as well!
posted by c.w. moss at 11:18 PM
1 Comments:
Seriously, Degas. How does he do it? Of course, he has a brilliant style, and a genius ability with his medium -- but...
Maybe it is because he captures them when they are not performing -- he wants to see it all. In the ballerinas I see the temptation to desire more than just another's performance; the desire to know more about their personal life. I don't know if Degas is aware of this in his work or not. However, I'm certain that there is some irony in the work of an artist capturing the work of another artist/dancer -- and especially "performing" the behind-the-scenes moments of those girls.
It is a wonder that reality programming, watched in the privacy of our homes, makes millions while L.A.'s Broadway endlessly crumbles? That cable T.V. endlessly evolves, while the buildings that served the burgeoning performing arts movement of the early twentieth century are violated by barrel-bottom consumer greed? We want to see, unseen. That is what Degas allows us to do.
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