“This is an international collection of ticket stubs covering the past two decades. These tickets come from every imaginable source: tickets from airplanes, trains, ferries buses, the metro, cloakrooms, and parking lots, bank and taxi receipts, inspection labels, admission tickets for museums, theatres, cinemas, circuses, operas, zoos, concerts, ballets. Organized non-chronologically but by color, the collection reprints the tickets at actual-size, one-to-one. Backe guides us through the variety of typefaces, languages, formats, styles, backgrounds, brand identities, illustrations, and other graphic elements of this sweeping collection. Fascinatingly small, the ticket has a unique and intriguing format that demands efficiency and utility, making the modest ticket a product of high design and ingenuity.”
Quote: Anne Bronaugh
Link: . New England Journal of Aesthetic Research
“One of the striking things of the Joseph Cornell retrospective at Salem’s Peabody Essex Museum is the sexy collages and boxes he began making in the late 1950s with photos of naked ladies clipped from National Geographic, Playboy and art photography journals…” -n.e.j.a.r.
Quote: Lucia Clark Markham
“A self-guiding nature trail for the blind — both seeing and non-seeing — teaches us to comprehend the natural world through the purest form of communication — touch, smell, hearing — without first filtering it through sight.
The Aspen Braille Trail was built high up in the Independence Pass wilderness, at 10,400 feet, by a small band of Aspenites and White River Forest Service personnel. Robert B. Lewis, scientist, idealist and prime instigator of the trail, hopes that it will serve as an experimental trail that other communities can emulate — maybe some day there’ll be “a network of such trails across the country in woodlands, along streams, in the mountains and even the deserts!”
We are informed at the outset that no poisonous plants, insects or reptiles inhabit this tract of land, which is to say that there are only good vibrations. Touch, taste and smell! Our sight has blinded us to many of the marvels of the natural world, since it has anesthetized our other senses. Oddly, the wonders of the natural world are even more wondrous when experienced without sight.
The 23 trail markers were written by Dr. Alfred Etter, naturalist and conservationist, and our picture captions are excerpted from them.”
Quote: Ben Thompson
Link: The Gift by Lewis Hyde.
In The Gift: Imagination and the Erotic Life of Property, Lewis Hyde uses anthropology, economics, psychology, art and fairy tales to examine the role gifts have played and continue to play in our emotional and spiritual life. By gifts, Hyde means both material objects and immaterial talents and inspirations, such as ‘a gift for music’ or ‘a gift for mathematics.’ Or, as Hyde himself so lyrically observes, “I have hoped . . . to speak of the inner gift that we accept as the object of our labor, and the outer gift that has become a vehicle of culture. I am not concerned with gifts given in spite or fear, nor those gifts we accept out of servility or obligation; my concern is the gift we long for, the gift that, when it comes, speaks commandingly to the soul and irresistibly moves us.”
Above all, Hyde is interested in examining the effect our current immersion in the market economy and the myth of the free market has both on our view of gifts and on our ability to give and receive them. The market economy is deliberately impersonal, but the whole purpose of the ‘gift economy’ is to establish and strengthen the relationships between us, to connect us one to the other. “It is this element of relationship which leads [Hyde] to speak of gift exchange as ‘erotic’ commerce, opposing eros (the principle of attraction, union, involvement which binds together) to logos (reason and logic in general, the principle of differentiation in particular). A market economy is an emanation of logos.”
In a market economy, one can hoard one’s goods without losing wealth. Indeed, wealth is increased by hoarding— although we generally call it ‘saving’. In contrast, in a gift economy, wealth is decreased by hoarding, for it is the circulation of the gift(s) within the community that leads to increase— increase in connections, increase in relationship strength. Through this book, Hyde helps us focus on the importance of gifts, their flow and movement and the impact that the modern market place has had on the circulation of gifts.
In the first half of the book, Hyde examines the structure of traditional gift economies. For non-Western cultures he relies on anthropological studies; for Western culture he looks at our fairy tales and myths. In the second half of the book, Hyde looks at the lives and art of Walt Whitman and Ezra Pound, two American poets whose reaction to their gifts and the effects of the market economy on those gifts were very different. Whitman focused his poetic gift on giving expression to the inarticulate, the erotic, the fecundity of nature. Whitman did not hold to material ambitions; he easily distinguished between earning a living and the labor of art — “The work of my life is making poems,” he declared when Leaves of Grass first appeared. Whitman’s riches were founded in this refusal to take seriously things outside his art.
In contrast, Pound focused his poetic gift on bringing order to the forces of fertility and the erotic through sheer strength of will. He was incensed by the barrenness of his age, by its lack of generosity towards art and artists. (Pound himself was well known for his sponsorship of other artists, most notably T.S. Eliot and James Joyce.) Pound came to obsess on economics and the unjust distribution of wealth. His obsession was the death of his art.
Hyde is deeply interested in the transformative gift: the gift that changes us profoundly, often received in the form of psychological healing or spiritual teachings. An important aspect of a transformative gift is that the transformation is not instantaneous; it requires the recipient to undertake some extensive and often difficult inner work in order to effect the transformation completely. What motivates us to undertake this labor? In general, it is a feeling of love and gratitude toward our teacher or therapist.
Link: Etsy :: Lush Bella.
“All prints are archival quality and original photographs printed on fiber based matte finish paper. These arrangements are items from my collection of things I’ve squirreled away over the years. I started doing this because I have so many random and hard to categorize things, which I’ve gathered over the years…and even use in some of my jewelry, while the rest either sits in a box where I can’t see it or is displayed on a shelf.
So one day…not very long ago, I began pulling a bunch of trinkets together and arranged them on our too tiny coffee table, and then left them there for days because I didn’t want to put them away, but a little problem I have is running out of space and then piling and piling, to the point where I can’t find anything, and then all I do is spend time looking for this or that, so I decided to photograph them, so that I wouldn’t forget what they looked like together.
The process has become a way for me to remember what I have and to reminisce about what I was doing…where I was…and how I felt at the time I made their discovery.
Accompanying each print will be a hand-typed (on my husband’s old Smith Corona) list of the things I used to compose each arrangement.” -Lush Bella