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Snapshots
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CLAUDETTE COLBERT BY DOROTHY ARZNER
SUR WILLIAM KLEIN seeing people you don't see anywhere else. Under a policeman in a parade roloflex woman in the crowd like a soviet realist . . . Like a kid riding on a bike I am a fashion photographer, anti-chic and absurdist my . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Barry Alpert / Silver Spring, MD USA / 7-27, 7-28, 7-29, & 7-30 (1:31 AM) MARY ELLEN MARK Make photographs that are more intimate running down with their umbrellas young and naive . . . Exists in so many cultures: look for in animals like humans they tried to be enough. Now what's happened with magazines: an image which they have to control. Really. Allow you to see a world: . . . . . . . . . . . . . . . . . . . Barry Alpert / Silver Spring, MD USA / 9:58 AM NICK RAY'S "MACAO" [uncredited] Now we're even I hear. Once is. Too often charm never misses. Kill someone! You'd probably call it "small change". Ride lieutenant on a triple six around the harbor in a sanpan. You too, shot. It turned out to be me. Mind, a warden dolled up in a negligee carried me up here, as we walk out a few details. Barry Alpert / Silver Spring, MD USA / (12:56 AM) UNDERWATER PHOTOGRAPHY Paper brushes leg. Hand finds dollar drawn to whirlpool's source. Barry Alpert / "freely written" / Silver Spring MD USA / 8-27 (11:47 PM) SNAPSHOT "Egosearch" has now achieved immortality in a dictionary. Barry Alpert (found by Anny Ballardini) Barry Alpert / Silver Spring, MD USA / 9-3 (2:42 PM) PROMENADE BALTIMORE (with Helen & Newton Harrison) although the situation doesn't allow for its text, a determined concentration activates its conceptual range. "Was dat?" "Planning the interstices." But then my altered foot demanded, "Attention!" Barry Alpert / Silver Spring, MD USA / (7:21 PM) GAMING PRESENCE (via Douglas Dunn) Scouting trees here, not books. They move in what percept audible-- synthetic<>natural range. Add live voice, not yet verbal. Though aesthetics as lecture-demonstration preceded, the precedent of the critic's precedent reference in the case of this bookish dancer, that is, translated: "Soya bean, speak!" Barry Alpert / Silver Spring MD USA / 10-1 (1:03 AM) CAN I WRITE OFF SCOTT BURTON? Reappearing between arch & dec. Rediscovering artifactual categories. Rethinking performance. Fewer stages. TABLEAUX VIVANTS (via Scott Burton) Parallel & independent activity displaced totally upon instructed performers. Real furniture meant to be used to get more suppleness of mind in Omaha. Barry Alpert / Silver Spring, MD USA / (9:49 PM) BLOOD OF A POET [Jean Cocteau's] Bouche de la statue, lessons de vol. One runs the risk of becoming one himself. Dargelos was the cock of the walk. Fist-blow was a snowball, ainsi, at the heart, profanation de la host, of the nocturnal figure. End elegance: tedium of immortality. Barry Alpert / Silver Spring, MD USA / 10-15 (12:08 PM) FRANK GEHRY('s) WALT from the inside out remembers Disney coming home and having the studioheads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (. . . . . . . . . . . . . . . . . . . . . . . . .) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Barry Alpert / Silver Spring MD USA / 10-19, 10-22 (12:58 AM) KREBS' SUNBEAMS, kind the generated has, that century- related computer maybe, except form exhibit to try to, before studio, show first. Did. '68 in Art Modern show The. Shows key undermining. Not was It! Are they ineffective? How? Being was It, way effective! More and better. Artists Washington Memorial Jefferson shape round. Barry Alpert Silver Spring, MD USA /(9:27 AM) CHRIS. MARKER CATS He plays piano, listens to piano, sees himself shot ('digital video'). Still shots. Stretches to circuitry. Barry Alpert / Silver Spring, MD USA / 11-8, 11/12 (5:42 PM) First draft written during a screening of Marker's BESTIARE SUNDAY MORNING ROSE (“I'd like to keep going . . . Right there . . . all the colors in the universe of paint, so I never have to roll up canvasses. Eye, then if we go across the room, it's a painting. Barry Alpert / Silver Spring, MD USA / 11-16, 11-19 (9:17 AM) SANDLER, IRVING Side [synchronously, Grace Hartigan b-side] part to part to whose long racing line . . . Mind to speak directly and objectively. So-called primitive delineated shapes, solitary figure. In the continuous surfaces frame's edge intolerable. Have a mythic or totemic picture, horizontals, legend & myth, making it impossible to continue that boundless . . . Barry Alpert / Silver Spring, MD USA / 11-26 (12:09 AM) WYLER: ROMAN HOLIDAY You could come listen: everything is so wholesome-- relations, roses, or not. I don't want much. No thank you. And buried needs? Happy? Never carry money. One thirty. I must get dressed and go live in a place like this. I must go do some of the things I always wanted to do. You do it. Barry Alpert / Silver Spring MD USA / 11-29, 12-1, 12-3 (11:54 PM) A good-hearted American paparazzi in Rome lets Audrey Hepburn (in her first starring role) escape with her reputation unscathed. Subtle filmic treatment of paparazzi shoots & stills. Seven years later, Fellini's attitude toward Roman paparazzi in La Dolce Vita is much different. Every word in my text exited the mouth of Audrey Hepburn, perhaps first written by the scenarist Dalton Trumbo. BROWNIE SPEAKS De-dah cookin' daahound. Lush, and yet, like Rollins, chastened, melancholy. Be-bop prosody implies an improvised melody-- harmonic and simultaneous. Barry Alpert / Silver Spring, MD USA / 12-10 LONG TERM PROJECTS [of Bruce Nauman] Space is felt with your ears. To force you to an awareness of your body. A very strict kind of environment. Being an amateur and being able to do anything. Barry Alpert / Silver Spring, MD USA / 7-7-74, 7-3-75, 12-17-03 (8:52 AM) WARM UP DONALD BURGY [via Robert Horvitz] When all the maps of all body levels are in order, you have a set of instructions to be carried out. The merging of site and audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . unfathomable or, rather, non-locatable. A model through which man maps himself into the universe and the universe into himself. One looks through rather than at. Barry Alpert / Silver Spring, MD USA / 9-24-74, 6-29-75, 12-24-03 (9:37 AM) Quarried from Robert Horvitz's article on Donald Burgy in Artforum MANNY FARBER AT OK HARRIS, CLOCKWISE Bamboo Curtain Steel Helmet . . . . . . . . . . . . Shock Corridor Pickup On South Street Park Row China Gate The Naked Kiss Barry Alpert / Silver Spring, MD USA / 4-14-73, 5-25-76, 12-31-03 (1:49 AM) A SCENARIO FOR ROBERT RAUCHENBERG Tug Of War (Stretched Suspenders) Beach Scene (With Inner Tube) Sandbagged Mosquito Netting Leave A Thread Summation Old Fashioned Bath Bell Tower (Snake Charmer) Bricked In (The River) Barry Alpert 4-14-73, 1-10-75, 6-30-75, 5-25-76, 1-7-04 THE THREE R'S [via Teddy Roosevelt, Joshua Reynolds, & Robert Rauschenberg] You never know a man unless you've camped with him while collecting material for the exercise of genius. Invention, strictly speaking, is little more than a new combination of those previously deposited images. Barry Alpert / Silver Spring, MD USA / 1-7-04 (6:39 AM) TOTTEL'S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . wrack my available texts translating subaqueous qualities. Fracas: the miserable idea that comes and remains while longing. A dismissal of traffic as uneventful, though "punk permitted" accidentally what grafts onto the edge. Fractions of ego are already too much; we don't add much. The idea should not be permitted more solidity than that . . . Continuance makes its own future. Please don't think of anything as regressive. Barry Alpert / Silver Spring, MD USA / 5-?-77, 1-14-03 (8:32 AM) FOUR ORGANS via Steve Reich punctuate by energy discharge the piece of silence and the programmatic. Barry Alpert / Silver Spring, MD USA / 9-?-77, 1-21-04 (11:58AM) PROOFING GRID re Terry RileyA fresh experience of the garbage cans outside you, but the virtue of the recorded performance is that it is subject. Barry Alpert / Silver Spring, MD USA / 9-?-77, 1-25-04, 1-28-04 (9:19 AM) WE WILL BECOME MORE ATTACHED via La Monte Youngto sound. Precisely the right sounds reinforcing the integral properties resonating through structure. "If people aren't carried away to Heaven, I'm failing." Barry Alpert / Silver Spring, MD US /(8:29 AM) RESNAIS' PROVIDENCE Running away from an army patrol en bete. Seem vulgar and must not. Not overawed by the universe. A sweat of guilt - it has its poetic side; clomping there amongst springing Claude on them. Point about him. The attraction randy when he had a hangover. One thinks violent. It isn't the point. Dress not the humble exterior evidence to the contrary. Needn't tell you that neither. Compensatory bibles excessive, don't you think? Barry Alpert / Silver Spring, MD US / 2-6, 2-9, 2-11-04 (6:12 AM) SERENE INTENSITY via Ernie GehrFilm, seeing, and consciousness converge when film internalizes its reactions. Deny it representation and depend on the openness of the shutter the sensitivity of the emulsion the reflectiveness of the objects to yield up an intensely spiritualized nervous system. Barry Alpert / Silver Spring, MD US / 2-18-04 (11:34 PM) RICHARD MISRACH Right before I came over here a kind of epiphany. Relatively few museum exhibitions described as the archive of American landscape representation, medium "A" as well, installation art. So did museum curators' remarkable relationship-- all sorts of other sources. Cancer Alley. He was working in black & white; Barry Alpert / Silver Spring, MD US / 2-25-04 (9:53 AM) In fact, the photographer/subject of my text refused to allow me to "take" his literal image in the form of a snapshot after his lecture at the National Gallery of Art in Washington DC. RICHARD MISRACH Really important and again when you see historical moment: the period of manifest . . . Back so you can see how the comparisons work, each of the Cantos, for purposes here terrain: the most like Watkins' work, different strategies, hundred between 1983 & 1985. My work--how to reconcile the beauty . . . History paintings. Transcends resonance in a way it otherwise might not near military bases . . . Extraordinary delight, & feel that water project the equivalent impose[hose]d: Barry Alpert / Silver Spring, MD US / 3-3-04 (10:43 AM) I may have finished a series of 4 snapshots out of this photographer's words. Today's text is the third with the same title I've posted to the Snapshot Project. Next Wednesday I hope to present what appears to be the long-delayed conclusion of this serial poem. RICHARD MISRACH ruptures that and pushes it, divine comedy, uncommon in photography. "Fight the good fight." Anyway for me the desert is remarkably powerful and beautiful runner I found that remarkable. Worried, not so much about photographers, although more about espionage or sabotage digital video camera and film just as documents. I'd like to film the factories spewing terrible ear-piercing sound that goes all the time. Companies will be there until . . . Impractical vision I'm talking published in a book. After that I always felt very uncomfortable. Barry Alpert / Silver Spring, MD US / 3-10-04 (10:39 PM) "THE MISUSE OF HYPNOSIS" via Milton EricksonExcept under precise conditions of that waking performance, extreme difficulty finding (overlooked repeatedly) mislaid glasses / mislaid letter. Turning around around in helpless fashion turning blank pages over then upside down. Corrected: spontaneously blind. Corrected: blindness returned. Discontinue attempt. Barry Alpert / Silver Spring, MD US / 3-17-04 (6:02 PM) ABSORPTION & ADDRESS via Michael Fried Antithetic emphasis on what I shall call "address" but nothing in previous painting matches. Surface content of a boy crying out in pain. Right corner is often a highly-charged zone. Petrarchan poetry . . . To be enjoying the experience of posing is the best way to cut off a head. Neither the heads nor any advent of a new, more urgent, more interpolated determining, anyway a dominant role, remain on the board ever so slightly. From behind sits facing directly out of the painting stigmatized as "theatrical". Barry Alpert / Silver Spring, MD US / 3-24-04 (7:26 PM) "THE UNHEAVENLY HOST" via Lars von Trier As if someone were on top of the lift, how long does the humiliation go on? In his own way he’s rather an asset, "Here is an illustration of the brain of a malingerer!" With sublime generosity a corpse delivers; the dead don’t mind giving us a bit of light relief occasionally. I just meant mind your nose, but what are things when the building starts to cry? Barry Alpert / Silver Spring, MD / 3-31-04 (9:49 AM) via Leo SteinbergPictures, their vacated geometry suggests depleted voids, voided containers. Snuffed out. Empty icons. Wholeness; then imply oneness by sacrificial negations - as Brach does - asking, and making me ask. Drained in romantic renunciation until even the figure-ground [differential . . . What varies most is the pigment's density & the pressure of buried color [below. Circles: ashen disks in a strafing light, portholes in a dark field. As you change position, worldscape. Barry Alpert / Silver Spring, MD US / 4-7-04 (9:47 AM) OBSTRUCT JORGEN [LETH] via Lars von Trier'sOccupied. Manually. Be shot in Cuba. Said it, "No set!" The first one, then, ruining it from the start. Understand in a few days - - can't see how you can. That was vicious of me. Jacket old Leth--film really on the ropes. Give therapist the cards. Ethics to the test. Not describing something not there. Barry Alpert / Silver Spring, MD US / 4-14-04 (4:52 PM) OBSTRUCT JORGEN LETH via Lars von Trier's THE FIVE OBSTRUCTIONSOBSTRUCT JORGEN Occupied. Manually. Be shot in Cuba. Said it, "No set!" The first one, then, ruining it from the start. Understand in a few days-- can't see how you can. That was vicious of me. Jacket old Leth--film really on the ropes. Give therapist the cards. Ethics to the test. Not describing something not there. OBSTRUCT JORGEN Of understanding in a few days: but I don't think it followed the rules. See where we can goad you and analyze it. There's no doubt about it. Ready to show me / ready to watch. Unmarked can give you that feeling of a tortoise on its back-- just out of his head came this idea of a cartoon of the kind we don't like. Refuse to? We must make something out of it! Going to watch your little film. Eat the damned caviar. Narrate a script. Barry Alpert / 4-7, 4-14, 4-21-04 Initially written one right after the other while viewing for the first time Lars von Trier's 2003 "documentary" on another Danish filmmaker, Jorgen Leth. I tried to restrict myself to a vocabulary pool of those words which exited Lars von Trier's mouth during the film. Each text was revised separately for posting to the Snapshot Project on 4-14 & 4-21. I'm amused to find the possibility "predicted" in a post to Poetryetc on 3-31. REAL END GREAT WAR [via Jerzy KawalerowiczEven got a decent piece of meat. A handsome man -- let him in? Let him in! Expensive & no scent. Determination got burnt. Remember the architects’ hall? Effort accustomed, even to his presence, to leave. And I left. Would be such a burden; a brain operation in the camp. Roses and others, carnations? REAL END GREAT WAR Eyes and head ache. A fine man once. Love's flame as large as that frame. Expect nobody is going to harm you: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Barry Alpert / Silver Spring, MD US / 4-28-04 (12:42 PM) Written during my one viewing of this 1957 b&w film by a Polish director associated with the Lodz Film School, which included amongst its teachers and students Andrzej Wajda, Wojciech Has, Andrzej Munk, Roman Polanski, Jerzy Skolimowski, and Krzysztof Kieslowski. THE IMPORTANCE OF BEING "DADA" [via Marsden Hartley]Be to not and pastime entertaining and learn shall we game, sportsmanlike. Glibly so who esthete "middleman" or go-between dreadful. Shine will stars the that and tightrope among vaudevillian satisfactory. Dada-ist perfect, own your be. Will you? Your self was art if ordinary an or greater any given or canvas or paper. Barry Alpert / Silver Spring, MD US / 5-5-04 (12:11 AM) This morning's impulsive homolinguistic translation from Marsden Hartley's Adventures In The Arts (NY: Boni & Liveright, 1921). Its title derives from Hartley's afterword to that book. My diastic editor worked its way through MH's prose text from end to beginning, needing only one outtake. Then I worked over the results, without rereading Marsden Hartley's considerable body of work in poetry but having viewed relatively recently a rather full retrospect of his visual work at the Phillips Collection. The quoted words and the half-Germanic "Dada-ist" are Hartley's. Thanks to the Pope for invisibly guiding me through heavy competition at a Catholic school book sale where I recently scouted my first copy in 35 years of Marsden Hartley's rare first book. *** NIGHT TRAIN [via Jersey Kawalerowicz] |
