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Sunday, May 13, 2018

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WELL-FED ARTIST--Bella Vista










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4 comments:

Ian Keenan said...

Everything in Velasquez' Las Meninas is in a mirror, so the dog and the 'well-fed artist' are actually in the same positions if you turn the mirror around. Never thought of Diego the well fed artist in relation to the well fed dog before. In unstaged photography you can't PUT the king and the queen ie the subjunctive tense into the center and it may be blocked by a telephone pole and or the subjunctive is NOT represented by the householder in the pink shirt who owns this particular dog, the guy in Velasquez' door is simply leading this particular dog into another particular door, assuming the two guys in the doors are at least as potentially similar as the two dogs, and if they're not, then the guy in the pink shirt is trying to be the guy in Velasquez' door because he can't sit still like the king. Poodles have to be taken from exterior spaces by someone in some sort of shirt for reasons similar to why Velasquez would never paint them out on the street.

Ian Keenan said...

https://en.wikipedia.org/wiki/Las_Meninas#/media/File:Las_Meninas,_by_Diego_Vel%C3%A1zquez,_from_Prado_in_Google_Earth.jpg

Ian Keenan said...

I never realized that the king's not actually in the center.. what DV intended by that who knows, but the Diego side of the door splits the east/ west grid.. whatever that means it makes it better.

Ian Keenan said...

I guess the painting isn't really a mirror image but the photo uses the mirror near the middle to refract the older image then. If Diego had just told the king and the queen to fuck off who knows if it would have resulted in such a refraction.

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About Me

Born in Vietnam in 1963, I came to the US in 1975, and have also lived in Italy, England and Germany. I'm the author of a non-fiction book, Postcards from the End of America (2017), two books of stories, Fake House (2000) and Blood and Soap (2004), six of poems, All Around What Empties Out (2003), American Tatts (2005), Borderless Bodies (2006), Jam Alerts (2007), Some Kind of Cheese Orgy (2009) and A Mere Rica (2017), and a novel, Love Like Hate (2010). I've been anthologized in Best American Poetry 2000, 2004, 2007, Great American Prose Poems from Poe to the Present, Postmodern American Poetry: a Norton Anthology (vol. 2) and Flash Fiction International: Very Short Stories From Around the World, etc. I'm also editor of Night, Again: Contemporary Fiction from Vietnam (1996) and The Deluge: New Vietnamese Poetry (2013). My writing has been translated into Italian, Spanish, French, Dutch, German, Portuguese, Japanese, Korean, Arabic, Icelandic and Finnish, and I've been invited to read in London, Cambridge, Brighton, Paris, Berlin, Leipzig, Halle, Reykjavik, Toronto, Singapore and all over the US. I've also published widely in Vietnamese.