“The forest was fucked up to the bone,” Dragolea told me. It didn’t take long before they saw what they came for: stumps. Just a few weeks before, he’d gone viral broadcasting an attempt to detain a truck carrying illegal logs when his white SUV ran out of gas, he flagged down an ambulance and kept up the chase. Over the course of five years, he had built a reputation as something of a forest vigilante, accosting loggers engaged in questionable activity or following trucks stuffed with wood contraband, then streaming the encounters on Facebook Live. A former wood chipper turned activist, Bosutar was no stranger to illegal timber. The filmmakers-Mihai Dragolea, a director, and Radu Mocanu, a cameraman-were shadowing a local environmentalist, Tiberiu Bosutar. Early this season, two Bucharest-based documentary filmmakers, working on a project about the illicit wood trade, set out to find a large, treacherous-looking clear-cut in Suceava, a northern county where some of the country’s largest sawmills are based and where Ikea owns thousands of hectares. Some of the wood is cut legally most of it is not, and violence between the logging industry and its opponents breaks out often. Her essay "Grant Wood's Family Album" won the Smithsonian’s Patricia and Philip Frost Prize for 2005.Logging season in Romania runs seven months, from mid-September through April, a frenzy of chain saws chewing through millions of spruce, pine, oak, maple, beech, fir.
Among her scholarly publications are Hans Bellmer: The Anatomy of Anxiety (MIT Press, 200) and essays on Paul Gauguin, Eva Hesse, Jackson Pollock, and Hollis Sigler, among others. Professor Taylor has received grants and fellowships from the American Association of University Women, American Psychoanalytic Association, Georgia O’Keeffe Museum Research Center, and the Society for the Preservation of American Modernists. She is corresponding editor from Portland for Art in America. A former museum curator and newspaper critic, she has written articles and reviews on modern and contemporary art for American Art, American Craft, Art Journal, Art News, ArtUS, the Chicago Sun-Times, Dialogue, Fiberarts, the New Art Examiner, and Oregonian. in art history at Roosevelt University and her M.A. Kamelia Massih Outstanding Faculty Award in 2014. Sue Taylor is Professor of Art History in the School of Art and Design and Associate Dean in the College of the Arts at Portland State University, where she received the NOTE: This presentation runs from 42:28 through 1:15:12 during the video. It is a compensatory dream of reunion with his parents and his original home, defying mortal realities in his final year. In a prequel to Spring in Town, mining a happier memory, the artist presents his boyhood self in literal contact with the Iowa soil. Here, father arrives with his plow horses, as child Wood helps mother set seedlings in the earth. Spring in the Country conjures a blessed time before that shattering experience. The earthen plot in Spring in Town doubles as garden and grave, while the figures surrounding it evoke family members who go about life without father, exiled to Cedar Rapids, to town. And as he began his composition, Wood chose for its central clapboard structure a house that stood at the edge of a cemetery. Significantly, Wood's first conception of the picture coincided with the fortieth anniversary of father's death on March 17, 1901.
This painting, completed while Wood vacationed in a cottage dubbed "No Kare - No More," emerged unconsciously from his greatest care of all: the childhood loss of his father and of the family's Anamosa farm. Totalizing in its presumption of a homogeneous, white, middle-class, national audience, the Post presented the tidy neighborhood scene overlooked by a church as a response to the question "For What Are We Fighting?"Īlthough manifestly tranquil, Spring in Town belies a traumatic personal memory. entered World War II, Saturday Evening Post enlisted Spring in Town as patriotic propaganda. Images of peaceful productivity, Wood's last Midwestern idylls (he died in February 1942) supported a galvanizing national myth: after the U.S. In spring of 1941 in Iowa City, with war abroad and anxious foreboding at home, Grant Wood began sketches for Spring in Town, which he finished that summer in Clear Lake along with Spring in the Country.
0 kommentar(er)
