#maude chardin | Explore Tumblr Posts and Blogs

smithqjohns · 2 years

Text

Normally a crash outside of one’s house would be exciting, but around here it’s just another Sunday. I wouldn’t have even walked outside if my neighbor wouldn’t have texted me that it was right in front of our house (my precious fence!). We had to replace one mailbox a year for four years so it was due for a replacing, and if the massive pole hadn’t have been there he surely would’ve hit the mailbox.

I’ll also mention that my bandmate had just moved their car from that spot and thankfully was not injured.

I walked up to the wrecked car and no one was around and I didn’t see anyone in the car so I took a picture. Cops rarely come out when you call so I wasn’t even planning to call. I was just gonna take a picture and go to bed (maybe also check for a bottle of vodka like what was left in the last poorly parked car by a drunk driver in that spot).

At this point it was completely silent out, and like in a movie someone slowly emerged from the car. I heard the latch open.

I about pissed myself.

The door opened slowly, lighting up his body while a hat covered his face. The airbag must’ve hidden his body from my line of sight.

As he moved closer to the light I could see it was an older man. It was right after the Super Bowl, so he must’ve been pissed that the Bengals lost, but I didn’t say anything about that. “Go Rams!” I should’ve said.

“What in the hell happened?” I asked him.

He seemed very calm and acted nonchalant.

“Don’t know…” he said. I’m just waiting for my family.” He partially smiled, like life was pretty damn great.

He locked his car (wouldn’t want anyone to steal it after it’s totaled).

By this point I realized another neighbor, that was now outside, had called 911. The older man that wrecked the car walked almost as if not sober. He just abandoned his car and headed north on the sidewalk without a care in the world (like Dame Marjorie Chardin or “Maude” in Harold and Maude).

“And he’s gone,” I texted my neighbor who had texted me originally.

“Where the f-ck is he going?” I asked rhetorically to the other neighbor who was calling 911, within earshot of the drunk man. After a few minutes a bunch of us were out there. The ambulance, cops (surprisingly) and fire truck eventually all arrived, but at different times. They would inspect the car, not find a human, and then drive off after the man as we in the neighborhood hung out and chatted l, as if around a campfire.

We never ever chat otherwise, and in fact have only met under these circumstances, each time exchanging new yet personal/equally wild stories, no less dumb than this one.

After about thirty minutes of liquids from the Mercedes leaking all over the sidewalk and road, we saw the cop car return slowly, following the man who was on foot, back to his car. He politely objected to getting in the police car, or maybe they didn’t want to stink up their vehicle.

“I’m gonna be honest, you smell like alcohol,” said one of the cops.

He admitted to being drunk and the cops gave him a warning.

That’s right, just a warning.

“Seriously…?” I said, hoping the cop would hear me, but I don’t think they did.

I soon went to bed, about an hour and a half after my normal bed time. As I was about to fall asleep a tow truck started towing the totaled car and the alarm went off, which took a while to turn off. I was wide awake again, so I looked out my window, as Dads do.

After the alarm was quiet I saw another neighbor come outside and inspect his car. He’s a stupid kid, and by kid I mean he’s in his late 20’s. I think he thought his alarm was going off. He went back in and got his flash light.

He then proceeded to inspect his entire sports car, inside and out, looking for damage or stolen items I presume.

And that’s how I spent Super Bowl 56. Didn’t watch the game though…

1 note · View note

librospdfgratismundocom1 · 3 years

Text

Harold y Maude - Colin Higgins (2021)

Harold Chasen, diecinueve años, está obsesionado con la muerte. Simula suicidios para sorprender a su egocéntrica madre, conduce un coche fúnebre y asiste a los funerales de extraños. Maude Chardin, setenta y nueve, adora la vida. Libera árboles de las aceras y los trasplanta al bosque, pinta sonrisas en los rostros de las estatuas de la iglesia y “toma prestados” automóviles para recordarles a…

View On WordPress

#Colin Higgins

0 notes

doingthingsishard-blog · 7 years

Text

Jess tagged me in another thing so here’s the thing ( @agenderemrys )

One:

Name: Alice

Nickname: wereham

Gender: lol i guess female but only cause I haven’t figured out a decent description

Star sign: taurus

Height: If Jess is 5′9 I’m probably like 5′8? 5′7? I don’t KNOW

Sexual orientation: Like…. idk. I really don’t know. For ages I thought I was bi? Idk. Pan maybe.

Hogwarts house: I’m a Slytherin/Ravenclaw according to Pottermore and a Slytherin/Hufflepuff fairly equally according to almost every other quiz.

Favorite color: YInMn blue/silver/grey

Favorite animal: My cat. (I also like giraffes, hedgehogs, foxes, robins, guinea pigs…. I think I like all animals)

Average hours of sleep: 7/8 probably.

Cat or dog person: CATS

Favorite fictional characters: Lestat Di Lioncourt, the Cheshire Cat, Minerva McGonagall, Makkachin, Christophe Giacometti (dude cracks me up), Kitty Foreman, Maude Chardin (Harold and Maude),

The number of blankets you sleep with: 1 duvet. And a knitted blanket that my grandma made for me when I was born but that’s not for warmth.

Favorite singer/band: KT Tunstall, Lucy Spraggan, Newton Faulkner, MIKA - this is a really hard question

Dream trip: Like… one that’s all about food and friends.

Dream job: I guess just making stuff?

When was this blog created: This blog… probably this year? Or late last year. Idk but it was about the time I decided I had to sort out my brain.

Current number of followers: I think 30?

Two:

The task is to answer these questions with the initial of your first name and what first comes in mind

A four letter word: Aces

Something you shout: ATTENTION

A boy’s name: Alex

An occupation: Archaeologist

Something you wear: anorak

A color: Azure?

A food: Ananas Apple

Something you drink: Alcohol

A place: Antarctica

A movie title: A Hard Day’s Night

An animal: Anteater

A type of car: audi?

Title of a song:

American Idiot - Greenday

#tagged thing #tagged by my nixon

2 notes · View notes

londontheatre · 7 years

Link

Sheila Hancock

Olivier Award-winning West End star Sheila Hancock is to star in the London premiere of the black comedy romantic drama Harold and Maude.

Harold and Maude, by Colin Higgins, will reunite Sheila with director Thom Southerland after their acclaimed sold-out success with the UK premiere of the musical Grey Gardens in 2016.

Harold and Maude will premiere at Charing Cross Theatre from Monday 19 February and run for a strictly limited run of 6 weeks only to Saturday 31 March, 2018. Press Night is Monday 26 February 2018 at 7.30pm

Harold and Maude is an idiosyncratic romantic fable told though the eyes of the most unlikely pairing: a compulsive, self-destructive young man and a devil-may-care, septuagenarian bohemian.

Dame Marjorie “Maude” Chardin (Sheila Hancock), is a free spirit who wears her hair in braids, believes in living each day to its fullest, and “trying something new every day”. Harold Parker Chasen is an 18-year-old man who is obsessed with death, attends funerals of strangers for entertainment and stages elaborate fake suicides. Through meeting Maude at a funeral, he discovers joy in living for the first time. Part dark comedy and romantic innocence, Harold and Maude dissolves the line between darkness and light along with ones that separate people by class, gender and age.

More cast and creative team to be announced.

Artistic Director of Charing Cross Theatre, Thom Southerland said: “I couldn’t be more thrilled to be bringing Colin Higgins’ masterpiece Harold and Maude to Charing Cross Theatre for its first ever London production. I am honoured and delighted to be teaming up again with Sheila Hancock on this incredible piece, which dares us to think beyond the obvious.” Harold and Maude is produced by Patrick Gracey, Steven M. Levy and Vaughan Williams.

Sheila Hancock’s extensive career spans theatre, radio, television and film, and she is also now enjoying a career as a features presenter and as a writer including The Two of Us which won the British Book Award for Author of the Year, and her debut novel Miss Carter’s War. Her recent theatre roles in London include Edith “Big Edie” Ewing Bouvier Beale in Grey Gardens, Fraulein Schneider in Cabaret (Olivier Award, Clarence Derwent Award), Mother Superior in Sister Act the Musical (Olivier nomination); Emmie Packer in Barking in Essex and ‘Mum’ in The Anniversary (a role played by Bette Davis while Sheila played the daughter-in-law, in the film version); Maitre Suzanne Blum in The Last Duchess (Hampstead), and Meg in The Birthday Party (Lyric Hammersmith). She was in the original London productions of Annie and Sweeney Todd (Olivier nomination), and Rose in Gypsy at West Yorkshire Playhouse (TMA Best Actress Award). In New York, as Kath in Entertaining Mr Sloane (Tony nomination).

Thom Southerland’s is Artistic Director at Charing Cross Theatre. His opening season of major musicals included the European première of Maury Yeston’s Death Takes A Holiday, the return of his acclaimed multi award-winning Titanic and Ragtime (nominated for a record 14 Off West End awards). He is directing the first ever revival of Andrew Lloyd Webber’s The Woman in White at Charing Cross Theatre in December. He was longlisted Best Newcomer in the 2011 Evening Standard Awards for Parade. He was named Best Director at the 2011 The Offies for Me And Juliet at the Finborough. He directed Allegro, Grey Gardens, Grand Hotel, Titanic, Victor/Victoria, Mack & Mabel and Parade (Southwark Playhouse); The Smallest Show on Earth (Mercury Theatre, Colchester & tour); Jerry Herman’s The Grand Tour (Finborough); The Mikado (Charing Cross Theatre); Daisy Pulls It Off, Irving Berlin’s Call Me Madam! (Upstairs At The Gatehouse); the European première of I Sing!, Divorce Me, Darling!, Annie Get Your Gun, The Pajama Game and sold-out all-male adaptations of Gilbert and Sullivan’s HMS Pinafore and The Mikado (Union); Noël and Gertie (Cockpit); the European première of The Unsinkable Molly Brown (Landor); the European première of State Fair (Finborough & transfer to Trafalgar Studios).

LISTINGS INFORMATION Patrick Gracey, Steven M. Levy and Vaughan Williams present Harold and Maude by Colin Higgins

Charing Cross Theatre The Arches Villiers Street London WC2N 6NL http://ift.tt/HQ6NWc

http://ift.tt/2xE6luM LondonTheatre1.com

#IFTTT #LondonTheatre1.com

0 notes

micaramel · 7 years

Link

Artists: Audrey Barker, Hanne Darboven, Moyra Davey, Jef Geys, Dan Graham, Pati Hill, Henrik Olesen, Cameron Rowland, Maud Sulter, B. Wurtz, Trisha Donnelly, Laurie Parsons, Cathy Wilkes

Venue: Lisson, London

Exhibition Title: A still life by Chardin

Curated by: Maxwell Graham

Date: July 7 – August 26, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Lisson, London

Press Release:

Jean-Siméon Chardin was born in 1699 in Paris, the son of a cabinet maker. He spent his entire life in Paris. His first wife died in the fifth year of their marriage. Both of his daughters died young, one at the age of three one at the age of one. His son, Jean-Pierre, also a painter, was kidnapped for a time by English pirates off the coast of Genoa, and drowned in a canal by his own will in Venice in 1772, at the age of 41. That same year Jean-Siméon Chardin had kidney stones.

In the hierarchy of genres, which was broadly accepted in the 18th century, history painting was ranked the highest, followed by portrait painting, then genre painting, then landscape painting, then animal painting, and then Still Life. More than anything else, Chardin painted still lives, often very slowly, and often at a very small scale. He painted wicker baskets, plumbs, breadcrumbs, pewter dishes, grapes, a silver goblet, glasses of water, a pestle and a mortar, walnuts, pewter jugs, earthenware pitchers, flasks, dead partridges, dead hares, dead salmon, dead rays, apples, Seville oranges, dead mallards, onions, leeks, turnips, straw, chestnuts, more knives, teapots, apricots, olives, wild strawberries, white carnations, coffee pots, a copper cistern, stone ledges and white tablecloths.

“Chardin is the irrefutable witness who makes other painters look like liars.” [1]

In 1728 Chardin was accepted into the Académie Royale de Peinture et de Sculpture. In 1742 he was quite ill and neither finished nor exhibited any paintings. In 1757 he moved into the Louvre, where he would spend the rest of his life. In 1770 he became the first painter to the king and the director of the Académie. He died on December 6, 1779 at the age of 80. In his estate he held approximately 5,638 livres of furniture.

Marcel Proust wrote in 1895: “Had you not already been unconsciously experiencing the pleasure that comes from looking at a humble scene or a still-life you would not have felt it in your heart when Chardin, in his imperative and brilliant language, conjured it up. Your consciousness was too inert to descend to his depth. Your awareness had to wait until Chardin entered into the scene to raise it to his level of pleasure. Then you recognized it and, for the first time appreciated it. If, when looking at Chardin, you can say to yourself, ‘This is intimate, this is comfortable, this is as living as a kitchen,’ then, when you are walking around a kitchen, you will say to yourself, ‘This is special, this is great, this is as beautiful as a Chardin.’ … In rooms where you see nothing but the expression of the banality of others, the reflection of your own boredom, Chardin enters like light, giving to each object its color, evoking from the eternal night that shrouded them all the essence of life, still or animated, with the meaning of its form, so striking to the eye, so obscure to the mind. … an ordinary piece of pottery is as beautiful as a precious stone. The painter has proclaimed the divine equality of all things before the spirit that contemplates them, the light that embellishes them.” [2]

Malraux wrote in 1951: “Chardin is not a minor 18th-century master who was more delicate than his rivals; like Corot he is a subtly imperious simplifier. His quiet talent demolished the baroque still-life of Holland and made decorators out of his contemporaries; in France, nothing can rival his work, from the death of Watteau to the Revolution.” [3]

Audrey Melville Barker had the seventh exhibition at Lisson Gallery, in London, from 1-30 December 1967. In a review of the exhibition in The Observer, Nigel Gosling wrote “The English would seem natural practitioners of the eerie art of the ‘Magic Box’ like those of the American Cornell. But few do, but several of Audrey Barker’s ‘Compartments’ have the right fragile mystery.” Earlier that year, Barker visited Joseph Cornell in Utopia Park, Queens, New York and he gave her two of his boxes. Barker was born in London in 1932. Tuberculosis contracted during the second world war, led to eight years of childhood in a hospital, lasting bone damage and arthritis. She made little work in the 1970s due to illness. She purchased and restored a mill which she developed into an art space and shelter for persons with disabilities. She refused invitations from the ICA in London because of a lack of proper accessibility to upper galleries. Barker’s work ranged from doll making to painting to exhibition organising, often focusing on alternative sensorial modes of communication. At an exhibition she conceived in 1997 at the Blackie Gallery in Liverpool, a fax machine was installed, on which visitors corresponded with Barker. These faxes were then displayed on the walls of the gallery.

In 1973, there was another exhibition at Lisson Gallery, by an American artist, which took place in the basement.

Pati Hill worked as a model, and was on the cover of Elle Magazine in 1950. She wrote numerous books of poetry, four novels including the seminal IMPOSSIBLE DREAMS and contributed on many occasions to the Paris Review.In 1962 she began collecting “informational art.” Sometime after that “I began collecting objects. I kept them in a laundry hamper and when the hamper overflowed I would take them to a copier in a nearby town and record the ones that still intrigued me, then throw the originals away or put them back into circulation.” In 1975 she had her first exhibition at Kornblee Gallery in New York. She was married to the New York gallerist Paul Bianchini, who hosted an interesting exhibition in 1965. About the copy machine Hill observed “It is the side of your subject that you do not see that is reproduced.” [4]

“When I first decided on this box of photos as something to exhibit, I was excited. Having had increasingly ambivalent feelings about exhibiting a fixed object in a fixed environment, I was searching for new entrances on a given situation. This would be the same old song, but because it was so disarmingly personal and expository, it would involve me more completely in the situation.” Laurie Parsons, 1991

________________________________________

[1] Green, Julien. Oeuvres completes, III, pp.1348-9, 1949

[2] Proust, Marcel. “Chardin: The Essence of Things” trans. Mina Curtiss, in Against Sainte-Beuve and Other Essays, ed. John Sturrock, pp.100-107, 1994

[3] Rosenberg, Pierre. Chardin, pp.234, 2000

[4] Hill, Pati. Letters to Jill : a catalogue and some notes on copying, pp. 18, 22, 118, 1979

Link: “A still life by Chardin” at Lisson Gallery

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://ift.tt/2xgjxSJ

#micaramel

0 notes