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[Subject line from Counting Crows' "Einstein on the Beach"]
A reputation I enjoy is that of being left-brained to a fault. I like coaxing bibliographies into consistency, and I've demonstrated a knack for devising and refining chronologies, schedules, and itineraries. I am sometimes inordinately amused when friends and associates find my pragmatism maddening: watching me add commas and conjunctions to her draft, one author muttered, "You have no poetry in your soul, do you," which cracks me up every time I think back to that session.
This trait likely plays into why I am rarely captivated by artist statements, which are often too lofty, wifty, theoretical, and/or all-encompassing for my taste. Today, however, Heidi Ross's Flickr summary got me off the fence about going downtown to see her show at Third Man Records. The description in the Scene had me adding it to my calendar, but then I put in more than ten hours at the office yesterday, subsequently falling dead asleep in the tub with my eyeliner on, and there are SO MANY WEEDS still in the beds, plus stacks of receipts, plus a manuscript, plus lemons to slice, etc., etc., yadda yadda ishkabbible.
But traffic was lighter than I'd feared, and parking was not a problem, and I hadn't really registered on my previous visit to Third Man (a packed-to-the-gills poetry reading that became too overwhelming for my group, which fled to a Jeni's to recover) just how beautiful its spaces are. I wished I'd brought my own camera as I walked toward the Blue Room. Within the show, I was drawn especially to the trio of Eat the Fruit (Mennonite), Good News, Bad News, Good News, and First Service, Second Service; the third image is that of a Kentucky Theater marquee, listing both a church meeting and a screening of Thriller. The pairing reproduced at the top of the Nashville Arts profile (Rip It Up and Start Again with Nine Knives) also beckoned to me.
When I ventured into the store, the two young women inside were on the floor, shrieking with uncontrollable laughter. They were still in its grip when I slipped out a minute or two later. I couldn't make out what had happened, nor did I particularly want to. I'd bet that the trigger was not only a "you had to be there" thing but also a I'd-have-to-be-them. Better to continue on to Woodland Wine Merchant's weekly tasting, which today featured three wines that go well with grilled food. (Lately, I've been enjoying how good the wines smell -- more so than how they taste. A rabbit hole to explore some other time...) And then to the supermarket, and then back to the house, to make up stories about disconcerting mysteries while yanking at half-matted speedwell.
A reputation I enjoy is that of being left-brained to a fault. I like coaxing bibliographies into consistency, and I've demonstrated a knack for devising and refining chronologies, schedules, and itineraries. I am sometimes inordinately amused when friends and associates find my pragmatism maddening: watching me add commas and conjunctions to her draft, one author muttered, "You have no poetry in your soul, do you," which cracks me up every time I think back to that session.
This trait likely plays into why I am rarely captivated by artist statements, which are often too lofty, wifty, theoretical, and/or all-encompassing for my taste. Today, however, Heidi Ross's Flickr summary got me off the fence about going downtown to see her show at Third Man Records. The description in the Scene had me adding it to my calendar, but then I put in more than ten hours at the office yesterday, subsequently falling dead asleep in the tub with my eyeliner on, and there are SO MANY WEEDS still in the beds, plus stacks of receipts, plus a manuscript, plus lemons to slice, etc., etc., yadda yadda ishkabbible.
But traffic was lighter than I'd feared, and parking was not a problem, and I hadn't really registered on my previous visit to Third Man (a packed-to-the-gills poetry reading that became too overwhelming for my group, which fled to a Jeni's to recover) just how beautiful its spaces are. I wished I'd brought my own camera as I walked toward the Blue Room. Within the show, I was drawn especially to the trio of Eat the Fruit (Mennonite), Good News, Bad News, Good News, and First Service, Second Service; the third image is that of a Kentucky Theater marquee, listing both a church meeting and a screening of Thriller. The pairing reproduced at the top of the Nashville Arts profile (Rip It Up and Start Again with Nine Knives) also beckoned to me.
When I ventured into the store, the two young women inside were on the floor, shrieking with uncontrollable laughter. They were still in its grip when I slipped out a minute or two later. I couldn't make out what had happened, nor did I particularly want to. I'd bet that the trigger was not only a "you had to be there" thing but also a I'd-have-to-be-them. Better to continue on to Woodland Wine Merchant's weekly tasting, which today featured three wines that go well with grilled food. (Lately, I've been enjoying how good the wines smell -- more so than how they taste. A rabbit hole to explore some other time...) And then to the supermarket, and then back to the house, to make up stories about disconcerting mysteries while yanking at half-matted speedwell.
