There is an enchantment in her paintings: the
subtly nuanced technique combined with a joy of color
and a gentle capriciousness. It's pure pleasure to
view them. I hope to see them someday in the flesh, so
to speak, in a gallery or museum.
Deniz Ozan-George's article: Wax and Wane…Ebb and Flow
Thank you for an historical glimpse of writers
with Maine roots. Appreciate the significance and
contributions of these writers and your view of them.
Carla Maria Verdino-Sullwold' series: Part 3: Literary Landmarks
Racism and Greed
The MLB is and ain't what it used to be.
The diversity of players is wonderful. Their salaries
are preposterous and the clubs' profits are like
everything else today, unreal. You said it all! Thanks.
Patrick Walsh's column: A Legacy of Racism, A Stratagem of Greed
A Radical Man
Another imaginative and stinging kernel for a
film. I hope you're working on the screenplay. It
would make a doozy of a story.
Altenir Silva's script: Man With A Shoe In His Hand
Edward Hopper and Donald
Justice are part of an America that is now fading away
into chaos and disorientation. It is important to
visit with them to understand the meaning of
"Americana" which is a word that can no longer be
applied to the dream and hope of this country. Luce
serves us well by focusing on them.
Gregory Luce's column: Edward Hopper and the Tourist From Syracuse
"Immersive Frida Kahlo" in San Francisco
Renate Stendhal's informed critique of the
most recent in an increasingly long lineage of
lucrative immersive artist phenomena was a refreshing
breath of air. She astutely describes and deconstructs
the presentation, confirming my suspicions and
allowing me to resolutely stay home. Many thanks,
Jim Van Buskirk
Absolutely agree. Her
review is point blank and point on. That's because
she is an elegant writer and, as you say, an asute
Renate Stendhal's Article: "Immersive Frida Kahlo" in San Francisco
I have to agree with Mr. Moore's preference for Goulding's Nightmare Alley.
Though I admire Guillermo del Toro very much, his
version misses the scathing film noir of
Goulding's 1947 film. Bradley Cooper is a fine
actor but he isn't Tyrone Power, who was one of
the most beautiful men in Hollywood. It is that beauty
laced with noir that makes Goulding's film so
powerfully haunting. As for Sorkin's Being the Ricardos,
it is terribly miscast. Bardem completely misses the
portrayal of Desi and Kidman is not Lucy! Sorkin needs
to focus on his writing. He is a one-pony director and
not a filmmaker.
Miles David Moore's review: Mid-Century Modern
Delight and Deep Thinking
Every time I read an article by Karren Alenier
I am transported - another world opens up to me.
Delight draws me - there is nothing like good writing!
And it inspires. I enter the world of her stories -
and then ask: What are my values? How do I see? What
filters am I peering through? It is delight and deep
thinking which calls me deeper.
Karren Alenier's column: The Stories We Tell About Slavery & Racism
West Side Story
The problem is that Spielberg is so mundane. Yes, he
became a respected craftsman of money-making movies
for the masses and yes, he is a successful/extremely
profitable producer/director and yes, he gave us
"woke" entertainment in his version of West Side Story.
What he didn't give us was Bernstein and Robbins.
Either he doesn't understand what
Bernstien/Robbins were creating (forget Sondheim, he
was irrelevant to the beauty of this work), or Steven
was listening to and chasing the box-office bucks. As
a director, he is without vision and adverse to taking
risks. Mundane, yes, a Hollywood power broker, yes, a
master filmmaker, no!
Carla Maria Verdino-Süllwold's comparison-review
of the two film versions of West Side Story is a marvel. Verdino-Süllwold not only knows her theater and film; she also knows the neighborhoods where the two films were shot, and this gives her evaluation of the films an authenticity lacking in other reviews. Verdino-Süllwold's articles are a prime example of why Scene4 is one of the best arts magazines today.
Miles David Moore
Carla Maria Verdino-Süllwold's Review: A Tale of Two West Side Stories
Me and Marie
Thank you for your article regarding Marie Laurencin
and her relationship with Gertrude Stein and Pablo
Picasso. I truly believe she is an artistic force that
has been virtually ignored. Why? I do not know. I have
spent years researching her and have gotten used to
the blank stares that greet me when her name is
mentioned. She designed costumes for the Ballet Russe,
collaborated with both Andre Grolt and Pierre Poiret
producing home decor and had an entire museum in Japan
dedicated to her work. Coco Chanel commissioned a
portrait, but hated it Was she shunned because she was
a lesbian? Hmmm. I prefer to believe she is a diamond,
hidden from view. Your article has cracked the door
into her life and I say thank you!
Kerrie White Loya
Karren Alenier's article: The Muse
For All Seasons - A Book
Your reverence for the printed word is
inspiring and the instance with the Thai reader is not
only touching but as you say: "There was nothing
embarrassing about this personal moment." Yet, I
don't know why, but your conclusion about
"holographic?" books in the future scares
me. Digital has destroyed so much of the deep treasure
and pleasure of reading on paper with ink that I fear
this new possibility will just finish the dumbing-down
and vaporizing of the reading experience.
Arthur Danin Adler's column: For All Seasons - A Book
Philip Gerstein's Exhibit at AMP gallery
Very much enjoyed seeing your work and reading
your statement. You are right: these glass bead
paintings need to be seen in person. The texturing in
the trio with the gray blue is stunning. It adds so
much to see them as they contrast internally and
dialogue with each other. Your words about knowing
when to stop, when a painting becomes
"self-sufficient," how I wish I had thought of
those words, a perfect description and answer to those
who say they never know when to stop. Bravo! I'm
glad I made the trip.
Philip Gerstein's article: Sometimes There Is Bliss
The Span of Black Ladders
Although I personally know Brian George, I
want to make this letter to him public, in celebration
of his skill as Essayist and of the pleasure this
essay has given me.
My very dear Brian!
seem to learn a lot from you -- or perhaps more
accurately, my reading of your work opens up the
deeper reservoirs that have been waiting for a long
span, desiring of just such an opening... . I had
postponed reading your de Chirico
"channeling". I liked the beginning so much,
I knew I could not do justice to the whole until I
came to it with a clearer head and better formed
desire. It had to happen at the right time. And
tonight was finally one of those chances, and I took
it, gratefully! "Though the signs were mixed,
your naked mothers once threw caution to the
wind", to quote just one paradoxically pungent
line of your Essay. I just truly and unabashedly
enjoyed it, the thought behind each segment, the
'cloak' in which it was wrapped, the rapture
of which it was but a reverberation... . Both you and
de Chirico came alive, became fiction -- yes, there
was this awareness of both, often at the same time --
one looking for the other, the other having found more
than he had looked for... . I thank you for this
chance, as I have for several of your other essays I
had the privilege to read and re-read.
Brian George's article: The Span of Black Ladders
Many thanks for your
enthusiastic and big-hearted response! This is
exactly the type of feedback I hope to get. Positive
feedback of any type is good, of course, but it means
much more when someone is clearly connecting with the
work on an intuitive level and a piece "opens up
deeper reservoirs," as you say.
You've resurrected me with your lovely memoir or
rather a collection of memories. I, too, have a long
immigrant history and it's importance to me and to
this country is priceless. Thank you for taking us on
this journey into the past with your beautiful
writing. I look forward with tears and joy for the
How America has changed. Everyone here is an
immigrant or the descendant of an immigrant yet the
grief at our borders and on our streets ignores that
as the dominant group fights to keep its claim as to
who and what is an American. Thank you for reminding
us who we are and who we were.
Carla Maria Verdino-Süllwold's article: Whispered Footsteps Part One
Howard Beale et al
Les Marcott writes with perception and gusto.
His quick portayal of the decline of professional news
journalism is disturbing and disheartening. As he
says: "But the problem is that when everyone's a
journalist, no one's a journalist." Very
reminiscent of Aaron Sorkin's The Newsroom where they
go round and round fighting so-called
citizen-jounalism. Mr. Marcott, Chayefsky and
Lumet not only created a prophet they gave us a
portrait of the future which is now, today.
Les Marcott's column: That's The Way It Is
Vladimir and Estragon
With machine guns instead of Pozzo and Lucky. Altenir Silva is having fun with classics again. Well done!
Altenir Silva's play: The War
Reviews of poetry by poets
are essential. Alenier's commentaries are
energetic understandings of a poet's texts and
intent. This is a dimension we value in Karren's
I enjoyed Karren Alenier's review of this new
book of poetry. I like how she uses both the
Trinidadian poet's words and the words he doesn't
use to convey his heartfelt regard for human life.
Karren Alenier's column: News Of The Living
Another excellent review by Scene4's
exceptional M. D. Moore. As Arthur always says: it's
the writing. In this case, add perception. But I have
to take a bit of umbrage with Mr. Moore for leaving
out of his profile of Frank the 10-hour film
(mini-series), Godless. For me, it is Scott
Frank's most brilliant writer-director stint of his
current brilliant career as a writer and director.
Miles David Moore's review: Orphans of the Storm
Those Moments of Magic
There are moments, when the essence of an object
Is captured perfectly and with grace.
There are moments, when a highlighted shape formed by nature is
Then there are moments of magic when a trained eye
Such as Jon Rendell's when the next level of beauty
Is reached through the juxtaposition of several seperate
Shots to create a Moment of Magical association. Bravo.
Anne McGravie Wright
Jon Rendell's photography: Nature vs Man-Made
The extensive use of heroin
in jazz during the 1940's-50's has been
analyzed by many people, to no reader's great
satisfaction–and least not to this reader. In
this piece, Brian George offers a truly creative point
of entry from which to consider the phenomenon.
I'm very grateful for his effort.
Brian George's article: Itutu
Tempus Edax Rerum
That's all that art is
isn't it, impressions? And those impressions
remain, if the art remains or is an irreducible
memory. I concur: step into the painting, dive into
the music, forget about time and place and all the
biographical philandering that scholars never seem to
get enough of. Absorb the impression. I love Monet and
Debussy and so many sensitives from the time. Nice
Arthur Danin Adler's column: A Brief Toast For This New Year's Eve
The Road to Freedom
This is a fine article and
Ms Verdino-Süllwold's writing is excellent as always.
My only complaint is not with the author, rather with
the magazine. This important subject warrants a
complete issue devoted to it from South to North. But
I'm grateful for this issue.
Carla Maria Verdino-Süllwold's article: The Road to Freedom
By The Shores Of The Potomac
A splendid review, especially made rich by poems and visuals. Anytime we have a poet writing journalism, we are all the better for it!
Karren Alenier's column: By Broad Potomac's Shore
Babe Ruth Is Not Just a Candy Bar
Now you got me, Mr. Silva. This second play in
your trilogy is wonderful (and I don't use that
word very often, PR maven that I am). Its humor is
straight out of Camus right into Robin Williams.
I'd love to watch you write, it must be fun. I
can't wait for the third one!
Altenir Silva's play: 2. Babe Ruth & Jack
I have to admit that I knew little about
Kandinsky other than his paintings and their influence
on other painters. Obviously there was so much more
about him. Though he attained an international
reputation from his art work, the rest of his amazing
life and achievements seems to have been suppressed
because of the times he lived in, other than scholars
and academics who followed him and honored him. He was
an unsung genius! I truly appreciate what Ms Renaud
has done with her Kandinsky Anew series, especially
this latest article which is so relevant today, so
contemporary. I can understand why she has liked him
so much for the past 30 years. I'm
"woke" to him. Thank you for that.
Lissa Tyler Renaud's article: Towards International Unity:
Kandinsky's Inclusive Arts Aesthetic
I only wonder what happens
if you marry one, or your boss is one, or you find out
that all the time it's your mother under the bed.
Mr. Marcott asks: "Did you really think the
Boogeyman would get you if you didn't eat your
breakfast cereal?" I did, and that's why I
skip breakfast for brunch.
Les Marcott's column: The Boogeyman
His work looks beautiful
especially the beautiful way it is presented on the
pages. I especially love the portrait of the
King's back with the sweat marks. I don't
think his work is too "provincial", too
Thai. Good paintings and good sculpture are universal
in their appeal.
Janine Yasovant's article: Everything is an Illusion
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