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Prior Letters, Comments & Responses
Kandinsky and de Hartmann
How
wonderful to read
this article,
from Renaud's
meaningful
introduction, to
'touching'
the real
Kandinsky via his
own feelings and
words! It is
– or should
be – really
amazing that
Kandinsky's
complete letters
have not been
published, or it
seems even
contemplated!...
while so many
have had that
coverage... . In
a way, we really
do not know him,
this private
Kandinsky.
I'm sure he
put effort and
thoroughness into
his
correspondence,
as he did with
all he had put
his name to, so
even a good-size
selection of his
letters would be
revelatory,
judging by this
sample here!
Kudos to the
author and the
two
collaborators!...
and please do not
stop there...
Philip Gerstein
Jelena Hahl-Fontaine's and Lissa Tyler Renaud's article:
Kandinsky and His Closest Friend, Thomas de Hartmann
Summers in Saratoga
Ah,
such a lovely
reminiscence.
Born and raised
nearby and spent
many a season at
the Springs. Many
happy memories:
the weather, the
scenery, the
people and of
course -- the
racing. Something
ethereal about
the racing,
unlike any other
in the country.
Thank you Ms
Verdino-Süllwold,
you are a
merchant of
dreams.
George Nierbasch
Carla Maria Verdino-Süllwold's Article: Summers at the “Spa”
Calling All Builders
This Gerstein
painting is an
"architectural"
work. Can you
imagine an entire
wall with this
painting
stretching across
it. Or the side
of a windowless
building. His
colors alone are
that
constructionist.
He never ceases
to amaze me.
Sidney Siegal
Philip Gerstein's painting: The
Glorious Union of
Greenland with
Iceland
Jack Kerouac Trilogy
Kerouac,
Clarise
Lispector, Edward
Hopper all in one
play! Silva is an
ingenious
playwright with a
wicked sense of
humor. This is
the kernel of a
future film or
maybe as a
trilogy, a tasty
mini- series. As
the Orange Cuckoo
says: We'll
wait and see.
Lou Laird
Jack Kerouac?
Clarise
Lispector? Edward
Hopper? What
kind of mind
would put these
three people in
the same play, a
Jack Kerouac
trilogy? Altenir
Silva's mind.
He's
Brazilian, like
Lispector, and
he's a NY
Yankees fan, so
he knows his
Americana.
Imagine what he
might do in a
longer form. Nós
estamos
esperando.
George Vecsey
Altenir Silva's play: 1. Clarice & Jack
How To Poem
Nicely
stated. I'd
only add: there
are no rules,
only good and bad
choices, and if
after all this,
you find yourself
unhappily having
to force yourself
to write poetry,
quit! There's
no shame in not
writing poetry
though the
Creative Writing
Industry would
have you believe
otherwise.
However, becoming
a sensitive and
perceptive reader
of poetry is a
noble and
worthwhile
endeavor.
Jefferson Carter
Delightful.
It reads as if
Dorothy Parker
and Robert
Benchley had put
their heads
together at the
request of Harold
Ross. And yes,
poeming while
driving or
operating heavy
machinery can be
hazardous to your
health!
Miles David Moore
I
love what Greg
Luce is doing in
How to Poem. We
need poetry now
more than ever.
So many good
suggestions.
Karren Alenier
Gregory Luce's column: How To Poem
The Fire Next Time
Many
thanks to Michael
Bettencourt for
reminding us that
James Baldwin was
a "trumpet
on the
mountain" of
his time and
still today as
Frederick
Douglass was in
his time, and
still today.
Their voices
can't be
drowned out, as
Mr. Bettencourt
says: "Not
at all ".
Berk Redmond
Michael Bettencourt's column: The Fire Next Time
Faeries et al
Here,
dear Arthur, are
a few thoughts
from better minds
than mine and
I'm sure part
of your
Faeries'
creed:
There are no facts, only interpretations.
There are no answers, only choices.
We are predetermined to repeat the past.
It took me a
while and several
read-throughs to
realize that this
essay is an
undisguised
sub-text with
many interesting
metaphors and
shadowed similes.
Clever, a trifle
insidious,
blandly
provocative.
It's a good
read.
Betel Hershowitz
Sadly, I
don't think
there are any
faeries left in
the Americas.
They were driven
out by the
Scots-Irish-British-German-Spanish
invasions which
replaced them
with goblins,
trolls and social
medianiks. And
that includes my
ancestors who
couldn't even
spell the word
correctly, uh...
who couldn't
even spell.
Michael Aptrow
Arthur Danin Adler's column: The Last of My Faeries
Evocative and Masterful
I thought
Karren
Alenier's
"pennydreadful
of a great
nation" was
absolutely
brilliant. Each
vignette or
section is more
evocative than
the last. It
really captured
the horrors we
are living
through with wit,
wisdom and sorrow
for our current
predicament. She
has done a
masterful job in
capturing the
sorry state of
our nation; I
hope that after
November 3 she
can turn her
talents to
celebrating a new
dawn.
Nancy Braymer
Thank you to
Karren Alenier
and to the
editors of
Scene4 for this
entertaining way
of using a past
style of writing
to set forth the
horrors of our
present
situation. It
tells our
current and
awful story,
artfully
presented!
JoAnne Growney
Gertrude
Stein, Jonathan
Swift and Terry
Southern walk
into a bar:
That's my
description of
Karren
Alenier's
"pennydreadful
of a great
nation." It
is exactly the
sort of witty,
all-encompassing
satire we need
right now, and
kudos to Alenier
for providing
it. Meanwhile,
may the actual
Penny Dreadful
we're living
through have a
happy ending!
Miles David Moore
Wow
!! This IS
something. What
a
consciousnessraising.
I love how she
represents so
many
viewpointsall.
She will be like
Shakespeare -
making up new
words by
combining
them: moonbeam,
farmhouse,
dewdrop ....
Mary Anne Braymer
Karren Alenier's column: pennydreadful of a great nation
Knitting and Guillotines
Claudine’s
piece is
laugh-out-loud
hilarious. She
captures well the
landmines of
language laid out
for us today,
where even the
simplest
statement, such
as Jack’s
“Bob, you
want to go
first?”,
triggers
grievance and
retribution. As
she says at the
end of her essay,
our language hubs
these days are
like the
Bastille:
“no yogurt
and chocolate,
only knitting and
guillotines.”
Michael Bettencourt
Claudine Jones' column: Gobshite
Delightful Changes
Once
again I am
delighted, with
the October issue
of Scene4. I
can't stop
talking about it
and sharing
articles and
photographs with
my colleagues and
throughout my
social media
networks. This
was a tough month
for me, losing
several good
friends to
chronic illnesses
and just when I
thought I
couldn't
smile again,
Scene4 changed
all of that for
me. The
Seven Dawns
brought me the
greatest delight.
I also loved
reading about the
Arts of Thailand,
The Summer of Spa
that reminded me
of many good
times from
yesteryear and I
was moved by
Michael
Bettencourt's
article about
James Baldwin,
especially with
everything that
is happening in
the world today.
Sometimes I
can't tell if
I am living in
the year 2020 or
in the 1800s. The
fear of racism
and hatred feels
the same to me. I
also enjoyed
Miles David
Moore's
article Mea Culpa
on What I Missed.
Loved it. I
apologise for
writing too much
and being so
overjoyed with
the beauty of
Scene4 magazine.
Thank you and I
am already on
pins and needles
waiting for the
November issue.
Mikael
October Issue
The Color of Seasons
Thank you
for this. It is
so sad that the
exhibition was
not to be. As
lovely as this
presentation is,
it never matches
the truth and
beauty of the
actual paintings
hanging for all
to see, there to
feel the presence
of the artists.
Ms
Newberger's
painting is
sumptuous and
subtle, as she
says:
"Everything
is
interesting".
And Mr.
Gerstein's
painting is so
beautifully
nuanced, I do not
see anything
"abstract"
about it all. I
also appreciated
the enlightening
essay of Brian
George.
Wonderful. Bravo
Scene4.
E. Goldenthal
The Presentation: The Color of Seasons
Surprising Photos
Photos in
this month's
magazine were all
excellent. I was
surprised to see
a twist in Jon
Rendell's
section this time
around. It was a
pleasant surprise
that made me
smile a lot.
Again, thank you
for all the
wonderful
articles, photos,
paintings, poems
and everything
that you provide
to all of us that
love Scene4 so
much.
Mikael Wagner
September 2020 Issue
Life on the Small Screen
I
couldn't
agree more with
Miles David Moore
(and the emphasis
is surely on more
more more) about
missing the
experience of
going to a movie
theater and
comparing it to a
two-week
vacation. The
small screen at
home just
isn't the
same as the big
screen in the
dark cinema. That
said, Moore still
makes us feel we
have experienced
the full breadth
of theater in his
full-spectrum
reviews of 7500
and The Truth.
While I'm not
partial to small
spaces like the
cockpit of a jet
under terrorist
seige, I might
give 7500 a try
because of this
reviewer's
thoughtful
comments. The
Truth sounds more
suited to my
tastes and
goodness knows we
Americans are
struggling these
days with a
deluge of books
on that theme of
relative truth.
Good choice, MDM.
Thank you for
overcoming your
justified misery
about missing the
movie theater.
Karren Alenier
Miles David Moore’s review: Life On The Small Screen
A Pause for Praise
2020 has been the
most challenging
year in my life.
Each and every
day seems to be
the same as the
day before and I
can't seem to
tell the
difference
between one day
from the next.
There was a time
that I would be
so excited on
Thursday knowing
that TGIF was
coming around
again and I would
be able to see
friends and enjoy
each
other’s
company. Those
days seems to
have disappeared.
The one thing
that my mind and
soul seems to be
aware of is when
Scene4 Magazine
is coming
out. Usually
on the day before
the notice comes
out I am already
tingling about
the wonderful
magazine. There
aren't many
magazines that
grab me the way
Scene4 does. The
articles are well
thought out and
brilliantly
written to grab
my attention.
This month's
article about
Quarantine Love
grabbed my
attention because
I feel exactly
the same way and
the time period
is allowing me to
learn to so many
new things
through practice
and reading. I
loved the article
on Meth and
Tattoos because
of previous work
in the field and
it's well
written in a very
user friendly
way. The Native
American poetry
also meant a lot
to me too. Last
but not least,
the photographs
by Jon Rendell
continue to take
my breath away.
Fog on Hobsons
Bay was
spectacular
although I am
still holding on
to the visuals
from the July
issue of the
beautiful
pelicans that he
managed to
photograph.
Overall, Scene4
brings me so much
joy and I wanted
to take a pause
and say Thank You
to Scene4 and all
the wonderful
creative people
that come
together to make
it so
incredible.
Mikael Wagner
August 2020 Issue
Patrick Nagel
Just to let you
know that there
is a new Patrick
Nagel discussion
group, where
fans, collectors
and anyone else
interested in
Patrick
Nagel's life
and work can
explore and
converse. You can
ask, buy, sell
and discuss
anything and
everything about
Patrick Nagel,
and meet others
who enjoy his
work as much as
you do -- and
there are always
more people
becoming more
interested in
Nagel every day.
Rob Frankel
Patrick Nagel in Scene4: it’s in the eyes
Patrick Nagel Discussion Group
Fog on Hobsons Bay
Love these
aqueous studies
of the waterscape
just at our front
door. Keep up the
good work as in
this challenging
time we need your
insightful
'artistic
vision' more
than ever.
Anne of Avec Pleasure
Jon Rendell's photography: Fog On Hobsons Bay
A Wonder
This is
brilliant,
beautifully
written, and
populated with
wonderful photos.
I wish I had seen
15% of the films
you cite.
You've seen
so many it's
a wonder that
you've had
time to write
poems, including
the interesting
one with which
you end the
piece. Kudos.
Gary
Miles David Moore’s Review: A Fine Madness
Hat’s Off to Steiny
This is a
fine essay about
a fine poet. My
hat is off to
Steiny for her
clear
presentation and
appreciation of
Don Krieger's
work and deep
thinking.
Gregory Luce
Karren Alenier’s column: Discovery—Poetry from a Brain Expert
Who Made New York?
This is
such a
deceptively
hilarious little
play, seemingly
tossed off by the
playwright,
backward in time.
My only question
is: who is John
Brawl? Brazilian
anagram for the
playwright?
Lou Laird
Altenir Silva's play: Who Made New York?
True Comfort Zone
Every
time Claudine
(Jones) speaks,
she takes me into
her home.
It's as if
I'm walking
through the front
door and she
shows me around.
Her anecdotes and
reminiscences,
laughter and
tears are part of
our conversation
even if I truly
don't speak.
Even though I do,
talk to her every
time she speaks.
We've been
talking and
speaking for
years and I look
forward to our
monthly
conversations.
Ann Marie Cuzca
Claudine Jones' column: Comfort Zone
On Hitchcock
Thanks to
Miles David Moore
for an absorbing
and insightful
look at this
great
director's
work. He is such
a major influence
on today's
movies but no one
comes close to
his clean and
precise and
harrowing
filmmaking. Well,
maybe,
Christopher Nolan
does.
Dean Sprigett
Miles David Moore's article: Hitchcock- Master of Claustrophobia
Portrait of a Lady On Fire
What a wonderful
film review. It
readily brings
this exquisite
film back to
mind, touching
upon all major
themes in it
– and then
generously
expanding our
understanding of
it by bringing to
light the
director's
references, to
other movies, to
painters, writers
and historical
figures.
Particularly
relevant and
valuable is
Stendhal's
underlining at
several points
the distinction
between the
female gaze vs
its all too
familiar
patriarchal
equivalent, and
her apt
comparison to
such rarely
mentioned movies
as Rivette's
"La Belle
Noiseuse".
If anything, I
wish she expanded
further on
that... .
Ultimately and
happily, as full
and enrapturing
as this movie
experience was,
Stendhal's
detailed
explication of it
does not detract,
but rather
enriches
one's
recollection and
understanding
– which is
an accomplishment
and a rare gift
for a film
review!
Philip Gerstein
Renate Stendhal's article: Portrait of a Lady On Fire
From Gaudi to Kandinsky
What an arc of
architecture this
is and so
complemented by
the rest of the
issue (February
2020). If
everything is
wiped away by
climate change,
the visions and
minds of these
two great artists
will bring it all
back. Kind of
over hopeful,
huh? Kudos to
Stendhal, Wolfe
and Renaud.
Lou Laird
Renate Stendhal's article: Art and the City
Ross Wolfe's article: Kandinsky and Architecture
Some Joy
This issue
(February 2020)
is simply amazing
and
congratulations
on continuing to
always do an
outstanding job
every month. The
photographic work
of Jon Rendell in
this issue blows
my mind. He
certainly has an
eye to see
what's really
going on out
there. The black
swan’s
photo is
beautiful and the
way he captures
the smoke from
the fires in
Melbourne takes
my breath away.
Thank you so much
and also great
thanks to all the
other writers and
artists because I
love their work
just as much.
Whenever I see
the new Scene4
Magazine I start
to smile before I
start to look at
it. Thank you for
adding joy to my
life.
Mikael Wagner
February 2020 Issue
Making Sense of It All
"Human
beings are the
only creatures on
earth with the
potential to make
themselves the
only creatures on
earth." As
usual, Michael
Bettencourt has
that marvelous
writing skill to
merge cynicism
and optimism into
a stand-still
overview of the
human condition.
I only wish that
he were there
every day.
But Scene4
is a monthly.
It's a long
wait for good
writing.
Tom Pierman
Michael Bettencourt's column: Making Sense of Non-Sense
SS. Burrus
There is so much
spirtuality in
SS. Burrus'
painting, so much
rich and
mysterious
feeling. Thank
you for
publishing this
retrospective of
her work,
especially of her
last artworks.
Sophi Dietrich
The Art of SS. Burrus: Eye to Eye
Impossible Bird
What is so
delightful about
this display is
that it is not a
fantasy. It is
real, and your
photographs are
wonderful, there
really are black
swans. Moreso,
the portait of
the swan, up
close and
personal, is a
breath-taker,
especially when
it is presented
on the cover
juxtaposed
eye-to-eye with
Kenneth Branagh
as Shakespeare.
Happy for you
that you are back
in Australia and
I gather that you
are too. More,
please, more.
Charla Tintari
Jon Rendell’s photography: The Impossible Bird
How Anorectic Can A Homily Be?
Hilarious as this
is, it also
churns my anxiety
(which
doesn't need
much churning
these days). A
one long sentence
that flashes
through dangling
its invitation to
be read again and
again. Very
clever! But what
happens is that
my
"future"
brain matter
collides with my
"past"
brain matter and
raises so many
questions, such
as: Who the hell
is Clementine?
and How did your
good doctor ever
get a Ph.D.?
Louis Laird, Ph.E.
Arthur Danin Adler's column: A Brief Anorectic Homily On Time
Lives of the Lens
There's no
doubt about it,
Penn was
brilliant and so
is Freson. I met
Penn once in New
York and always
followed his work
especially his
photojournalism.
I believe and
still do that he
edited his shots
in the camera, in
his eye, in his
mind and
didn't rely
on darkroom
wizardry to
capture and
produce the
image. How far
we've come
from Penn's
vivid and nuanced
portraits to what
passes for
photography
today: filmless,
paperless and
mindless. Today,
the camera shoots
the photo, not
the photographer.
Hans Ivganz
Carla Maria Verdino-Süllwold's article: Lives
Intertwined by
the Lens
Banjerd Lekkong
Yes, a very world
class artist.
Janine Yasovant
writes about him
with compassion
and trust. She
lets him speak
and he speaks
with the passion
and strength that
he creates in his
sculptures. He
should be in the
art headlines
everywhere, but
then we would
lose him to New
York and Paris
and Thailand
cannot afford to
lose him. Bravo
and thank you for
this inspiring
view of a great
artist.
Timo Sunchai
Janine Yasovant's article: Banjerd Lekkong
Votes for Women
I think
of Gertrude
Stein's
Tender Button,
"Mildred's
Umbrella,"
which one may
posit has
something to do
with the Suffrage
Movement(s).
"A cause and
no curve..."
Perhaps sons,
grandsons, et.al.
should come along
for this ride,
too! A thank you
to Karren Alenier
for her report on
this exhibition.
Teri Rife
Karren Alenier's column: Votes for Women
Journal Regrets
Whatever the
reasons, Patrick
Walsh echoes
those of us who
cannot reconcile
our innermost
thoughts and
memories with the
everyday life we
lead. Journals
are important, I
agree, but they
are also
destructive and
deadening in that
they stalk our
living memory,
which continues
to change, and
make it blurred
and forgetful.
Who are journals
for anyway?
Certainly not the
journal keeper.
Andrew Mendelsen
Patrick Walsh's column: The Journal I Never Kept
From Satie to Monk and Back
This is a very
hip analysis.
Thank you Gregory
Luce. You give us
a slant that
spurs a thousand
angles. The one
that tickles me
the most is what
if Monk came
first and Satie
after. Would he
lap up the great
Thelonius? No
doubt in my mind
as his great
protege Maurice
Ravel drank up
the jazz of his
time. Monk still
cuts through the
noise and leaves
space for Satie
to follow.
Michael Aptrow
Gregory Luce's article: The piano ain't got no wrong notes
Man Sex
I think Gertrude
Stein once said:
A man's Sex
is a man's
sex is a
man's
sex". No she
didn't but
I'm sure she
would. Ms Selena
you're on
your toes and in
the race.
Olivia Minton
Selena Zachai's poem: A Man's Sex
Divas: Maria Callas with a Dash of Gertrude Stein
Excellent
article, which is
both an engaging
review of the
film as well as a
commentary on
Callas's life
and career
reaching beyond
the
film. Now
I'm primed to
see the Habanera
aria from
"Carmen"
as performed by
Callas. If only
Callas had loved
her body, as I
believe Ms. Stein
did hers, she
might have had a
longer career...
and that is
something to
dream about.
Teri Rife
Karren Alenier's column: Divas:
Maria Callas with
a Dash of
Gertrude Stein
Pivoting Backwards
If 1968
was a pivotal
year, what does
that make 2018?
Les Marcott's
take on that
timeline is on
the mark. His
comment: "We
can learn from
the events of
1968 or we can
repeat its
follies." is
particularly
poignant. And
we're
wallowing in
repetition,
aren't we?
Lou Laird
Les Marcott's column: LBJ and the Pivotal Year of 1968
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