#Trefoil Academy

[apocalypticavolition]

Let's (re)Read The Eye of the World! Chapter 50: Meetings at the Eye

Spoiler alert: No matter how simple everything should be, computer upgrades will always find new and exciting ways to wreck your shit. We should abandon technological civilization and become tree people, like the semi-spoilery character above. This post doesn't just cover this guy but spoilers all the way out to the end of The Wheel of Time, so you should go away if that ain't your thing.

This chapter opens up with the trefoil leaf icon, a reflection of just how goddamn awesome Someshta is. MVP of this book, I'm telling you.

Child of the Dragon. Warily he watched the Green Man, walking ahead with Moiraine and Lan, butterflies surrounding him in a cloud of yellows and reds. What did he mean? No. I don’t want to know.

Rand and Perrin are both practicing their strongest denials here, Perrin just because he doesn't wanna be a werewolf and Rand because he thinks Someshta has IDed him as the Dragon Reborn. Naturally not even Moiraine manages to pick up on the useful detail here that Someshta identifies Rand with the Dragon because of his Aiel heritage and not because he can see his soul.

And he began plucking one from this plant and one from that, never more than two from any. Soon Nynaeve and Egwene wore caps of blossoms in their hair, pink wildrose and yellowbell and white morningstar. The Wisdom’s braid seemed a garden of pink and white to her waist. Even Moiraine received a pale garland of morningstar on her brow, woven so deftly that the flowers still seemed to be growing.

I'll let the sexism speak for itself here by asking you to imagine the better version of this scene where Someshta decks out the boys, Lan, and Loial to boot. How much more effective would the imagery of the peace of the Eye had been if even the hardest warrior in the party was briefly decked out in the only non-palace-based blooming flowers in the known world?

“All things must grow where they are, according to the Pattern,” he explained over his shoulder, as if apologizing, “and face the turning of the Wheel, but the Creator will not mind if I give just a little help.”

Literally every one of Rand's mentors and would-be mentors fails until they understand the meaning of the Green Man's words here.

The Green Man gave Rand an odd look, then shook his head. “Avendesora is not here. I have not rested beneath its ungentle branches in two thousand years.”

Considering that Avendesora has been in the Aiel Waste the whole time, I wonder if this statement means that the Trolloc Wars were so bad that even the Green Man had to fall back. The Eye and Rhuidean being in the same place for awhile would be rather hilariously appropriate.

Knowing they would die, they charged me to guard it against the need to come. It was not what I was made for, but all was breaking apart, and they were alone, and I was all they had. It was not what I was made for, but I have kept the faith.

One of the recurring themes of the series is desperate attempts to fling some light into the future under the certainty that you yourself won't live to see if it even makes it - and those desperate attempts often being spearheaded by those who had no reason to expect that they would be in the role they were. The Eye, Rhuidean, the Tu'athan who were assigned to try to get the Two Rivers children to safety if all else failed, Rand's attempts to build academies and peace treaties, Verin's list of Black sisters, Aviendha's attempts to avert the dark fate of the Aiel, even Egwene's last stand to an extent. You might think that all the repetition would make it hit less hard after awhile but IT STILL HITS. If I could turn this shit into an actual drug I would overdose immediately.

Not all the crystals in the dome glowed with the same intensity. Some were stronger, some weaker; some flickered, and others were only faceted lumps to sparkle in a captured light. Had all shone, the dome would have been as bright as noonday, but they made it only late afternoon, now.

This too reflects another theme, that everything is a pale imitation of what it once was but that a pale imitation is still recognizably an imitation. All of the corruption of the Third Age's institutions hides the true core of what it should be but once you do a little work you find that there's still more than enough good to work with (Aes Sedai like Verin and Pevara who reflect the true nature of their instutiton, the Whitecloaks who willingly follow Galad to Tarmon Gaidon, leaders like Berelain and Ituralde amid the various corrupt nobility).

“But what is it?” Mat asked uneasily. “That doesn’t look like any water I ever saw.” He kicked a lump of dark stone the size of his fist over the edge. “It—”

It's a good thing that Moiraine assumes Someshta confirmed Rand as the Dragon here or the revelation that absolutely everyone can see this pool of saidin instead of just male channelers like you'd expect would probably have given her an aneurysm.

“I always wondered,” Loial said uneasily. “When I read about it, I always wondered what it was. Why? Why did they do it? And how?”

Those are very good questions. The most likely explanation for how is that it was a twofold suicide circle, where first the men channeled as much saidin as they could and had the women do something similar to what Nynaeve will do at Shadar Logoth, but without Logoth's counteracting taint these women absorbed the evil and died from it, and then as they fell and the circle collapsed the men got hit with the rest of the extracted taint and died right after the women.

As for why... Prophecy, probably - and probably misinterpreted prophecy at that. The Aes Sedai likely assumed this was meant for the final showdown like Moiraine suggests, but really it's about buying Rand time for the showdown. Without the Eye, Rand wouldn't have been able to save the Borderlanders without going bugnuts (or burning himself out since he would just be getting started). If he weren't able to save them, then he wouldn't have time to unite the north and east (nor would the Seanchan have had time to colonize the west and south, though the image of the Forerunners sailing to Falme, seeing the Trolloc hordes, and immediately turning around again is great, isn't it?). The Eye's existence also distracts the Forsaken to a good extent, keeping Ishamael busy on a wild goose chase for the first three years of his freedom instead of scheming more effectively.

Rand’s throat rasped as if he had been screaming. “Why did you bring us here?”

Moiraine deserves so much respect for not screaming this chapter. So, so much respect.

“He guided us.” The hand that pointed to Mat was old and shriveled to scarcely human, lacking a fingernail and with knuckles gnarled like knots in a piece of rope. Mat took a step back, eyes widening. “An old thing, an old friend, an old enemy. But he is not the one we seek,” the green-cloaked man finished.

So to clear some things up, Aginor and Balthamel being least sealed bar Ishamael gave them some special privileges. The obvious one was the gift of aging, which boy did they deserve, but also they had more awareness of the world than the others, who spent their time in a dreamless sleep. As the Bore is not at Shayol Ghul but literally everywhere, they got awareness of everywhere. So they know about Shadar Logoth despite it postdating them by over a thousand years because their formless consciousness got a gander.

“The Light protect—” Loial began, his voice shaking, and cut off abruptly when Aginor looked at him. “The Forsaken,” Mat said hoarsely, “are bound in Shayol Ghul—”

RE: Belief and order give strength: Now that the old way of things is turning upside down, so too is belief harder to cling to even as it becomes a more reflexive safety net than ever.

Lan’s sword sprang from its scabbard too fast for Rand’s eye to follow. Yet the Warder hesitated, eyes flickering to Moiraine, to Nynaeve. The two women stood well apart; to put himself between either of them and the Forsaken would put him further from the other.

RE: Love is the death of duty: Wait wrong series sorry.

“No!” Rand called. “You can’t fight the Forsaken!” But they ran past him as if they had not heard, their eyes on Nynaeve and the two Forsaken.

Nynaeve, Egwene, Perrin, Mat: Fuck reason and fuck the inevitability of defeat, someone I care about is hurt and I'm gonna do something even if it's against the Forsaken!

Man prophecized to fight the Forsaken: no i'm smol.

I wonder how much of the trauma from this battle and how endangered everyone was while he stood by the sidelines plays into the hero complex of not letting anyone die for him he gets later. And for that matter, I wonder how much of his denial of his destiny is playing into his inability to be remotely useful in this battle.

He tried to help Egwene up, but she slapped his hands away and stood by herself, angrily brushing off her dress.

This does make good bookends with ghost Egwene telling Rand to fuck off in Shayol Ghul.

Aginor spared him a brief, contemptuous glance. “Begone! Your time is ended, all your kind but you long since dust. Live what life is left to you and be glad you are beneath our notice.”

It is immensely thematic that Someshta lives what life is left to him by choosing to fight the Shadow at the cost of that life and that something so beneath the notice of the Shadow fucks them up as badly as he does.

The Green Man threw the Forsaken down. Balthamel twisted and jerked as all the things that grew in the dark places, all the things with spores, all the things that loved the dank, swelled and grew, tore cloth and leather and flesh—Was it flesh, seen in that brief moment of verdant rage?—to tattered shreds and covered him until only a mound remained, indistinguishable from many in the shaded depths of the green forest, and the mound moved no more than they.

This is incredibly badass.

We again get the balance theming of things in that it's not the pretty, happy flowers of peace and love that destroy Balthamel but instead the carrion eating fungi.

I know we the fandom love to give Be'lal shit for going down like such a punk because he doesn't even come back, but in so many ways Balthamel deserves it even more for not managing to last half a chapter before going down. Be'lal did that much.

Stillness came. And an oak that could have stood five hundred years covered the spot where the Green Man had been, marking the tomb of a legend. Nynaeve lay on the gnarled roots, grown curved to her shape, to make a bed for her to rest upon. The wind sighed through the oak’s branches; it seemed to murmur farewell.

RIP you beautiful bastard.

“Not her!” Rand shouted. “The Light burn you, not her!” He snatched up a rock and threw it, meaning to draw Aginor’s attention. Halfway to the Forsaken’s face, the stone turned to a handful of dust.

Thank you Rand, for finally getting your shit together.

He hesitated only a moment, long enough to glance over his shoulder and see that Egwene was hidden in the trees. The flames still surrounded Aginor, patches of his cloak smoldering, but he walked as if he had all the time in the world, and the fire’s rim was near. Rand turned and ran. Behind him he heard Moiraine begin to scream.

Aginor's seen enough action movies to know how to walk away from an explosion. Have you? If not, you'll have plenty of time to catch up on your studies as I'll be taking another break day tomorrow now that we're finally in the exciting, climactic shit. But I will see you again!

[architectnews]

Foster + Partners wraps Dubai Expo Mobility Pavilion in stainless steel fins

UK studio Foster + Partners has designed a trefoil-shaped pavilion to anchor the mobility district at the Dubai Expo.

Named Alif after the first letter of the Arabic alphabet, the mobility pavilion stands at one of the main entrances to the site, which is marked by an Asif Khan-designed gateway. Its name was chosen to symbolise the start of the process of movement.

Foster + Partners has designed the Mobility Pavilion at Dubai Expo

The Foster + Partners-designed building has a distinctive trefoil shape with three large petals that cantilever outwards from the building's base.

Each of the petals was built to contain a gallery with immersive exhibitions designed by London-based design consultancy MET Studio.

The pavilion anchors the mobility district

"The core concept was to create an internal vessel for Expo's three sub-themes of mobility, this provided the trefoil plan, each theme having its own 'hall'," said Gerard Evenden, senior executive partner at Foster + Partners.

"Creating an engaging external landscape for all people to enjoy was our next idea," he told Dezeen. "Finally, making the building sustainable and adaptable for legacy underpinned how we realised the design in detail."

The pavilion is wrapped in stainless steel louvres

The pavilion, which will remain on the site after the Dubai expo ends, is wrapped in a series of horizontal aluminium louvres.

Designed to evoke a feeling of movement, while referencing chrome fenders and aircraft wings, the louvres shade windows in the building's facade.

The pavilion has three entrances

"We referenced wind tunnel images and aeronautical elements to capture the idea of movement in the external envelope of the building, the horizontal bands flow around the building, widening to allow light inside and lifting to create the entrance canopies," said Evenden.

"We wanted to reflect and capture movement around the building so the curved fins reflect surrounding movement and light, they also allow the pavilion to transform from day to night, picking up the colours and light of the Expo."

"The use of stainless steel references aircraft wings, rockets and racing cars," he continued.

"It was also chosen over aluminium because of its performance in the environment and the ease of fabrication to accommodate the building’s complex geometries."

The pavilion contains the world's largest lift

Visitors enter the pavilion at one of the three entrances between the petal forms where the aluminium fins are raised.

They proceed to a circular passenger lift, which according to the expo's organisers is the world's largest lift, that takes them to the top of the building.

The pavilion exhibits aim to tell the story of mobility

Visitors then proceed down walkways that lead to each of the gallery spaces. The first looks at the history of mobility and contains three nine-metre-high statues created by Academy Award-winning design studio Weta Workshop.

The second gallery explores the modern era, while the third focuses on the future.

"Good expo pavilions are always about the harmony between architecture and visitor experience, the building is as much an exhibit as what's inside," explained Peter Karn, creative director of MET Studio.

"Here it is the navigation through the space that really connects the two. The large central platform lift takes visitors to the top and then a series of descending ramps bring them down through each of the immersive acts," he continued.

"This sense of constant movement, as if you are unravelling the story of human mobility as you move, really heightens the experience."

The final exhibition hall is focused on the future

At the base of the building is the exit alongside a cafe and gift shop. A series of private spaces for events are located above the exhibits on the top floor.

Surrounding the pavilion a 330-metre track, which will be used to demonstrate current innovations in transport, encircles the building.

The Dubai Expo is the latest World Expo – an international exhibition that has contributions from 180 countries. These include the UK Pavilion designed by Es Devlin, the boat-topped Italy Pavilion and the Qatar Pavilion and the UAE Pavilion, which were both designed by Santiago Calatrava.

Photography is courtesy of Expo 2020 Dubai.

The post Foster + Partners wraps Dubai Expo Mobility Pavilion in stainless steel fins appeared first on Dezeen.

[thetodoedit]

wait what was the harry potter camp you went to?

It was this one in southwestern Virginia called Trefoil Academy, I have so many friends that I’ve met there:) It'd be cool if you'd heard of it, but it's fairly small in the grand scheme of things.

[zealouskittypoetry]

What is honey?

What is honey?

A thick and golden liquid created by arduous bees, honey is created with the nectar of flowering plants and hold on within the hive to eat times of scarceness Honey in Pakistan.

. however, do bees build honey?

The nectar, a sweet liquid, is extracted from the flowers victimization the long, cylindrical tongue of a bee and hold on in its extra abdomen, or "crop." whereas splashing within the crop, the nectar mixes with enzymes that rework its chemical composition and pH, that makes it additional appropriate for long storage. When a bee returns to the hive, it passes the nectar to a unique bee by regurgitating the liquid among the mouth of the alternative bee. This regurgitation method is continued till the part digestible nectar is finally deposited in an exceeding honeycomb. Once within the honeycomb, the nectar continues to be a viscous liquid, nothing just like the thick honey you employ on the table. to urge all that further water out of their honey, the bees visited work fanning the honeycomb with their wings in an endeavor to accelerate the evaporation method. When most of the water has gaseous from the honeycomb, the bee seals the comb with a secretion of fluid from its abdomen, which eventually hardens into beeswax. removed from air and water, honey area unit typically holds on indefinitely, providing bees the proper food supply for the cold winter months. But bees don't seem to be the sole ones that area unit appetite. Humans, bears, badgers and different animals have long been paving the winter outlets of their winged friends to reap honey. In fact, till sugar was wide obtainable among the sixteenth century, honey was the foremost sweetener among the globe, with the ancient Hellenic Republic and Sicily among the best acknowledged historical centers of honey production. The color, flavor, aroma and texture of honey vary greatly betting on the kind of flower that a bee frequents. trefoil honey, for example, differs greatly from honey harvested from bees that frequent a lavender field. 1) Wound and burn to heal There are some cases during which individuals have reported positive effects of the employment of honey within the treatment of wounds. A review revealed within the Cochrane Library indicated that honey may facilitate heal burns. The lead author of the study aforesaid that "topical honey is cheaper than different interventions, notably oral antibiotics, that area unit typically used and can manufacture different harmful facet effects." However, there's a scarcity of proof to totally support this claim. In fact, a study revealed within the Lancet Infectious Diseases all over that the applying of medical-grade honey in patients' wounds has no advantage over traditional antibiotics among qualitative analysis patients. You should ne'er provide honey to young babies because it will cause gastrointestinal disorder, a rare however serious sort of unwellness. 2) scale back the length of diarrhea. According to reviews supported analysis on honey, it's been shown to decrease the severity and length of diarrhea. Honey conjointly promotes a better intake of K and water, which is especially helpful once experiencing diarrhea. Research that passed in port, Nigeria, suggests that honey has conjointly incontestable the power to dam the actions of pathogens that usually cause diarrhea. 3) Acid reflux bar Recent analysis has shown that honey will scale back the upward flow of abdomen acid and undigested food by lining the gullet and abdomen. This has helped scale back the danger of reflux sickness (GERD). GERD will cause inflammation, acid reflux, and pyrosis. 4) fight infections In 2010, scientists at the University of the capital of The Netherlands educational eye reported within the FASEB Journal that the power of honey to kill bacterium resides in an exceeding supermolecule referred to as defensin-1. A newer study within the European Journal of Clinical biological science & Infectious Diseases showed that a precise sort of honey, referred to as Manuka honey, will facilitate forestall {clostridium|clostridia|eubacteria|eubacterium|true bacterium} difficile bacteria from sinking within the body. C. difficile is thought to cause severe diarrhea and sickness. Some studies have discovered that Manuka honey could even be effective for the treatment of MRSA infections. 5) Relieve cold and cough symptoms The World Health Organization (WHO) recommends honey as a natural cough remedy. The Yankee Academy of medical specialty conjointly acknowledges honey as a cough treatment. However, they advise that honey isn't appropriate for kids underneath one year. A 2007 study by Penn State faculty drugs|of drugs|of medication} advised that honey reduced nighttime cough and improved sleep quality in youngsters with higher tract infection to a larger extent than dextromethorphan cough medicine. 6) Replacement of adscititious sugar within the diet The sweet style of honey makes it a perfect substitute for dietary sugar. The adscititious sugar within the diet provides associate degree more than calories while not nutritionary profit. this could cause larger weight, which results in associate degree augmented risk of high vital sign and polygenic disease. Honey is adscititious to foods and beverages to sweeten the flavor while not the negative impact on the health of adscititious sugars. However, since honey continues to be a sweetener, it's vital to think about the quantity of honey used. Medicinal use Honey has been accustomed to treat a large variety of diseases, ailments, and injuries. It is mixed with different remedies and consumed or rubbed on the skin. Practitioners of Ayurvedic medication have tried to use honey as a remedy for the following: stress weakness Sleep disturbance Eyesight issues bad breath teething pain in youngsters older than one year cough and asthma attack hiccup Stomach ulcers diarrhea and infectious disease vomiting bedwetting and frequent excretion High vital sign obesity jaundice hangover relief eczema and eczema burns, cuts and wounds arthritis While not all uses of honey area unit confirmed as effective, testing it as treatment won't worsen the conditions or cause injury. Honey is usually promoted as a cosmetic resolution for cracked, dry, grained or clogged skin.

Read this: Marhaba price in Pakistan

[nofomoartworld]

Hyperallergic: The Nourishing Relationship of Jules Olitski and Anthony Caro

Installation view of Caro & Olitski: 1965-1968, Painted Sculptures and the Bennington Sprays at Paul Kasmin Gallery (all images courtesy Paul Kasmin Gallery)

From 1963 through 1965, the American painter Jules Olitski and the British sculptor Anthony Caro both taught at Bennington College in Vermont; the former was a faculty member, the latter an artist in residence. The ambitious young artists, along with the painter Kenneth Noland, who lived in the next town, saw each other almost daily, frequenting each other’s studios and exchanging ideas. In a letter to me in 1998, Olitski recalled this as the time when the three eager young men were “finding our way into making art. In those two or three years of close contact, we began to grow, for better or worse into the men we became, the artists we became. Through each other’s eyes, supportive and competitive, our art took off.” The contact was clearly important for all of them. Even after he returned to London, Caro traveled frequently to Vermont to make sculpture, stimulated by the proximity of his American painter friends.

Early on, a crucial exchange occurred when Olitski and Caro brought their students to Noland’s studio. To counteract the silence of the awed undergraduates, the three artists started talking among themselves. At a 1994 lecture at Hartford Art School, Olitski remembered Caro’s saying something about wanting his sculpture to be about “the density of the material … and I — not mean-spiritedly, but with a touch of facetiousness — I said, ‘Well, Tony, what I would like for my painting is, let’s say, just a cloud of color that remains there transfixed.���” The conversation prompted Olitski to experiment with a commercial paint sprayer instead of the rollers he had used for several years, a change that resulted in the lush, mysterious paintings now synonymous with his name. About the same time, Caro began constructing some of his most pared-down, open sculptures to date, perhaps in response to Noland’s economical, geometric paintings of the period, or perhaps to challenge his own comment about acknowledging the density of steel. Caro often said to me, “You make rules for yourself and then you break them.”

Jules Olitski, “Purple Love” (1968), acrylic on canvas, 431/4 x 301/8 inches

The exhibition Caro & Olitski: 1965-1968, Painted Sculptures and the Bennington Sprays, at Paul Kasmin Gallery through October 25, offers a capsule vision of the nourishing relationship of the two artists during these formative years. Eight frankly gorgeous, eye-testing, previously unexhibited Olitski canvases are placed among three spectacular painted steel Caro sculptures. Together, the works announce the desiderata prevalent in Olitski’s and Caro’s circle, when serious, ambitious art was not expected to solve political, social, or ecological problems but, rather, was valued for addressing emotions and intellect wordlessly, through the eye. It was a time, too, when artists were interested in the idea that, as the jazz-loving, musically sophisticated Noland said, “something you looked at could be like something you heard.”

The paintings and sculptures in Caro & Olitski: 1965–1968 require viewers to concentrate their attention over time, as they do when listening to music, in order to discover what these works have to offer. Olitski’s paintings, such as the exhibition’s generous, seductive “Tut Pink” (1965), or the more reticent, more intimate, but no less rich “Purple Love” (1968), literally cannot be seen immediately. It takes prolonged looking for our eyes to adjust, so that the unstable shifts in color become visible. The radiant hues in Olitski’s spray paintings turn out not to be monochromes but, rather, delicately modulated expanses that often change dramatically across the surface of the canvas. Dull blues coalesce out of zones of intense pink and then subside again. It’s as if Olitski were testing how much he could eliminate from a picture and still have something compelling, complex, and eloquent to look at.

Jules Olitski, “Tut Pink” (1965), acrylic on canvas, 97 x 69 inches

When we remember Olitski’s traditional art education at the National Academy School and his saying that, as a young artist, he “wanted to be Rembrandt,” we begin to see paintings such as “Tut Pink” not only as modernist affirmations of the associative power of color, but also as chromatically rich distillations of the dramatic chiaroscuro of old master painting, detached from illusion but still capable of stirring us. Olitski presents what we might read as a range of infinitely expansive, disembodied sheets of color, in different sizes, until we are stopped by events at the borders of the paintings: bands of color, masked off to “escape” from subsequent spraying or applied as punctuation with a brush. The “edge drawing” asserts the importance of the size, shape, and proportion of the hovering hues before us, marking the boundary between the painting and the everyday world. It affirms the status of the picture as a discrete object, as insistent as anything else around us, but demanding a different quality of attention and provoking different responses than ordinary things.

The same might be said of the exhibition’s three Caros, which appropriate the space we occupy and, through their unignorable presence, fulfill their author’s often stated ambition “to make sculpture real.” Despite Caro’s comment in Noland’s studio about “the density of steel,” the works at Kasmin are, in many ways, as disembodied and to be savored visually as Olitski’s paintings. More place than object, they are open structures, assembled from narrow bars and thin planes, that embrace space rather than occupy it, forcing us to move around them, seeking a view that will fully reveal their elusive logic. The clear, bright colors in which they are painted unify their disparate parts and cancel the industrial associations of steel.

Installation view of Caro & Olitski: 1965-1968, Painted Sculptures and the Bennington Sprays at Paul Kasmin Gallery

Each of the three works posits a different idea about what sculpture can be. “Green Sleeper” (1965), claims a chunk of space by measuring it against the floor plane, then loosely implies upward extension with casually angled verticals. The whole should suggest a schematic enclosure, but instead keeps us at bay, engaging us with the different relationships between each slanted vertical and the long horizontals. “Prima Luce” (1966) seems more visually solid at first, but its acid yellow-green color helps to disembody its distinct parts: a pleated, vertical “screen” and a large, low-lying disc, which lightly embraces a ground-skimming horizontal. Again, the sculpture pushes us away, encouraging us to see it as a whole. As is typical of Caro’s work, it makes us experience its hovering extension and the space between its verticals in terms of our own physicality, which animates the literally weighty piece. The golden ochre “Trefoil” (1968) is the most athletic of the three Caros, with its poised central plane, levitating above fluently “drawn” arcs, punctuated by emphatic vertical bars. It’s impossible to think of the arcs or bars as supports. “Trefoil” seems as airborne and for the eye alone as any of Olitski’s clouds of color, at the same time that it seems to be entirely about three-dimensionality and articulation in space.

It’s exciting and thought-provoking not only to see these works together, but also to see them at all. In recent years, the 1960s has often been represented as the era of Pop and Minimalism, at the expense of other inventive artists, including Caro and Olitski, who were celebrated, with ample reason, as radical innovators, at the time. It’s good to see what these two masters did in their pioneering early years. Let’s hope we soon get to see what they did over the next decades of their long, productive lives.  

Caro & Olitski: 1965-1968, Painted Sculptures and the Bennington Sprays continues at Paul Kasmin Gallery (293 10th Ave, Chelsea, Manhattan) through October 25. 

The post The Nourishing Relationship of Jules Olitski and Anthony Caro appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2yJqajQ via IFTTT

[whatshouldtrefoilacademycallme]

When you realize that a week from right now you’ll be at Trefoil

[oneladydracor]

If you have a problem with my camp I will drag you down into my personal hell and into my world so you see what I see. This is our camp. Our kids, mine. I love the hell out of them. It helps me through hard times, remembering I'm so loved. Remembering that I make an impact in these kids lives. Knowing they remember me, and will do so for years to come. It's not just one thing about that place. It's everything. It's everyone. I'm in here twice. In #4 the councillors. That's me, hugging one of my returning campers. Cheesus Crust I'm crying good tears now.

[whatshouldtrefoilacademycallme]

When your car pulls into the Trefoil parking lot

[whatshouldtrefoilacademycallme]

The car ride to Trefoil