#Verocska Kosch's Art Corner

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//...René Burri...// Former Summer Palace. Dead lotus flowers on the Kunming Lake. Beijing, China, 1964.    ::  [Verocska Kosch's Art Corner]

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THE ART OF LETTING GO It is good to remember that a part of you has always loved God. There is a part of you that has always said yes. There is a part of you that is Love itself, and that is what we must fall into. It is already there. Once you move your identity to that level of deep inner contentment, you will realize you are drawing upon a Life that is much larger than your own and from a deeper abundance. Once you learn this, why would you ever again settle for scarcity in your life? “I’m not enough! This is not enough! I do not have enough!” I am afraid this is the way culture trains you to think. It is a kind of learned helplessness. The Gospel message is just the opposite — inherent power. Thomas Merton said the way we have structured our lives, we spend our whole life climbing up the ladder of supposed success, and when we get to the top of the ladder we realize it is leaning against the wrong wall—and there is nothing at the top. To get back to the place of inherent abundance, you have to let go of all of the false agendas, unreal goals, and passing self-images. It is all about letting go. The spiritual life is more about unlearning than learning, because the deepest you already knows (1 John 2:21). Richard Rohr: Adapted from The Art of Letting Go (CD)

[itsloriel]

Willy Ronis

Chat au narcisse Gordes 1957.

via Verocska Kosch's Art Corner

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//...Verocska Kosch's Art Corner...//

"As long as a man had the courage to reject what society told him to do, he could live life on his own terms.

To what end ?

To be free.

But free to what end ?

To read books, to write books, to think."

—Paul Auster (1947-2024)

[dreaminginthedeepsouth]

Roller Coaster At Chippewa Lake Park :: [Verocska Kosch's Art Corner]

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“Again, we are daily forced to choose between depression and anxiety. Depression results from the wounding of the individuation imperative; anxiety results from moving forward into the unknown. That path of anxiety is necessary because therein lies the hope of the person to more nearly become an individual. My analyst once said to me, “You must make your fears your agenda.” When we do take on that agenda, for all the anxiety engendered, we feel better because we know we are living in ‘bonne foi’ [good faith] with ourselves. Courage is not the absence of fear. It is the perception that some things are more important to us than what we fear.” — James Hollis, Swamplands of the Soul: New Life in Dismal Places

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[dreaminginthedeepsouth]

//…Egon Schiele…//   ::  [Verocska Kosch's Art Corner] Girl with Striped Blouse,1910. watercolor and crayon on paper. In early 1910, Egon Schiele’s palette suddenly became garish and gaudy. Such unnatural coloration, as seen in this portrait of an unidentified woman, was without precedent—and none of his contemporaries applied color in quite the same way.⁠ ⁠ 1910, the year of the Austrian artist's so-called “expressionist breakthrough,” was also marked by technical experimentation as the young artist developed as a watercolorist. Schiele would soon find that charcoal, used here to boldly outline his subject, tends to bleed when overpainted. By the end of the year, he’d decisively switch to pencil.⁠

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“Visionary feminism is a wise and loving politics. It is rooted in the love of male and female being, refusing to privilege one over the other. The soul of feminist politics is the commitment to ending patriarchal domination of women and men, girls and boys. Love cannot exist in any relationship that is based on domination and coercion. Males cannot love themselves in patriarchal culture if their very self-definition relies on submission to patriarchal rules. When men embrace feminist thinking and practice, which emphasizes the value of mutual growth and self-actualization in all relationships, their emotional well-being will be enhanced. A genuine feminist politics always brings us from bondage to freedom, from lovelessness to loving.”

― bell hooks

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[dreaminginthedeepsouth]

//...ANDRÉ KERTÉSZ...// Flowers for Elizabeth, New York, 1976 | Gelatin silver print.

[Verocska Kosch's Art Corner]

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"Others disapproved of him because he devoted his whole life to art, and they saw he was not a genius. For them, the nobility of that persistence passed unnoticed."

-John Berger, from “Et in Arcadia Ego”, Confabulations

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