Dolphus, from the Icon Comics guide, i have no other info.

jean jaaues leque's and we too shall be mothers, because...

post revoultionary, obv anti clerical, and of a french tradition of anti clerical work, more interesting for a couple of reasons
1) the woman looks so much like a building, the edges, and angles, and spheres, how he makes buildings is how he made this woman
2) how she unveils her breasts, is a way to unviel the church, a call towards honesty, and also, a way of moving the fuctionalism away from marys (and womens breasts)
3) and also, him calling it we too shall be mothers, is a kind of misogynst message, he is still buying that women can be mothers or nuns, and by that extension eroticises the breast as feeder tube, making it no different than medevial madonnas, manguel writes about it in his book on art, reading pictures:
"it is no doubt that this erotic motherhood that the french architect JJL had in mind when he convieved an etching calling for the emancipation of nuns in 1794. Wishing to ally himself to the recent legislation of the French Reboulton that had confiscated ecclestical propeorty and baned all monastic vows (while at the same time appointing new church authorities elected by the assembly rather than by the French crown) Lequea became one of the advertising artsits for the republic. The title of his ethcing, strongly subversive adn highly popular...the timplied answer was self evident: beause teh erotic breast can lead back to the image of the nursing Mother...
47/8 (so maybe he is pointing out the obv., claiming what has been forever assumed, or if not forever assumed, at least assumed since Foquet painted the kings mistress as the ultimate virgin)

kissenger bails on iraq

great photos from british motorcyle gangs, from the late 50s.

novembers goals:

1) find place for the lisa yuskavage(sp)/lil annie fanny place
no such luck, and soth's thots on this kind of makes the work besides the point
2) find place for history, gender, and virginie le brun peice
pitched to art images
3) sort out the image rights for WK
playing telephone tag with issacs, need to call him on monday
4) see if i can get funding for the lamp'
done, no go
5) try to get 100 artists to agree to teh ford
up to 50
6) call ann dean
done, and art still needs to be up
7) see if i can get funding for the banff thing, if it happens
moved to spring, afa grants, and some alt funding ideas
8) buy tickets to vancouver
van moved indefitently
9) write a letter to jerome (see if you can stop at mission)
still left
10) plan intenrary for west coast trip (ie buy bus tickets, find hostel room, et al)
van moved indefitenly
11) source and start editing the clips for the homohomosocialsexual video with rachel
sourced some clips, still need to talk about it, peice to be done in jan.
12) finish up the jay dub, make prints and posters
almost done the jdub work
13) make the prints for the abstraction show at naked
instead of naked, wait until jan--so the prints can be made then
14) in vancouver:
disemmenation
punctum
gallery drop offs
see pam see andrew
photos

all postponed, punctum and disemenation can be done in calgary next week
15) in victoria
punctum
gallery drop offs
see glenys
16) in salt spring
see graeme
see gloria
see if the alberta thing is a non starter
all postponed

17) plan christmas (TO Krew)(Grandmother, etc)
12/23 for Krew, Calgary first weekend in dec, buy tickets next week

18) work thru another photo show, or something more conceptual, submit at least once
meetings with humbert cafe, toronto contest, due on the 31st

19) prepare punctum
still to do

20) have dinner/lunch/coffee etc with eric, aaron, graham, john, drew
need to do it with eric, graham and drew

21) see if you have something for SOMA's trend issue
done

22) save cash, pay the rest of the bills
figure out the fido sitution

23) work more on the scumbag fagmag
talk to rachel about this

24) try to fiangle a review copy of the Curin book somehow
how do i do this

25) 2 or 3 reviews for left hip
still to do

26) start on intital lists for p&j, sally, c&w, etc
done

27) deinstall
done

28) research apartments
started on

29) deer:
roger
to do this week

humane society, usa/canada
to do this week (called phone tag)

erins contact at the gallery
to do

this week:
research the afterimage peice
email after image
get portfolio together, general work, for calgary galleries
abstract show together, and write artist image, for the flat show
talk to issacs
sort out insurance
batman research
email linda onesheet for kurelek book
continue the deer work
cd reviews
aaron/john on friday

reba's special

when whoever is in new england is thru w. you--martina mcbride
rebas first big hit, and its so passive, no agression at all, no anger, just a weak, deseparion--whenever you quit fucking that broad, come back ome, and i will make everything okay. the only thing that redeems it, i think is the hope and strength of will, the confidence that Reba is a better catch then anyone else, and also the regionalism, the tension b/w oklahama and the east. i dont think that mcbrides version of this has either that regionalism, or the will. the song always reminds me of Jolene, too--but Dolly can get angry, and Jolene while similar in theme, lacks the anger

why havent i heard from you--kelly clarkson

clarkson moving from AA to country, and she does it so well. a honky tonk number, and i love the step down vocals that she does to get to the chorus, that and the refrain of why havent i heard from you, vamps just this side of torch...she also seems to have dropped the oversinging required by american idol

vince gill talks about her as a farm girl, i keep forgetting that she branded cattle, and barrell raced, and all of that work...and that she has been here for 34 years, i mean the sitcom is shit, and her songs have become more and more formualic, but for example, why isnt she in the hall of fame?

speaking of the sitcom, genuinely awkard...just liters of goop, really a roast would have been better, and they are qauting websters, this must have taken 20 minutes (is there anything salicious about her, any rumours--i mean i know about the plain crashes...)

the greatest man i never knew--leann rimes
i cant accurately judge daddy songs it makes me melt uncritically when country singers talk about the taciturn man who softens...Rimes does a workable version of this

trisha yearwood natters on, a bit, but i like the reclaiming of girl singers, and the acknowledgement that record company often screwed over women--i wonder if her moving into acting, producing, etc is about not being able to negioate a career in music

loretta lynn asks reba macentire to "go and get on a drunk", yearwood offers top drive

the night the lights went out in georgia--jennifer nettles
i dont know who she is, but this is my favourite performance so far, dar, dramatic, with a fierce, richness--and she roars it up so its barely in control, geniunely angry, there are a couple of reba songs, the fancy cover, this song, that talk about the south, small towns--the line dont trust a soul to a backwood southern man, because the judge has got blood on his hands, is an angry corrective to the mayberry kitsch that wanders in

she talks about how her mother told her it took twice as much effort then men...

is there life out there--wynonna
cause i grew up in a house where all women worked, in various versions, i dont consdier this as much as i should, my mother is moved deeply by it, and she considers it to be a femminist touch stone, wynonna has lost the deep blues power, the controlled shouting of her other work

keith urban talks of reba as being part of a "pratical compassion", plugs wal mart, i didnt realise that she was responsible for mammograms in rural communities though...

faith hill, im not exactly sure what she is singing, but she sure knows how to wring every drop of melodrama out of it (she makes the word lie, last literally, 18 syllables)

reba tells daddys land deer hunting stories!!

dolly makes fun of reba shilling for dillards, then breaks out the blue grass, making how blue sound so tennous and lovely, etheral and almost fleeting, less angry then it should have been, i think that dollys move to this kind of singing is a really clever way of working past a tired voice, and then she says it wasnt that good--it was excellent, and i think the umilty is geniune

reba and dolly then sing the last verse together

Miss Baraba Mandrell
it is my goal in life to be refered to as Miss Anthony Easton. They talk about the colour aqua, and uses the line "those personal places that we share as women" and then miss mandrell talks about jesus, and is the first person to actually mention the plane crash, and she is crying, and its moving, oddly enough, and all of that is in order to introduce tricia yearwood

trisha sings, and shes excellent, and i think shes feeling it, but its almost too perfect, and the piano/strings/melissima is so cinematic

we can safely ignore andy mcdowell, right

it gets really weird, megan mullaly does annie oakley, making the queerest song in the show even queerer (and well reba made it unqueer) (ie you cant get a man with a gun)

and god do i hate dakota fanning

and then george the first (one of the most fascinating aspects of the redstate and bluestate books was how geniune george ones love for coutnry was, and how it struck me as the one thing that he and his son had in common, but his son was capable of using the music as a way of connecting to an audience (and they travelled to greece together, thats just bizarre, can you imagine reba and barabara bush together?)

and alec baldwin, they are just dragging shit out of thin air in the last 20 minutes, though the victory, hunting dog story is really funny (they were in south pacific together on broadway, that i needed to see)

she has sold 50m albums (are we sure that she isnt in the hall of fame?)

james denton mentions the infamous red dress at the cma awards...

i really love the sogn does he love you, but i am not really sure that martina macbride has the power to complete it...and i dont think clarksons work on the song matches the original in sheer bitchery

adn then it continuies to meander, reba has the last word, and i think shes going to sing fancy, i hope shes going to sing fancy (she does end up saying that she hasnt finished singing, i hope thats the case)

who is more of a pathetic cliche
1) bruce weber for taking these images
2) tom brady for posing with these images
3) me wanking to these images

take yr lumps, its a link dump

sort of a panter lite, i think i like this, but i havent decided if i like it yet, i suspect that it if i saw it as a mini i would like it much more

a fairly well written story about challenges to comci books from conseratiev libraries

dozens of videos of pentecostal holy laughing, and other such strangeness.

6 pages of classic porn posters. i am in the middle of reading leggs mcneils the other hollywood, about porn, in the last half of the 20th century, mostly american, and its really problematic, it dismisses lovelaces claims of abuse (i havent ever seen a proporn femminist really tackle what lovelace means to their cause), it doesnt mention any gay folks, in the two pages on aids its kidn of talked about in code, in fact it has more pages on how good of a lay traci lords was then what AIDS meant for the death of pro-porn culture, etc...sites like this, which make porn beautiful are impt, b/c porn is lovely, a treat, and its useful, but that said, how we look at porn, and how porn is made needs to be analysed much more than it is.

smart, brave kid defeats theocratic teacher

instead of a through interviews on the matrcies of ethnicity, religion, and politics, that one can get from a former black, now orthodox muslim, who was just elected to the senate from minnepolis, one can go to cheap racism, as glen beck decided.

ann burrows makes animal robots from the usual domestic subjects

I have no idea whats happening in this manga, but its odd.


Proof that
a) the market is insane
b) i have no contect any more
this late dekooning (77), in the middle of a long peroid of bad painting and worse drinking, was sold at auction for 27m (de koonings work from the 50s, and his comeback in the 80s, showed that he could paint in two seperate ways, adn he has a masterful ability with line, he wasnt a great colourist)

more random police brutality

the new yorker reprinted a june accocella review of that playboy collection, the illustration was quite good as well

poetry podcasts from PS1, listen esp. to the engaging, campy, gossippy, funny, inside baseball of wayne kaustenbaum talking about prada, ontology, and pretty girls in lemon chiffon

i told you a year ago morris louis was in the middle of a major comeback, now with major work at auction, new record prices, and gopniks new essay here in the washinton post, i am proven correct---now give us comebacks of McCRacken, Truitt, and esp. Noland. Please. (i keep seeing morrises in repro adn live, and i like the fusnig and splitting apart, the rigourous deconsruction of noland, or the ehteral, alive, frankenthaler--i think that he fuses the practices of those two artists, and does it to a lesser extent--i also think that both frankenthaler and noland have an extensive, anayltical, career of print making--now louis hasnt had the same decades of art making that other artists on that list have, basiaclly less than a decade, but romantic potential cant be judged as well as work can.)

Rowan Willams and Benny are talking right now


Found Image of Elvis' Porcelien Monkey, from the making light entry on the Zevon song.

vancouver
under a boil alert, wrt Water

trailer
for Fincher's Zodiac, which looks like 7 meets All The PResidents Men, with Jake Gyllenhall!


Eberhard Havekost,Untitled, 1999, acrylic on canvas
what makes the painting work, is the red curve near the bottom

lesbian preforms sit in, wanting to go to iraq

1 343 513 left:

1450 A Cornell Box
1451 A Dubuffet brown and grey portrait
1452 A Frank Stella Black Painting
1453 A Ellsworth Kelly Leaf Drawing
1454 A Large red and yellow Stella
1455 Ken Price, the avant garde cermaicist, flower vase

and 4113 that i wont be able to spend

so 1455 if i am buying a lot of secondary, drawing, studies, manquettes, and lesser work, but the point is there, i think, that prices are random...

and one more time, with work from only the last 2 weeks of auctions, because i want to be fair, and buy more superstar peices

1) Chillida's patinaed bronze puzzle box
2) Bacon's pink and green sexy nude
3) A Manzoni Achrome
4) That Ryman
5) A large judd Wall peice
6) A 1967 Wessleman, that combines nudes and still lives
7) An Andre Cedar peice
8) A Balderessi photowork
9) a complicated, almost minimal Cornell box
10) A Joan Mitchell abstraction
11) A NAguchi Enro
12) Warhol's serial Martinson Coffe, as writen about by Judd
13) Koons Ushering In Banality
14) A Numan flourscent tube, encased in what looks like sausage casing
15) Roy Lichenstien Black and White Sunrise
16) Gustons Discourse,w ith two klansmen
17) One of Brice Marden's v. subtle oil and wax works
18) A Prince joke painting
19) A Martin from 2001
20) A Close portrait of Phillip Glass
21) Teh etheral, angelic, Dolly by Warhol
22) A Cecily Brown pink and red abstraction
23) A Jenny Saville work, that looks deathlike
24) A Webster work, called Golden Shower
25) Jim Lamble green door peice
26) A Richard Prince Cowboy
27) Tim and Sue Webster's viscous
28) Karen Klimincks Malta peice
29) A sillicon casting, by Paul McCarthy
30) Christopher Wool's text peice
31) Jack Perisons found sign, LUST
32) A sexy Elizabeth Peyton work
33) Gursks orgainzed orgy of discount merchandise
34) Richter's nude descending a staircase
35) one flourscent tube, diagonal, by Flavin
36) A Hirst Medical work
37) Albers' Homage to the Sqaure, a black and grey one
38) A Chamberlin steel sculpture
39) A Cornell sandbox
40) A Frank STella Black Painting
41) A Kline drawing, large and propulsive
42) One of Warhol's Brillo Box
43) A Kelly line drawing
44) Stellas abstraction, from 1968, coming from one of the Protractor peics
45) A Swampwater raw canvas work by Louis
46) A Lichenstein drawing of an explosion, poporiffic
47-49) Two Ruscha prints
50) An oddly dark, rondo, portrait of Troy Donahue, by Warhol
51) another Guston drawing
52) A Small David SMith bronze sculpture
53) A complicated Indiana text peice
54) Oldenbergs Typewriter Eraser sculpture, handsome and dynamic
55) An Alex Katz work, a sailor on a field of deep blackblue
56) A Deibroken nude
57) A double, bimorphic abstraction, in slick black marble, by Borgeious
58) A Ken Price cermaic vase
59) Bechtel's romantic, 1967 Chevy
60) a mid 80s Rosenquist, black and red, slick and meanginless, but the way iot slides over the eyes
61) A mnaquette by Oldenberg, of a saw, in cardboard
62-64) Two Hockney male portraits, in pencil
65) A Nogouchi sculpture, in obsidon and steel
66) a late study of the Gates, by Christo
67) Japan is America, by Ruscha
68) A black Marden Monochrome
69) one of Flavins Taitlin's monuments
70) A lewitt floor piece, of wood sqaures
71-73) Two Andre floor peices, of copper and steel
74) An early, graffiti scrawled Twombly, with some great colour
75) A large lichenstein brushstroke canvas, with black benday dots.
76) Ruscha's flag work.
77) An Oldenberg soft sculpture, of a hot dog.
78) A twombly, of similar qaulities, but more serene.
79) A Kline
80) A black and purple work on paper, by Rothko
81) De Koonings chrachoal and pencil study, of two women
82) A Reinhardt monochrome, in an almsot tiffany blue
83) Fischl's Daddy's Girl, from 1982
84) A Anslem Kiefer, barn painting, all muck, shit, straw, and the like.
85) Louise Borgeious, bronze spider
86) A Damien Hirst sculpture, of a dozen skeletons
87) Gurskys photo of the UN, as postmodernist grid
88) A Koons stainless steel sculpture
89) one of Richter's paintings that look like colour samples
90) A set of polychromed wood cherubs, baroqly gorgeous, by Koons
91) A large Haring painting, of a dog jumping through a hole in a mans belly
92) another Fischl nude
93) Sugimoto's photo of the Met's Opera house
94-97) Three Polke drawings
98) Sugimotos, almost monochromotic North Pacific Ocean, Mt. Tamalpais
99) A Torres jigsaw puzzle
100) one of those upside down trees by Rodney Graham
101) A Marylin Minter photo of prada shoes stomping in mud
102) A Tuymuns drawing
103) A fantastic Will Cotton candy landscape
104) Haveqosts deconstruction of modernist aestheic
105) The iconic Neo Racuh mushroom painting
106) A Kieth Tyson text peice
107) Inka Essenhighs truly creepy evil disney work Recosntruction
108) Peytons paitning of Evan Dando recording
109) Karen Kliminick soviet horse
110-112) Two Tom Sachs works, including Tiffany McDonalds
113) Fred Tomassalis stoner masterpeice
114) A Kelly drawing of a banana leaf
115) A sean scully greytone grid work
116) A Larry Bell glass cube
117-119) Two Judd works, including a singualr slick black shelf
120) A Red Orange Kelly Rhombus
121) A serra Oilstick work
122) The undervalued John McCracken, one of his leaning plank works
123-125 Two Longo Drawings
126) A Set of Belcher photos of Foundries
127) A Naim Jun Paik TV Work
128) A Holzer LED red text work
129) A Gary Hume paitned bronze snowman
130) A Double portrait by John Wesley
131) Warhols Hammer and Sickle print
132) Wesslman's 1975 nude, Kate, superslick.
133) The Ruscha work mystery
134) Indianas Black 9 ona day glo yellow field
135) Warhol's oxidazation paintings
136) A Rosenquist work from teh mid 1980s
137) Richard Estes painting of the Williamsberg bridge
138) Ruscha's The Sea of Desire
139-141) Two of those Warhol naked men cocteu rip offs
142) A Ruscha gunpowder drawing
143) A Fontanna double bronze
144) Calders Figa Brooch
145) a Noland horziontal, stipe painting
146) Two Martin graphite drawings, including a delicate graphite one, on subtle yellow paper, from 1962
147) A Calligraphic Kline ink drawing
148-150 Two Guston landscape drawings, with out figuration
151) a really messy, almsot menstural, painting by Krasner
152) A muscular, singular tony smith bronze
153) A Louis painting that looks nolandy
154) Robert Cottingham's diner font shot water colour
155) Hiro's photo of a reindeer hock with a ruby necklance
156) various nudes, photographs
157-160 Three Tripe Albumen prints of ships
161) An Atget print of versailles
162) A Kersetz New York Print
163 PENGUINS (by pointing, 1915, nad tinted photo)
164) A Bellmer nude
165) Brassais portrait fo a Butcher
166) A Walker Evans okie portrait
167) Weegee's opera print
168) Erwitts California photo
169) A link picture of a train in brimmingham photo
170) Freidlander, middle american ladnscape
171) A Mapplethorpe nude
172) Iriving Penn's work of Marlene Deitrich
173) David Bailey's set of Pin Ups
174) A Vogue print of Jerry Hall in Russia
175) A DEgas Bronze of a Horse
176) A Cezanne study of thatched cottages
177) A Redon landscape
178) Two Gazelles and Nude, Lipchitz
179) A lovely, rose coloured Bonnard nude
180) Naum Gabo's plastic and bronze composition
181) A Large Giocettei bronze
182) a really strange giant horse fighting paitning
183) A Buffet painting of a butterfly
184) a smooth, curved, coperal, and erotic marble sculpture by Arp
185) A Nicholson relief
186) ARchipenko's machine age nude
187) A Tauber-Arp textile work
188-190 Two Alber prints
191-194 Clemin's nature prints
195-205 Various Close Prints
206-208 Some Deiborken prints, from Crownpoint
209-214 Four various Estes urban landscapes
215-221 Some amazing Frankenthaler aquatints, including soem from her illsutrations to the tale of genji
222 Gopniks transcendently gorgeous poplar trees
223 A pharmeticual print by Hirst
224-230 6 Hockney prints, including a swimming pool
231-233 Two Indiana, including an illustrated Creely MS
234-237 Four Johns Prints
238-240 Two Judd Multiplies
241-247 6 Kelly works, including a specturm
248)-251 Three Sol Lewitt prints
252-254 Two Lichenstein landscapes, including one on mylar
255-257 Two Marden bichromes
258) Barnett Newman, Print
259) Noland Litho, stripes
260 A Close SElf Portrait
261 Big Wessleman red lips, smoking
262 WArhols Judy/Blackgama ad
263-265 Two Twomply Lithos
265-270 5 variosu etchings and woodcuts, including one of candy apples, by Theibaud
271 Teroaka's postmodern recreation of Edo era prints
272 A fantastic, earthy Sean Scully work.

and 89 bucks left over!

about annie poogook's sobey award winning drawings


i was impressed formally, with Poogooks work--i mean she is a third generation cape dorset worker, and so one cannot get over that heritage, but she doesnt try to.

The work, for many reasons, is intended to be about the north, she is deconstructing the souths realtionship to the north, to the idea of a kind of blank wilderness. It is not only that she draws tvs and porn and jerry springer and the like, it is something else.

The colours for one. The pastels, greys, bright greens, pinks, etc are so much against the idea of whiteness, but not in a fake Ted Harrison way; and the way that the figures work in clusters, in twos or three--reminding one of the collective north, but also the history of forced settlement. I am reminded of the large drawing she did of the frozen food section, up north, and the women buying groceries, and it reminds me of how political in Canada, the weather can be; and what it means to civilize the cold--how much of a fuck you that is to Atwood's Surrival or Valgardsen or Sinclair Ross...

There is a backlash against her, because people think she is cute, and i think aside from the documentary work above, and how important making the fantasia of otherness that infuses cape dorset real, is incredibly important, but i think also she is deeply honest. Her drawings of drug addiction and achocholism, and her combonotion of native and christian religious texts has a desperation and mournful rawness that doesnt seem like she is being cute, having those two sets of work together at the powerplant, talked more about what it meant to be inuit, then any of the white papers and isaac gallery shows and earnest reports in the globe and mail ever could.

i realise there will always be problems, telling tales out of school, exoticism, the politics of otherness, gender, race, desire--and the outsider/insider processing is a really sensitive spot right now, esp. with the explotation of the market, and the difficulty of funnelling all of that insular work as it explodes into the world stage will be a really difficult game to play, and im not sure shes playing it well--but those are slightly seperate questions than the work itself.

all of that said, i couldnt imagine a better artist winning the sobey--the problems of the market withstanding...

The Boy is Like a Tape Loop, arcylic on canvas, John Tremblay, 2006

i was listening to kaustenbaum read his poetry, adn he talked about how much he loved this guy, and how hot he found him...

hes like a faggot remix of sue williams, and that title is so evocative, and i mean i like language imprinting itself onto hardedge abstraction...

geometries of desire and all that

there is some controversey that this sale actually happened, but i am going to continue
the geffen/pollock thing
i was at:
52 256 010

1250 An Iriving Penn, a great triune picture of three Bendouin chiefs
1251 A Lartiuge Albumen print, of a bathing couple
1252-1256 Four Charles Jones photographs, including ones of tulips
1257-1261 Four almost underexposed, dark, photos of scratchings on public buildingsi n paris, by BRassai
1262-1264 Two Bellmer photos of Dolls
1265 Diane Arbus's photo of Burlesque
1266-1268 Two Newton Polaroids
1269 A Keresetz work, this time of Point Sully
1270 Two Gab Fabian Miller portfolios, including one of Beech Trees
1271 Sugimotos print of the United Nations
1272 Louise Lawler print of three edwardian hats
1273 A fantastic Hiro, the one with a ruby necklace splayed out over a reindeers hoof
1274 Sauvius's Descent from The Cross, a drawing with a remakrable ease.
1275 An odd Adam Eshmier watercolour, with intensity of form and colour
1276 A v. minor landscape by Anothnie Waterloo
1277 Two Dutch paintings of the interiors of ships by Francis Deowoue
1278 an amazing drawing of Dutch Cows, from the 17th century, so fat and borgeiosue and fat and contended
1279 William Van Viers' mystical portrait of mourning
1280-1282 A Twin wooded landscape by Coyot
1283 A cute little drawing by Scheidel of a Bunny
1284 A Richard Cottingham Photorealist drawing of sings
1285 ED Ruscha's More Poison
1286 A small painted steel sculpture by John Chamberlin
1287 A mid 70s, monochromatic, Lee Krasner painting, called Cascade
1288 Another Krasner, called Night Bloom, which looks almost menstural
1289 A very early Pollock, where you can see the Navaho sand paintings
1290-1292 Two De Kooning Prep Drawings
1293 A Neel Portait of a really creepy looking kid holding a cat.
1294 Guston's painting of a red brick wall
1295 A small Mitchell painting on linen
1296 A Helen Frankenthaler blue and brown watercolour
1297-1299 Two Twombly works on paper, mostly made with pencil, scrawly goodness
1300-1302 Two Gauches by Kline, including a study for Washington Bridge
1303 A fairly complicated, red, white and black, geometric composition by Albers
1304-1306 Two Agnes Martin drawings, including a tender, and ineffable graphite compoistion
1307 A Noland stripe painting
1308 Gene Davis' Licorice Stick
1309-1315 Six Calder works, including jewellery and prints
1316 One of the uglier Vassleries, sheerly for its insane colour choices
1317 Indianas Love, from 1972
1318-1323 Various Warhols, including an early self portrait, other pencil work and aHammer and Sickle print
1324-1326 Three Ruscha prints, including sea of desire and one of a folded peice of paper
1327 A Giant painted alimunium brushstroke, by Lichenstien
1328-1330 Two other going drawigns, including one from his Diner seires
1331 Estes Brooklyn Bridge work
1332 A Big Rosenquist
1333 one of Robert Rauschenberg's hoarfrost works
1334-1337 Three more Warhols, including an Oxidazation painting
1338 RObert Indianisa black and yellow 9
1339-1341 Two more Ruscha Prints, including one from the Crown Point Maps portfolio
1342 one of those JEnny Holzer's LED work
1343 Gary Humes painted bronze snowman
1344-1346 Two Longo torn men
1347 The Belcher's Fordertume
1348 A Judd wood relief
1349 An excellent example of Serra's oilstick work
1350 A LeWitt stacked box peice
1351 a leaning wall peice by the undervalued McCracken
1352-1353 Two big, elaborate Flavins, including a yellow and red T peice
1354 a Larry Bell glass cube work
1355-1357 Two more Judd works, including a silver box peice
1357 Ellsworth Kellys Red and Orange titled rectangle
1358-1360 Two Sean Scully grid works
1361 A Lawler photo of art in rich peoples house
1362 A Daugertype of Chuck Close, by Chuck Close
1363 A John Balderessi photowork
1364 A Glen Lingon text peice
1365 Chris Wool's Fuck Em If They Cant Take A Joke
1366 A Homoerotic ink drawing by Herman Bas
1367 A big Pettibon surf peice
1368-1370 Two Baedbecker works, including a deer peice
1371 Another Ligon, this one of the Malcom X colouring book
1372 A afrocentric Olifiri Drawing
1373 Antioni's Lipstick peice
1374 Tom Sachs big brass Hello Kitty
1375 Tyson's Cinematic text peice
1376-1378 Two Essenhigh paintings, one on paper and one on canvas
1379 Karen Kliminck's horse with soviet flag
1380 Will Cotton's Cherry Pop painting
1381 Neo Rauchs painting of a the giant mushroom
1382 Francis Alys painting of paralegal
1383 Maureen Gallace landscape
1384 A filthy Chapman study
1385 Thomas STruth Family photo
1386 Jeff Wall photo work
1387-1389 Two Dijkstra's including one of her bathers
1390 A Gonzales-Tores jigsaw puzzle
1391 A GIlbert and George Text peice
1392-1395 Three Sigmar Polke prints, including one messy chaotic superman prints
1396 a large Salle print
1397-1400 Three Haring drawings, including a frieze on deep red paper
1401 A Fischl watercolour, of two nudes and a dog
1402 Carol Schuman's collage work
1403 A Luc Tuymuns annonymous painting of a woman, in a pale blue suit
1404 Brice Mardens monochromotic rectangle
1405-1407 Two Andre steel floor pieces
1408 A great, heavily detailed, Theibaud painting of a deli.
1409 A large Twombly Painting, neo-classical in its referents
1450 A Large Lichenstien Brush painting, yellow and red, on black, benday dot background
1451 A Moris Louis raw canvas work, for its use of negative space
1452 A classic, large, gestural Black and White Kline
1453 A De Kooning pencil drawing of two women
1454 A Louise Borgeious spider
1455 Jeff Koons' chrome sculpture of a troll
1456 Gurskys post mdoernist grid, Avenue of the Americas
1457 Gerald Richeters Zen Fabren, that looks like a paint sample
1458 Koons' classic mid 80s polychrome wood sculpture
1459 A Oldenberg soft sculpture

1 343 513 left.


(Couldn't afford De Kooning's Two Women for 19m and Warhol Jackie for 16m)

(why are late 70s De Koonings selling for 27m, why?)

i went to confession yesterday, a fairly rare occurance, i was feeling unsettled about tonys death, and a few other more thorny ethical dilemmas, unsettled enough that i needed to make right w. g-d. so i went in to the room, and talked through, it was difficult, i didnt look up, and i got thru it--using simple language, and mentioning spec, words of christ where i thot i had done wrong.

the priest then, asked if i went to mass reguallry, if i prayed daily, if i drank too much, if i swore, if i had any sexual sins...

i think that the questions father asks are more about the community, and his own pysche than what is said, with few exceptions (stephen, the priests at st joes), and i really needed to be forgiven for the sins i confessed to.

i felt angry, that he didnt know how to deal with what i was asking him, and he went thru the grocery list--and then the assumption, that if i did all of those things, then the bigger things would be kept in check.

i refuse to confess sexual sins, mostly because i think those sins the church considers , i dont; and i dont go to mass because of issues of access, and comfort, and exhaustion, and well i think any saviour who uses words like viper, and nation of seperents, and whoremonger, and who tore the temple up, and hung out with the working classes, doesnt really care about the occasional fuck.

but i also think, that the sins i confess to--that i am not humble enough, that i have not given alms to the poor, that i have not fed the hungry, clothed the naked, that i am short, angry, impatient, uncharitiable, that i lack mercy, and am selfish, that i havent done enough for the least of my brethern, that i am wasteful and decadent and lustful and bored and dismaying...my lack of hope, and my surfiet of desire, my gluttony, my sloth, my avarice...all of those things, are more important than one too many gins, or one too many fucks, or reading a bit too much porn...

but i cannot seem to confess to those sins, w/o the priest wanting to go back to the list everyone else uses.

the document then, is no longer for history, an inert material through which it tries to reconstitue what men have done or said, the events of which only the trace remains, history is now trying to define within the documentary itself: unities, totalties, seires, relations...

uncle michel arch. of knowledge 7

three tv specials to research
1965 Xmas in Vietnam
1965 Why Vietnam (pentagon funded)
66-7 The Anderson Platoon
1966, released 1968 A Tale of War

Other Film to Researsch:
Marxist Film, cofinanced by East Germany, Cuba, and other satilete states called In the Year of the Pig, 1969
Nick MacDonald The Liberal WAr 1972

qoutes:
...the dissoultion of meaning iton labrythine, ironic jargon, facilated the army's and the adminstration;s use of the public war as non-ideological, as an apolitcal humane response to ideolgocially motivated agression...
244

(LBJ) argued on film that vietnam was a defenisve war, the US Was "simply helping a free people to defend their soverignty" against (HCM) and his plans for a "reign of terror" (245)

Felix Greenes Inside North Vietnam is a case in point, altough CBS sponsored it, and sup[plied greene with stock and labtraory services, in return for an option, it deemed the film unshowable. Even Walter Cronkites celebrated expression of resevrations about the warm his vision in Feb 68 reflected the shift in majoirtiy opinon that had happened 7 months before...
(246)

In the year of the Pig...the clear visbilty of ABC's micorphones in interviewes with soilders lays bare the super impositon of station advertisings...osteanbily objective
251

From David E James: Documentating the Vietnam War, Hanoi to Hollywood: VEittnam WAr in American Film (Ed Dittmer/Michlod), Rutgers 239-253

Notes:
Presence of Vietcong Films
Marxist Film, cofinanced by East Germany, Cuba, and other satilete states called In the Year of the Pig, 1969

best housepaint colours ever

an ongoing scandal is about to emerge concerning Bev Oda, the heritage minister, and her tendecy to get campaign donations from major entertainment companies...a conflict of interest, where her policies are much in favour of the entertainment

images
from a 18th century german rosacrian text

sri lankan governments are activley recuriting child soilders


French Shortbus poster, does anyone know who did the illustration

more conserative talking from the catholic church, this time from the head of the US conference of Catholic Bishops

v long discussion of maoists, the working classes, and what the P means in the Peoples Republic of China--written by a marxist journal, some fascianting discussion and some interesting gossip, not sure i would trust it, for the obvious reasons


Snapshot, posted by a son, of his father, an american soilder dressed as the Vietcong

An MA themed photoshoot, from spanish vogue

Feingold wont run in 08

Jeff Brouws takes photos of subjects that seem cliched, gas stations, carnivals, american banality, but his composition and colour is excellent, subdued and oddly unkitschy

i love skateboard photography, for its casualness, and because it manages to mantain a kind of serialism, like drawnigs of dancer,s each position in a hundred directions, scott pommier is oneo f the msot talented i have seen in recent memory, because his formalism underplays a delicate sense of who is he photographing, there is a well hewed humanism here...

his work is here go through all of it

french book awards tend to horribly corruption

the greatest peice of t shirt design, perhaps ever. buy me this now.

RAYMOND'S NOTES

that dude was wearing a flak alb!

its not a paratrooper, its a helicopter gunner, in the photo from 67
see a movie called 84 Charlie Mopic, directed by Patrick Shane Duncan
all of the fighting, has none of the bombast, even the cinematic bombast

research the huet photo better

notice the convient black guy in the john kerry photo

increased flow in the interest of the pysche of the populace, people latch onto the imageries more quickly, because they are used to photos

photos are everywhere, for everyreason

and the images, the memes move faster, the people behind them dont, because you dont have to go thru time or life

when the photos are out there, they just endlessly utilised

won on the battlefield and lost at home, the persistent meme was lost on the home front, which was not strictly true, the war went thru a number of phases some of which it won and some of which it lost, 1969 was the big part, tet offensive wasnt teh big deal, won better

creighton abrams was deputy of westmorleand from 69

gossip circle,they knew, word travelled fast

what did stars and stripes do

soilders proably saw the pictures

i did that too, nto alot, hardly any

new guys who were rotated in, who knew about my lai, the response would be those guys were fuck nuts but shit happens in the field

what happens in the field stays in field

recollation of a small crimes and big ones

From the Imperial War Musuem, London:



Text of Poster:
"Why deliberate warfare against innocent civilians?

In their attempt to seize South Vietnam, the Viet Cong use terror to create chaos and fear - by killing and maiming villagers, teachers, students and health officials".

'Vietnam syndrome'
"Television brought the brutality of war into the comfort of the living room. Vietnam was lost in the living rooms of America - not on the battlefields of Vietnam." Marshall McLuhan, 1975

claimed to be the most photographed war in the world, true? how do you judge something like that?

Catherine Leroy, one way trip to saigon, never shot a picture before she got to nam, award winning when she got there---


David Burnett, last photog hired by life, 1972, also worked for Time


Giles Canon, 1967

the images are simillary annonymous, but the paratrooper has a heroic edge, and his annonmyity is one infused with both honor and power--he is doing good work...the bleakness, desperation, and alost apoclyptic landscape, and then christian services, asks more questiosn then it answers (are they asking for protection, for forgiveness, are they seeking strenght, mercy, comfort; in 1972, after 27 years, and tens of thousands of soilders, is there anything that can be done to restore the landscape?

here done a year later, is less poetic, but more documentary, catholic, so the theology of the body, of martyrtdom and transubtation comes to the forefront



(what did the soilders think of this imagery)

that said, imagery is widely devergent, here is LeRoy, in 1967:

pieta, that qoutes the Eugene Smith photos of mercury poisioning


Huet, 1967, makes the most honourable, anonymous images of the war, here is an annuction, a dead paratrooper raises frmo the jungle

photos above can be found in peice unique
all of these come from profesional photjornalists, published mostly in middle american, centre right news publications, and now a gallery that sells them, which is underwritten by the AP,

even the army had its own fotogs, did the soilders, they must have?

(there was not one vietnam then, but thousands)

Senate Foriegn Realtions Comittee, April 23, 1971, John Kerry:
Testifying before the Senate Foreign Relations Committee on April 23, 1971, Kerry claimed that U.S. soldiers had “raped, cut off ears, cut off heads, taped wires from portable telephones to human genitals and turned up the power, cut off limbs, blown up bodies, randomly shot at civilians, razed villages, shot cattle and dogs for fun, poisoned food stocks, and generally ravaged the countryside of South Vietnam.”

We rationalized destroying villages in order to save them. We saw America lose her sense of morality as she accepted very coolly a My Lai and refused to give up the image of American soldiers who hand out chocolate bars and chewing gum.

We watched the United States falsification of body counts, in fact the glorification of body counts. We listened while month after month we were told the back of the enemy was about to break. We fought using weapons against "oriental human beings." We fought using weapons against those people which I do not believe this country would dream of using were we fighting in the European theater. We watched while men charged up hills because a general said that hill has to be taken, and after losing one platoon or two platoons they marched away to leave the hill for reoccupation by the North Vietnamese. We watched pride allow the most unimportant battles to be blown into extravaganzas, because we couldn't lose, and we couldn't retreat, and because it didn't matter how many American bodies were lost to prove that point,

From His Offical Website

that snapshot, intended as private, reminding, of esprit d corps, used later, for political gain, in fact 2004 election, had many images that were intedned as not quite news, private photos as public, in addition to the obv photoshop jobs...

this from snopes:



2nd Action, Vietnam Veterans Against The war, need to date it, but you cant even get to the top of the Statue of Liberty these days, it just isnt going to happen...and it seems that the ability to get the audience of the Media, etc in one large, iconic gesture, has been a game of diminishing returns... (abu gharib perhaps the last example, cannot think of a protesting, pacifist event that put itself in such a position) (i want to talk a bit here, about the events of 9/11, and later events in mumbai, london and spain as a media creation, as an act of theater--but i dont want to conflate the non violent, peaceful protest of VVAW with islams, just as im worried i have goodwinned jerekai(sp)'s foto below)


(im sorting here, slowly, how media was dissemaited in veitnam, because it seems to be the foundation of the rest of the essay)

seymour hersh 1968 published inital report, published my lai 4 1969, and the book cover up, in 1972

from far left to centre, because government moved?

His 1972 "Cover-Up," a report on the Army's cowardly investigation of the My Lai massacre -- the bloodbath Hersh had previously exposed in his blockbuster "My Lai 4" -- also sold poorly. When he revealed in 1991's "The Samson Option" that Israel was secretly stockpiling nuclear weapons, the response was yawns.
From Salon Profile found here: http://archive.salon.com/people/bc/2000/01/18/hersh/

at the height, the radical magazine ramparts had 400k circulation, presently the nyer, where hersh works, has a circulation of ca 120k

wallace, hersh both covered abu/my lai/guatonomo
wallace and cronkite both worked for cbs, which was owned by whom in 1968-1972

what was ramparts realtionship with Life?

keep it on still images and visual texts!

notes from ATROCITIES ‘R’ U.S.? by William Ausbaugh published by The American History Review 12/03,

Some of its soldiers vied to become “double veterans,”
disgusting slang that meant one had raped and then killed the victim
afterward. Others shot anyone that moved, killing countless women, chil-
dren, and elderly men. But it was Lt. Calley who became the most notorious
for his methodical, systematic, and large-scale murders. Calley, under orders
from Captain Medina to move through the village quickly, was slowed by the
large collection of civilian prisoners that members of his platoon had left alive
and now guarded. Calley hastily chose to murder the prisoners, either
properly interpreting Medina’s instructions or misunderstanding his original
orders

Army photographer Sergeant Ronald L. Haeberle did not behave so
heroically, although he too proved important for bringing light to My Lai. He
came into My Lai with the Third Platoon and a fellow reporter. The two
journalists witnessed some civilians being killed, but usually shooting oc-
curred when they turned away. With his army-issued camera, Haeberle took
black-and-white pictures of the village, although nothing that would show
anything more than a normal and successful search-and-destroy mission. Yet
with his personal camera loaded with color slide film, Haeberle photo-
graphed bodies of women and children blown apart by grenades and point-
blank rifle fire. These slides later became final proof that a massacre had
occurred. They allowed Army investigators to move beyond their disbelief to
begin proceedings against the soldiers and officers responsible. Starting in
December 1969, the American public would see these horrifying pictures in
morning newspapers. Yet Haeberle never reported the massacre to his
superiors or army newspaper readers; instead after his discharge he used the
slides to show church groups and community organizations the horrors of the
Vietnam War.

which church and community orgs?
why didnt he talk to the pentagon

Calleys supervisor was gotten off the hook by F Lee Bailey !!

David L. Anderson, ed., Facing My Lai: Moving Beyond the
Massacre (1998); Michael Bilton and Kevin Sim, Four Hours in My Lai (1992);
Richard Hammer, The Court-Martial of Lt. Calley (1971); and John Sack,
Lieutenant Calley: His Own Story (1970)

Hawks argued that Calley was only doing his duty, and war is hell—
civilians beware. Doves claimed that Calley was serving as a scapegoat for the
higher ranking officers involved in the My Lai operation as well as the chain
of command generally.

dont have to make the parrells here, do i?

on my lai:



taken by army photographer Ronald L. Haeberle

connections b/w this work finding its way into the public discourse, and the abu gharib in the same manner, with the congress and the like--

did the discourses have a matching pattern?

California State University, Channel Islands:

The Army photographer, Ronald Haeberle, assigned to Charlie Company on March 16th, 1968 had two cameras. One was an Army standard; one was his personal camera. The film on the Army owned camera, i.e., the official camera of the State, showed standard operations ­ that is, 'authorized' and 'official' operations including interrogating villagers and burning 'insurgent' huts. What the film on the personal camera showed, however, was different. When turned over to the press and Government by the photographer, those 'unofficial' photographs provided the grounds for a court martial. Haeberle's personal images (owned by himself and not the US Government) showed hundreds of villagers who had been killed by U.S. troops. More significantly, they showed that the dead were primarily women and children, including infants. These photographs exposed the fact that the 'insurgents' in popular discourse about Vietnam were actually unarmed civilians. The photos made visible to viewers that the 'enemy' in Vietnam was actually the indigenous Vietnamese population.

Camilla Benolirao Griggers, qouted on wiki... and a book called visulazing war, which i cant seem to find online (they are also owned by the us government, as opposed to the abu gharib fotos which seem to be owned by whom?)

two more images, less popularized, including one of a mother and a child, with open wounds)

Haberlee's photos were published by Life Magazine and now have the AP Slug after life magazine

when did the AP Slug appear, and when did the pentagon slug disappear?

Testimony of Ronald Haeberle, as archived by the University of Missouri at Kansas City:
http://www.law.umkc.edu/faculty/projects/ftrials/mylai/Myl_thabe.htm

Excerpts:
Q: Then you did not see Lieutenant Calley?

A: I did not see Lieutenant Calley.

Q: Do you not have a definite interest in the outcome of the suit?

A: Yes, sir, I do have an interest in it.

Q: And isn't that interest in selling books and magazine articles?

A: No, sir.

Q: Then what is your interest?

A: In seeing a fair trial.

Q: Did you not make the following statement to him: that you wished you'd waited until after the court-martial to sell the pictures because you would have made more money?

A: No, sir, I did not.
--------------------------------------------------------------------------------
Q: From the time you took those pictures until after you got back to the United States, no one had been told of the color film, is that right? Did you ever tell any officer about what you'd seen?

A: I can't specifically recall. Jay and I talked about it. But I can't specifically recall.

Q: You never told anyone in the chain of command about the atrocity and massacre?

A: No, sir.

Q: Weren't you shocked at what you'd seen? Weren't you upset by what you'd seen? Why didn't you report it?

A: I felt it was unusual but I wasn't the one to bring it up. We decided to keep quiet until someone came to us and not to start the ball rolling. . .
--------------------------------------------------------------------------------
Q: Did you ever consider the impact of your failure to disclose that you had these pictures or information to your commander or senior commanders?

A: No, sir, I did not.

Q: You had no feeling that failure to disclose that information was a dereliction of duty?

A: I've heard that.
---------------------------------------------------------------------------------

the question then comes down to, is reportage enough, and then of course the difference is that RH claims that it was for news and not glory that he was shooting film

(also note the helicopter that stopped the slaughter, and ron ridenhour, who helped stop the practices, by writing to his congressman, entirely by gossip and 2nd hand information--compare the writing, with stamps and ink, and army censors, vs the emailing and message boards, of the digital age.)


research this


Seymour Hersh's work on My Lai, and his consitency on the left thru out that, onto and including Abu Gharib

Perhaps the most compelling and memorable anti war poster of the weitnam era is Q:And Babies A: and Babies based on a photograph of the my lai massacre taken by the army combat photographer Ron Habarale. the words superimpsoed over this image are from an interveiw with my lai partcipant who had killed dozens of vietemese citizens. The art workers collation, an anti war activist group, decidedthat the poster...shold be widely distrubtedto counter news reports that generally folllowed the US Miltary's offical line. In Nov. 1969 AWV members met wtih reps of the Musuem of Modern Art in New York (who distrubuted it)... Art of Engagement: Visual Politics in California and Beyond Peter Selz, 46

questions:
1) wallace, and other media interviews, with england and company, bidding wars, etc
2) how could the pictures be both published in life magazine, one of the sqaurest in the country, and be interviewd by wallace adn still claim to be ignored
3) abu gharib, the response of the art world, the iRaq posters, the meme of liddy englands hand gesture as meaningless gesture, the toxic irony and the baldness of the work (though National Lampoon doing McCally as Alfred Newman, is as ironic as the iRaq poster)
4) who and when did wallace interview, and for what publication

The two other iconic photos, of napalmed babies, and the execution, were done in 1968 by Nicki Ut and Eddie Adams resepctivley

(i want to talk, i think, about the soilders in teh background, helmeted, and gaurded, an the political implications of being stripped, but i dont think it fits with the article)

about Nicki Ut:
From Teh Amherst Magazine, article, The Pain of War, from Amherst College:

Now, 30 years or so later, another war, in another place, fought in ways and on terms I would not have chosen, provides one context for revisiting those memories and that imagining. Yet today, it is the disoriented looks on the faces of the children in the right of the photograph and the anguish of the boy on the left rather than the screaming child at the center that first catches my attention. What was in their thoughts? What sense could they make of the violence around them?

Austin D. Sarat, William Nelson Cromwell Professor of Jurisprudence and Political Science


From the same article, a photo by Kenneth Jareke

the burning then, is the same, and it combines a sort of stalwart soilder stance, with the horror of being burnt alive, and it seems to be a crossbreeding of those two images--or of the nazis and the jews, even--of being burnt and doing the burning in one image...

this was one of the most explicit images that emerged from the first gulf war, and its scarity, its lack of public utility, does something to the surity of baudillards essay, in teh same way as the atari green missles destroying baghdad do something to gird it

Some General Vietnam Stuff

Lyndon B. Johnson takes the oath as president and declares, "We can never again stand aside, prideful in isolation. Terrific dangers and troubles that we once called "foreign" now constantly live among us..."
Presidental Oath, 1/20/65

compare to the rhetoric of terror, esp knowns and unknowns (and the idea that Cheny/Rumsfield were mixing about nixon)

Tet Offensive started Jan 1968, so WC was part of that...

where was he, wrt broadcast

Cronkite:
Tonight, back in more familiar surroundings in New York, we'd like to sum up our findings in Vietnam, an analysis that must be speculative, personal, subjective. Who won and who lost in the great Tet offensive against the cities? I'm not sure. The Vietcong did not win by a knockout, but neither did we. The referees of history may make it a draw. Another standoff may be coming in the big battles expected south of the Demilitarized Zone. Khesanh could well fall, with a terrible loss in American lives, prestige and morale, and this is a tragedy of our stubbornness there; but the bastion no longer is a key to the rest of the northern regions, and it is doubtful that the American forces can be defeated across the breadth of the DMZ with any substantial loss of ground. Another standoff. On the political front, past performance gives no confidence that the Vietnamese government can cope with its problems, now compounded by the attack on the cities. It may not fall, it may hold on, but it probably won't show the dynamic qualities demanded of this young nation. Another standoff.

We have been too often disappointed by the optimism of the American leaders, both in Vietnam and Washington, to have faith any longer in the silver linings they find in the darkest clouds. They may be right, that Hanoi's winter-spring offensive has been forced by the Communist realization that they could not win the longer war of attrition, and that the Communists hope that any success in the offensive will improve their position for eventual negotiations. It would improve their position, and it would also require our realization, that we should have had all along, that any negotiations must be that -- negotiations, not the dictation of peace terms. For it seems now more certain than ever that the bloody experience of Vietnam is to end in a stalemate. This summer's almost certain standoff will either end in real give-and-take negotiations or terrible escalation; and for every means we have to escalate, the enemy can match us, and that applies to invasion of the North, the use of nuclear weapons, or the mere commitment of one hundred, or two hundred, or three hundred thousand more American troops to the battle. And with each escalation, the world comes closer to the brink of cosmic disaster.

1968 Transcript of Broadcast

AnthonySEaston (8:54:36 PM): the arguement about cronkite, i think, i want to make
AnthonySEaston (8:55:04 PM): is that there was an increase in reporotage, often same day, or very clsoe, from the battle fields, in a verite way
AnthonySEaston (8:55:25 PM): that was limited by a television audience that had limited broadcast media options
AnthonySEaston (8:55:50 PM): but then i wonder, about the radical dissemanations, of broadsheets and the like (ie Ramparts)

Cronkites Public acclaim shaped during the momentus evens of the 60s, when held tempered seriousness with human dispalys and won over both elite and working class viwers , was not a product of media hero worship. In 1968, Cronkites objectiosn to the Vietnam War, drove Johnson out of Office...
News is People, Craig M Allen, 1981

most of the sources ive seen, tell the legend of cronkite, of the broadcast, but dont tell about cronkites politics, or why cronkite was so respected, and also do not source the all impt lost middle america qoute (allen suggests it was everyone he lost)

As The Tet Offensive Ebbed, Television Journalists tried to evaulate its signigance. The most famous assesment came from Walter Cronkite, who spent a week in fvietnam and offered his conulsions, in a remakrable half hour special on Feb 27th. Once a supportor of the US War Effort,(He) returned from Vietnam assured that victory was not possible...Cronkites advoacy of disengagement did have a significant effect on Johnson, but only because it confirmed the wide spread dissatisfaction with the adminstrations policy...
The War on Televison...Charles Pach, 467, in the Companion to the Vietnam War, Blatt, etc

four questions here:
1) halberstroms vietnam essays were first person, as were the photoworkers from Time/Life, and many others, vietnam's seminal imagery (the burnt child, the excution) comes widely dissematied, so how did this affect coverage at home
2) the rise of a visual, vernacular culture of both pro and anti war, and meta constructions of these images, and then the professional nostaliga gigs, is this the start of echo chambers (ie photojournalist to la arts/workers collective, what was the exact path of that; or arbus' photo of the young war protester, as grotesqery; or the peita/kent state thing)
3) how did we get from dead bodies in popular weeklies to Rumsfield 2003 desc. not to have any photos at all
4) the implications and history of the embedded fotog

the thing about cronkite, is that he claimed no victory, but also did nto call it shameful, etc