Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Friday, May 1, 2026

Dean Schwarz (RIP) relives the loss of his father

Above
Roy R. Behrens, exhibition poster for Dean and Gunnar Schwarz: Pottery, Form and Inherent Expression (2007), Gallery of Art, University of Northern Iowa.

•••

It is not often that I cry. I cried when my father died. I cried when one of our parrots (Zooey, an African Gray who had bonded with me) died one evening in my arms. And I found that I was crying again just this morning as I was reading the memoir below in this post.

That memoir is not something I wrote. Rather, it was written by a friend (and my primary mentor), the Iowa potter Dean L. Schwarz, who died on March 18. Gerry, his wonderful wife (and one of my favorite people) was there, as were friends and family. His grandson Will Schwarz reported: "Music filled the whole house, and the afternoon sunlight which he loved to watch filtered through the pines and filled his room."

Since then I have been thinking about how I might pay tribute to Dean. And it occurred to me just yesterday that I should share with others a beautiful memoir he wrote in 2005, in which he remembered his father—and, more to the point, his father's death. Here it is—

On the Death of My Father, His Frank-ness by Dean L. Schwarz

It is with a mixture of pleasure and pain that I now stand where we, as family and friends, have stood so many times before, and where we will undoubtedly stand again in the future, when others also come to rest. Is it a blessing to be here? Will someone still be here to stand when we ourselves die? Surely, my "little sister" (Beverley) and my "knee-action brother" (Bill) will never fail to stand on behalf of our family. They know that the future is never the past, and that the present will only be good for those who strive to make it so. Beverley and Bill, I thank you, for your passion in making our father's departure from "the good life" a time that was also worth living. Beverley resides within a sweet bouquet of family, while Bill is receiving the benefits of family buds bursting into full bloom. We all give thanks for what we gained from the teaching of our parents. And to my wife, Gerry, and our children—and to their children's children—"I give thee flowers to strew thy way."

I myself have been lucky to know a handful of people who were not afraid to die. They and others like them found the courage to deal with the termination of their lives. My mother Nona, my father Frank, and (his brother) my Uncle Roger all died in the process of teaching, and each died with dignity. One used his observational skills to help others as a hospice volunteer—he knew how to make wise use of medication. Another knew when to stop eating at a time when that resource failed to provide sustenance for the life that he desired. And yet another was consoled by the belief in having been visited by angels in the hospital.

My friend David Cavagnaro once said to me, "Dean, why fear death?" He went on to tell about thousands of people, from the widest range of cultures, who, in one way or another, were able to cross the border between life and death. Stamped on their passports is proof that they have traveled through an egg yoke yellow tunnel (free-range chickens, of course) of warmth and happiness. When their names were called to return to the life of that existence, they protested. They wanted to stay, they insisted. I have not yet experienced this but I know it is not wise to fear without cause. Fear is a tool that a person should use only rationally. We have enough problems without creating additional fears. Why invent new kinds of darkness when instead we might create more light, recalling the beauty of lilies of the valley of life?

The beloved man who has left us (Frank Lester Schwarz) will nonetheless always be with us. This is our prerogative, to which he contributed by living creatively. Of course there were exceptions: He was neither a god nor a demigod. Our family of independent thinkers has never been heavy enough to tip the balance of Dad's convictions. We have argued that chicken and fish are food, while he insisted that food was a form of hamburger. Meatloaf is food. And when Nona, his Ruby, went to the reward of her convictions, Frank's global world shrank to the size of a Swedish meatball. As a result, for the past few years, he wanted most to join his wife—our mother, grandmother and great-grandmother, great, forever great. So now our feet are expected to make giant footprints, our legacy from their legacy.

We are all related. Perhaps there was an Adam and Eve, in the form of many truths at least. Whether metaphor, science, religion, or philosophy makes no difference. Choice need not divide us, I hope.

My father, Frank Schwarz, showed us some incredible changes in his lifetime. Rising from his own father's labors in a world of steel, he himself became a welder, a "master welder." And then when everyone thought he had done enough and that his life was set in steel (even his games, such as horseshoe, were steel), he suddenly went back to school. With an outlandish bravado, he said to his teacher (as he entered the college classroom for the first time) that "I will not accept anything but an A in this class." And that, indeed, was what he received, and continued to achieve.

And then he became an avid reader. Previously he had only read a few books, including God's Little Acre. His brother Gail, who was the most successful entrepreneur in our family, had only read one book in his whole life, Smoky the Cow Horse. But now Frank began to read about history, which led in turn to reading about other cultures. No one could have anticipated that.

During this period he honored the memory of his beloved son, Steven Charles Schwarz, by making a monumental steel sculpture, based on his convictions about the Native American belief in contrarians. He had learned that contraries cried when others laughed, and walked on their hands instead of their feet. He saw the marvelous humor, introspection, and the psychological value of this tradition. His sculptural abstraction of a teepee standing upside-down at the entrance of South Bear School, a place that he referred to as his Asa Haugan Home, is about twenty feet tall. The shadows of this sundial still travel across our hearts. When the Hearst Center For 'the Arts, in Cedar Falls, invited Frank Lester Schwarz, artist, to have a show of his sculptures in the gardens on that center's grounds, he declined.

He began to see the value of looking at his own Frank-ness from the outside. This view led him to create by word-smithing, the lead-penciled yellow-paged products of which were published in Paddled Tails From Tattled Tales: An Autobiography of a Family, a family book of power and conviction as strong as his welds. (And that !s strong considering that he was hired to weld some of the most important seams in the nuclear energy plant in Palo, Iowa. Not a single bubble was found in the x-rays of his welds. So Cedar Rapids and surrounding area is safer because of Frank.) One of his playful stanzas reads: "Dean Dean, made a machine, Frank Frank turned the crank, Joe Joe made it go, just because Steven is leavin'."

Our father was a keeper of and a sharer of the lessons he learned. So is our Uncle Charlie, who speaks of the wisdom of being streetwise, a necessity for his brothers and sisters in their youthful days. Some of the lessons never taught in school are those that keep homes wise today. Ask Uncle Charlie to show you his hands: One is a map of the French coast that he stormed in World War II, the other is a pointer that teaches us about the important battles.

There were years when Frank would pout and crab at social events and drink beer into friendliness. But this was surely not the case in his later years. During those years (and there was certainly no family precedent for this), he began to make speeches at social gatherings. He became an orator. Yes, an orator, truly! And he liked to say the Lord's Prayer, aloud and loudly, with great reverence and conviction, and in what his deaf ears thought to be unison, very s-l-o-w-l-y. Some people had finished their dinner before he finally said A-a-a-men.

Beverley was witness to his growing love for children in his later years, and how he got so good at it. He became a grand grandfather. He quit suffering the little children to come unto him. He began to make it very pleasant. He loved to baptize them with new names, names they will forever remember in his spirit.

Our Aunt Jeanette is a wise woman. In the pains of our recent yesterday she kindly reminded me of a fact that is one of the most important ideas for to remember from the wisdom of El Franko: "He was a rich man. " And yes we often heard him say, "I am the richest man in the world." If you think it so, so it is. Such direct teaching has made all of us rich: We are a rich family finally, because we have inherited a great legacy, a richness beyond money.

Our many memories now tease the passions of our lives, lives that could not have been lived without our "Why-Nona?" and her "Frank husband." But now they are together again. His mission is complete, and now it is our responsibility to insure that the heaven we seek is the one we will receive. One of my hopes is that wherever Frank and Nona are—and they ARE together—that each of them can simultaneously enjoy the low and high volume of their television set.

For many years I suffered because I could not say words of endearment to Frank without hollering loudly, because of his deafness. And even if he did hear what I heard coming from my shouting mouth, it never sounded intimate, no matter how hard I tried. And the pathos was made even greater because I knew that he could only see a shadow of who I am…

So now, dear Father, for the first time in many years, I can say to you in a softer, pleasant voice that all can hear, from a radiant countenance: "l love you, please say hello to Mom and Stevee."

•••

A few years ago, I made a short slide loop video in tribute to Dean and Gerry Schwarz in connection with an exhibition at the Hearst Center for the Arts. It can be viewed online here. Dean's memoir of his father was initially published in Ballast Quarterly Review Vol 20 No 4 Summer 2005.

Monday, March 2, 2026

pus-tilence / the god of war is drunk with blood

Sherwood Anderson
in H.H. Campbell, ed., The Sherwood Anderson Diaries, 1936-1941. Athens GA: University of Georgia Press, 1987—

Went with Katy and Mims to a German place in Philadelphia [in 1936]. Danced. It was hot and I took off my coat. They saw my brown shirt and cheered. They thought me a Nazi.

•••

William Blake—


The god of war is drunk with blood,

The earth doth faint and fail;

The stench of blood makes sick the heav'ns;

Ghosts glut the throat of hell!


•••

Anon—

There is a pus on the Presidency.

Saturday, February 28, 2026

art prank / replacing old sockets with new ones

Roy R. Behrens, Deplorable Strikes ©2004

Jeffrey Vallance
, quoted in Pranks, an edition of Re/Search (February 1988), p. 115—

One day I walked around the Museum looking at paintings and noticed that underneath them were all these wall sockets. So I bought a number of wall sockets and painted stupid little scientific scenes on them, like microscopes and dinosaurs and cows and slabs of butter. I showed up at the Museum in a janitor's outfit, with a name tag and a toolbox, and started replacing the old wall sockets with my new ones. I had friends in the hallway who would whistle every time a guard came near—then I'd go somewhere else. Sometimes I had to move furniture out of the way, and if ladies would be sitting down I'd have to say, "Can you please move? I have to fix this wall socket." Nobody caught me. I sent out a bunch of invitations, just like a real show, and people came down. I made up some nicely illustrated programs, and sent one to the Museum to tell them about my project. I thought I'd get some sort of reaction...but I never heard from them...they hushed the whole thing up, and the wall sockets remained there for about two years.

have shriveled testicle from mumps / can't marry

Roy R. Behrens, Levitation © 2004

Danny Ballow,
quoted in Elizabeth Stone, Black Sheep and Kissing Cousins: How Our Family Stories Shape Us (New York: Times Books 1988) p. 208—

It began with him [my father] telling me about how he had the mumps, and then leaps forward to my parents' courtship by mail when he was in America and she was still in London. He told me that during the course of the correspondence, he wrote, "I think I have to tell you something. I have a shriveled left testicle, and I can't marry you because I'm not able to have children."

He sealed the letter and mailed it, and then he thought, "Oh no, what did I do?" He went to the mailbox but the postman had already come and taken the letter. So he went down to the central mail office in Brooklyn...and they said, "Well it's somewhere in all these sacks." My father said, "I've got to get it." And he went through the sacks. I have this image of my father going through millions of letters. And he found the letter! He tore it up, and he didn't send it.

Wednesday, February 4, 2026

William Blake, neuroscience, esthetics & sports

Above
William Blake Poster (2011) © Roy R. Behrens.

•••

Roy R. Behrens, Art, Design, and Brain Research: Non-Scientific Thoughts about Neuroesthetics in Gestalt Theory, Vol 35 No 2 (2013), pp 169-182—

Today, when I think about defining art (in truth, it’s something I usually try to avoid), I am reminded of an old routine that was part of a Monty Python comedy in 1972. It was a parody of an athletic competition, and one segment featured a sports-running contest in which the participants were "people with no sense of direction." In that sketch, the athletes were shown in their starting positions, awaiting the sound of the pistol. When the gun sounded, they all ran off—not down the track as expected, but instead in a wacky confusion of speeds, directions and running styles.…

I find it ironic that artists today are distressed by the imbalance of public devotion to art and athletics, and the seemingly limitless funding that goes to competitive sports in our society. It is typical for an artist to ask: Why isn't such funding given to the arts instead? Why is there so little coverage of art in the news when such excessive attention is given to sports? Why does art have such low priority in public education? In short: Why don't people take art seriously? I suspect this is largely explainable by the fact that in art, as widely practiced now, just as in the Monty Python sketch, there is no credible "contest" to watch.

Tuesday, January 20, 2026

end of performative writing / writing for voice

Roy R. Behrens © 2005
Above Exhibition flyer for works by Mary Snyder Behrens (2005).

•••

William H. Gass, interviewed in Tom LeClair and Larry McCaffery, eds., Anything Can Happen: Interviews with Contemporary American Novelists 
(Urbana: University of Illinois Press, 1983), p. 158—

I think contemporary fiction is divided between those who are still writing performatively and those who are not. Writing for voice, in which you imagine a performance in the auditory sense going on, is traditional and old-fashioned and dying. The new mode is not performative and not auditory. It's destined for the printed page, and you are really supposed to read it the way they teach you to read in speed reading. You are supposed to crisscross the page with your eye, getting references and gists; you are supposed to see it flowing on the page, and not sound it in the head. If you do sound it, it is so bad you can hardly proceed...By the mouth for the ear: that's the way I'd like to write. I can still admire the other—the way I admire surgeons, broncobusters, and tight ends. As writing, it is that foreign to me.

how do you like your blue-eyed bird, mr. death?

Roy R. Behrens, © digital montage
Above
One of my early digital montages (its title and date I can't recall). At the time I was interested in Arts and Crafts designer William Morris (that's Jane Morris leaning leftward), and Buffalo Bill (behind and above the target). One day we discovered that a bird (a starling) had been trapped in our wood stove, where it died and remained somewhat preserved. The feather colors were astonishing, and I decided I should place its body on a flat bed scanner, then use the result in a montage. Perhaps I also had in mind that wonderful e.e. cummings poem about the demise of Buffalo Bill: "How do you like your blue-eyed boy, Mister Death."

•••

Wilhelm Reich
, Passion of Youth: An Autobiography. New York: Farrar, Straus and Giroux, 1988, p. 10—

Once I was playing by the fence and a peasant boy my age [whom he was forbidden to play with] was watching me from a few meters away. Suddenly he grabbed a stone, I presume as a joke, and threw it at me. It hit my forehead and I bled a little. He certainly had not intended to be mean. My mother washed my forehead and told my father [who was the boss of the other boy's father] what had happened. Father became enraged. He summoned the child and the child's father. After referring briefly to the incident, he gave the father a dreadful beating. The peasant endured it quietly, without defending himself. As he walked off with his child, I could see him beating him the whole way home. The boy screamed frightfully. I was very upset, but said nothing and crept away to hide. I was about eight years old.

Saturday, January 17, 2026

Rainbow / machine-stitched appliqué and thread

Mary Snyder Behrens © 1986
Above
Mary Snyder Behrens, Rainbow Sleeves (1986). Machine-stitched appliqué and thread on found fabric. 19"h x 29"w. Collection of the Racine Art Museum, Racine WI.

•••

H.H. Green, Simple Life of a Commoner, 1911—

But of all the things I saw that day, there was one that so deeply interested me that I have never forgotten its exact appearance. It was a wonder to a boy of my age and would be of considerable interest even now. It was just a common ordinary pocket knife with a bone handle and blades of steel, but it contained 1,851 [because it was made to be shown for the first time at the Crystal Palace Exhibition in London, the first World's Fair, in 1851] of those steel blades, from one to two feet long and proportionally wide and thick, on down of all sorts and sizes till the smallest could not have been more than a quarter of an inch long. They were all open from the handle and stood out in all directions like the quills on a porcupine's back when he is on a war footing. Up to that time that was the greatest sight I had even seen. I have often thought since, if that knife had been lost for a thousand years and then found by some antiquarian, what a time the wiseacres might have had ever the monstrous size of a man, who, in the middle of the nineteenth century carried a pocket knife like that.

Thursday, January 15, 2026

proof / the curse of whiskey undercuts longevity

Roy R. Behrens © 2011, digital montage (detail)
Robert Kosmicki
, quoted in Steven J. Zeitlin, et al., A Celebration of American Family Folklore (New York: Pantheon, 1982), p. 57—

Well, my grandfather came from Poland, and he just died here about a year ago, at the age of ninety-five. I remember one thing he said. He was a very wise man, but he was kind of a boozer all his life... On his birthday or something like that I'd take him a bottle of bourbon. And he told me one day when I brought him a bottle of bourbon for his birthday—! think he was ninety-two at the time—he said that he had given up alcohol, that alcohol had killed two of his brothers and so he thought that it was time for him to quit, because he wasn't old enough to die yet. So I asked him about the brothers it had killed. And he told me it had killed his brothers Colin and Stanley. I checked up on it and found that Colin was ninety-two when he died and Stanley was eighty-nine.

Wednesday, January 14, 2026

art is rare, sacred and hard work / no short cuts

Mary Snyder Behrens, Drawn Conclusions No. 14, Cleave 2005
Anthony Burgess
, But Do Blondes Prefer Gentlemen?: Homage to Qwertyuiop and Other Writings (New York: McGraw-Hill, 1986)—

Art begins with craft, and there is no art until craft has been mastered. You can't create unless you're willing to subordinate the creative impulse to the construction of a form. But the learning of a craft takes time, and we all think we're entitled to short cuts…Art is rare and sacred and hard work, and there ought to be a wall of fire around it.

slow art / deep-running skill and doggedness

Roy R. Behrens (©2011), Barbarian Seville. Digital book montage.
Robert Hughes
in "A Bastion Against Cultural Obscenity" [a speech delivered at Burlington House, London] in The Guardian, June 3, 2004—

What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and whose skill and doggedness make you think and feel; art that isn't merely sensational, that doesn't get its message across in ten seconds, that isn't falsely iconic, that hooks into something deep-running in our natures. In a word, art that is the very opposite of mass media.

Sunday, January 11, 2026

not funny adults / do you know what happened

Above
Roy R. Behrens, acrylic painting [title and whereabouts unknown], 1968.

•••

Deborah Andersen, Dialogue: An Art Journal {March/April 1987), p. 50—

In 1948 when I was six years old, I was selected to appear on Art Linkletter's radio program People Are Funny. The night before the show, my mother worked feverishly getting me ready. On the show I was the first child to be announced. Art Linkletter asked me "Debby, do you know what happened last night?" In my cutest little voice, I responded, "No, what?" There was hysterical laughter. Without saying another word to me, Art Linkletter turned to the next child and asked him the same question. He answered, "President Truman was elected." I have spent the rest of my life trying to figure out what happened.

•••

bush whacked / rhymes with porky, no offense

Above
Roy R. Behrens, painting titled Homage to Arshile Gorky. © 1967. As an undergraduate art student, I had become greatly interested in Abstract Expressionism, and had written a paper about Gorky's famous painting, The Liver is the Cock's Comb. At the time, I hadn't yet discovered that Gorky had taught a camouflage course for civilians during WWII at the Grand Central School of Art in NYC.

•••

During the 1984 presidential campaign, when Ronald Reagan and George H.W. Bush were running against Walter Mondale and Geraldine Ferraro, Bush's wife (Barbara Bush) said in response to the question of how she would characterize candidate Ferraro: "I can't say it but it rhymes with 'rich.'" Later, having realized the offensiveness of her quip, Barbara Bush called to apologize, as Ferraro later recalled in her autobiography, Ferraro: My Story. New York: Bantam 1985—

"I just want to apologize to you for what I said," she [Barbara Bush] told me over the phone while I was in the middle of another debate rehearsal. "I certainly didn't mean anything by it."

"Don't worry about it," I said to her. "We all say things at times we don't mean. It's all right."

"Oh," she said breathlessly, "You're such a lady."

All I could think when I hung up was: Thank God for my convent school training.

•••

Tuesday, January 6, 2026

I mean the thing you use to rub out mistakes

Altered book montages, Roy R. Behrens © 2004
Bessie Head
[South African novelist], "Some Happy Memories of Iowa" in Paul Engle, et al., editor, The World Comes to Iowa (Ames: State University of Iowa Press, 1987), pp. 86-87—

American English isn't the British English that is spoken in southern Africa. I walked into a stationery shop and said to the man behind the counter, "I would like to buy a rubber, please." The man said: "We don't sell them in ones. We sell them in threes." I said: "But I want only one rubber." The man became hostile: "But I told you we only sell them in threes." I said: "All right, I'll take three then." The man walked to the back of the shop and returned with a small packet of prophylactics that he handed to me. He had such a peculiar look in his eyes that I thought he believed I was a prostitute who had suddenly invaded Iowa City. Half fainting with shock I struggled to explain, "I mean the thing you rub mistakes out with." "Oh," he said, "you mean an eraser."

awaiting the shared use of a set of false teeth

Altered book montages, Roy R. Behrens © 2004
Kingsley Amis
, Memoirs (New York: Summit Books, 1991), p. 1.—

[My paternal grandfather] was a great teller of jokes, typically without preamble, to trap you into thinking you were hearing about some real event. One of these horrified me so much [as a child] that I have never forgotten it. A Scotsman (I was still so young that I had not heard about Scotsmen being supposed to be mean) took his wife out to dinner. Both order steak. The wife started eating hers at top speed, but the man left his untouched. "Something wrong with the steak, sir?"—" No, no, I'm waiting for my wife's teeth." I had not then heard of false teeth either, and imagined the living teeth being torn from the woman's jaws on the spot and inserted into her husband's.

milkman comes up the walk and pauses to talk

Altered Book Montages / Roy R. Behrens © 2004
Susanah Mayberry
, My Amicable Uncle: Recollections About Booth Tarkington (West Lafayette, IN: Purdue University Press, 1983), p. 4—

Early one morning during this period he [Booth Tarkington] went for a walk after an unusually long writing session. He met the milkman coming up the walk and stopped to talk: ''You been up all night?" he [the milkman] asked. ''Yes," I answered. "What you been doin'?" he went on. "Working," said I. "Workin'!" said he. "What at?" "Writing," said I. "How long?" said he. "Since yesterday noon," said I. "About sixteen hours." "My God," said he. ''You must have lots of time to waste!"

Monday, December 29, 2025

Tao Te Ching / Bauhaus / Gestalt / Invisible Core

In the past three or four years, I have produced about 
18 online video talks, which are indebted to—but not the same—as years and years of classroom slide-embellished talks for courses in graphic design and design history. It is one way to continue to teach, long after having retired from in-person lecturing. The videos have become surprisingly popular, and I suspect that some are being used by university faculty as supplementary teaching resources. The most frequently visited has had thousands of viewers (6000 alone on YouTube, plus those at other sources) which is encouraging, given that I don't admonish viewers to "like and subscribe."The most popular video is a foundations-level overview of the most basic understandings about "how form functions" in design-based art, architecture and graphic design. The title is Art, Design and Gestalt Theory: The Film Version. In referring to it as "the film version," I intended to distinguish it from an academic paper with the same title, that I published twenty-seven years ago (in 1998) in the journal Leonardo (MIT Press).

That print on paper version was (perhaps still is) one of the top-ten most downloaded articles in that magazine's history. The paper and the video address the same subject, but they differ markedly, and I think the film is better. The film is derived from a classroom talk that I nearly always gave on the first day of class in my university-level design studio and foundations courses. It evolved over the years of course. But it seemed to function reliably as a "big picture" overview of what designers, architects and design-based artists might hope to achieve.

At the end of the film, I conclude by saying how lucky I was to have taught during the last 29 years of my teaching career (not 39, as the film narration mistakenly claims) in the Kamerick Art Building at the University of Northern Iowa. As I noticed when I first spoke there, the design of that building is based on recurrent references to a rectangular motif, the shape and proportion (1 by 2) of a domino game piece. That same motif is also fundamental in traditional Japanese architecture, where it occurs in the floor mats or tatami, which measure 3 x 6 feet. I surmised that the Kamerick building pays homage to that, in features both inside and out, an assumption that was verified years later when I spoke to the architect.



Earlier in the film, I allude to the resemblance between Gestalt theory in perceptual psychology, and the Tao Te Ching, which may have been first introduced to me by Weimar Bauhaus Master Potter Marguerite Wildenhain, with whom my friend and teacher Dean Schwarz and I spent a summer studying pottery at Pond Farm (her mountain-top studio, home and school) in Northern California. In her autobiography, titled The Invisible Core: A Potter's Life and Thoughts, she makes explicit references to Lao-tze's famous passage that claims that the essence of a pot is not in the walls, but in the space (or void) within—its "invisible core."

Here is the full passage from Lao-tze:

Thirty spokes meet in the hub, but the empty space between them is the essence of the wheel. Pots are formed from clay, but the empty space within it is the essence of the pot. Walls with windows and doors form the house, but the empty space within it is the essence of the home.

Marguerite Wildenhain was one of many who were struck by that now-famous passage. Another was Frank Lloyd Wright, who was quoted as follows in Bruce Brooks Pfeiffer, ed., Frank Lloyd Wright: His Living Voice (Fresno: California State University Press, 1987), pp. 25-26—

One day in 1912 I got a little book from the Japanese ambassador to America ... It was a charming little book and all you ought to own it. It is called The Book of Tea [by Okakura Kakuzo]. Well, there I read Lao-tze for the first time, and I read that the reality of a building does not consist in the roof and the walls but In the space within to be lived in. Well, there is my thesis.

Tuesday, December 16, 2025

liver in one hand a whiskey tumbler in the other

Montage © Roy R. Behrens
Anthony Powell
, Messengers of Day (New York: Holt, Rinehart and Winston, 1978), p. 101—

He planned a practical illustration of the harm alcohol can do. He came into Helgate's sitting room holding a tumbler of neat whiskey in one hand, a piece of liver in the other. Dropping the liver dramatically into the whiskey, he paused for a moment while the meat shrivelled up. "That: he exclaimed, "is what is happening to your liver all the time you drink as you do." Heygate, who was undoubtedly startled by this action, reported himself as replying: "What a shameful waste of liver and whiskey."

Edison 's clever gadgets / his turnstile watergate

Montage © Roy R. Behrens
Edmund Fuller,
2500 Anecdotes for All Occasions (New York: Crown , 1943)—

[Thomas] Edison was very proud. He enjoyed showing visitors around his property, pointing out the various laborsaving devices. At one point it was necessary to pass through a turnstile in order to take the main path back to the house. Considerable effort was needed to move the turnstile. A guest asked Edison why it was that, with all the other clever gadgets around, he had such a heavy turnstile. Edison replied , "Well, you see, everyone who pushes the turnstile around pumps eight gallons of water into the tank on my roof."

Sunday, November 9, 2025

Simultaneous contrast / its role in art and design

In a popular online video talk, there is an overview of the function and importance of simultaneous contrast in art and design.

Its relevance to color theory was popularized by the teachings of Johannes Itten at the Bauhaus, and by Josef Albers (also from the Bauhaus) while he was teacher at Yale.

Its significance, as I try to show, is far greater than in the teachings of Itten and Albers. It had been researched and written about much earlier, in the nineteenth century, by the French scientist Michel Eugene Chevreul, who was the person who gave it the name.