FARRAH FAWCETT and KEITH EDMIER: Partners in Art

FRIEZE MAGAZINE
OCTOBER 2002
Art Pop Quiz
by Bruce Hainley
20 Questions on KEITH EDMIER AND FARRAH FAWCETT

 The word pop refers to:

 a)Dad
b)Popularity
c)Soda
d)Instantaneity
e)Pop art
f)Pill-taking

 2 The best adjective to describe the overall effect of Keith Edmier and
Farrah Fawcett is:

 a)Romantic
b)Ironic
c)Kitsch
d)Erotic
e)Sincere
f)Vexed

 3 Edmier has stated that his dad wouldn't allow him to have a Farrah poster.

 a)True
b)False

 4 If the answer to question 3 were true, it would mean that, in part, Keith Edmier and Farrah Fawcett, 2000, could be seen to be:

 a)Another sad example of how difficult it is for men to communicate
b)An act of revenge
c)An exorcism of Americans puritanical, patriarchal notions of sexuality
d)A conflation of sex and resentment
e)Akin to a negative theology
f)All of the above

 5 In order to consider the complexities of Edmier and Fawcett's collaboration, it might be good to read:

 a)Frankenstein by Mary Shelley
b)Pygmalion by George Bernard Shaw
c)Farrah: An Unauthorized Biography
by Patricia Burstein
d)Masochism: Coldness and Cruelty by Gilles Deleuze
e)Within the Context of No Context by George W. S. Trow
f)Passages in Modern Sculpture by Rosalind Krauss

 6 Keith Edmier and Farrah Fawcett, 2000, refers most to:

 a)Michelangelo's David
b)Canova's Cupid and Psyche
c)Frederick Hart's Ex Nihilo for theWashington National Cathedral
d)Parts of Rodin's Gates of Hell
e)Charles Ray's Oh! Charley, Charley, Charley
f)Brancusi's The Kiss

 7 If Keith Edmier and Farrah Fawcett,2000, can be said to provide a theory of love, after looking at it one could conclude:

 a)It is better to have loved and lost
than never to have loved at all
b)Love is blind
c)What's love got to do with it?
d)Love is a battlefield
e)Love is the drug
f)What the world needs now is love

 8 Given the art-historically burdened materials (Italian marble, bronze), the realistic representation of the figures, references to Botticelli's
Birth of Venus,
etc., the use of the word conceptual to explain the sculpture's contemporary viability is fatuous, not to mention lazy.

 a)True
b)False

 9 Despite Keith Edmier and Farrah Fawcett, 2000's classical use of portraiture and media so unlike the artist's trademark pink dental acrylic and translucent resins, three earlier sculptures of Edmier haunt the collaboration with Fawcett: in terms of fantasy, fandom and hair, Jill Peters (1997); in terms of the embodiment and sincere meaningfulness of (camp) heroics, Evel Knievel, American Daredevil (1996). The third sculpture in this list would be:

 a)Emil Dobbelstein and Henry J. Drope
(2000) in terms of the memorial
b)Beverly Edmier, 1967 (1998) in terms of the maternal and Oedipal aspects
of beauty
c)Untitled (Wreath) (1999) in terms of mourning for the passing of fame and
beauty
d)Nowhere (Insideout) (1995) in terms of catastrophe, failure, disappearance
e)Victoria Regia (First Night's Bloom) andVictoria Regia (Second Night's
Bloom)(1998) in terms of survival and poise despite woundings
f)Siren (1995) in terms of the machinery and machinations of publicity

 10 Edmier could have collaborated with any star/artist and the result would
have been similar.

 a)True
b)False

 11 If the answer to question 10 were true, the best star/artist to collaborate with would have been:

 a)Phyllis Diller
b)Tony Curtis
c)Martin Mull
d)Sylvester Stallone
e)Joni Mitchell
f)Patti Smith

 12 To make the statement "The Farrah poster is one of the most
masturbated-to images of all time" in the context of Keith Edmier and Farrah Fawcett,
2000, is:

 a)Crass
b)Beside the point
c)Provocative because it suggests part of the autobiographical intensity of
the project
d)Funny
e)Only part of the story since it would be important to know what male star
tallies numbers anywhere close
f)Crucial in that it refuses to sublimate the work's dependence on sexual
idealization

 13 Keith Edmier and Farrah Fawcett,
2000, is an example of:

 a)The intensification of the blurring of entertainment and culture
b)The delusions of love
c)The beauty of belief, sincerity and happiness
d)Folie à deux on a grand scale
e)The conservatism of so-called cutting-edge art (John Currin, Vanessa
Beecroft, Gregory Crewdson, et al.)
f)Post-Warholian exuberance, rule-breaking, and potential for contemporary
art

 14 The best place to see Keith Edmier and Farrah Fawcett, 2000, to succeed with mass cultural appeal, would be:
a)In Hollywood, near Grauman's Chinese
b)In Fawcett's or Edmier's backyard
c)At Caesar's Palace in Las Vegas
d)At the Louvre
e)At the Vatican
f)On the moon

 15 Keith Edmier/Farrah Fawcett as:
a)Alfred Stieglitz/Georgia O'Keeffe
b)Samson/Delilah
c)Anjelica Huston/Robert Graham
d)Siegfried/Roy
e)Elizabeth Taylor/Larry Fortensky
f)Georgia OKeeffe/Alfred Stieglitz *

 Essay Questions (Choose one: 16, 17 or 18)

 16 Farrah Fawcett had a rather strange opening night in Butterflies Are
Free at the Burt Reynolds Dinner Theater in Jupiter, Florida, on 30 July
1980. An obese lady in the front row of tables began yelling insults at her
and making bird calls during the performance. Later, this unidentified lady
raised her dress and flashed the performers, causing co-star Dennis
Christopher to take notice, although the character he was playing was a
blind man. Nearby, a male patron began vomiting, and yet another patron
fainted. Incredibly, the reviews for Farrah's performance were positive.

 a)Explain how one rises above adversity.
b)Perform a Lacanian reading of the opening-night performance.

 17 The difference in facture - technical felicity - between Edmier's and
Fawcett's sculptures is negligible. Given that Edmier is best known as an
artist and Fawcett as a television and movie star, what does this say about
contemporary art practice? (With the glut of so-called reality
programming, where regular Joes can be stars, or at least star-like,
should there be any reservation or hesitation with the star as artist - or
is real person like artist just another role?)

 18 Art, like love, can save any situation, no matter how debased,
embarrassing or depressing. Discuss.

 19 Fawcett's Playboy pay-per-view special All of Me painting video, and
notorious odd appearance on The Late Show with David Letterman are as much
art as Keith Edmier and Farrah Fawcett, 2000.

 a)True
b)False

 20 Which of the following is true:

 a)Life is the art, love the critique
b)Love is the art, life the critique
c)Art is the love, critique the life
d)Critique is the love, art the life
e)All of the above
f)None of the above

photo credit:  http://blogs1.marthastewart.com/blueprint/2007/05/i_may_embarrass.html

CONDO LIFE AND BAY CUISINE:

Original Message:
-----------------
From: Dr. Mumpower
Date: Thu, 25 Jun 2009 15:15:54 -0500
To: galligan
Subject: Re: Paul Rapp on Boz Scaggs

  
Nick Dedina says: *Silk Degrees* contains the brilliant, strutting, hipster
taunt "Lowdown," the disco-rocking "It's Over" and the megahit "Lido
Shuffle," making it the soundtrack to mid-'70s condo life, pool parties and
bay cruises.

 Damn, how I miss those pool parties and bay cruises!!!!!!

 Come to think of it I missed them the first time around.......

 
On Thu, Jun 25, 2009 at 7:29 AM, galligan wrote:



PHOTOS: 1) OpArt made from two colors courtesy R. Lainhart  2) 75Grand - photo by Dr J.
>
> 

http://rapponthis.blogspot.com/ <<== Paul Rapp on Boz Scaggs at the Egg
>
> Author's note: Nick Dedina - author of a number of popular playlists on Rhapsody including...

 1) The Jazz Spot -- June, 2009

 2) 1982's Greatest Hits, Part 1

 3) 1982's Greatest Hits, Part 2

 4) 25 Soft Rock Essentials

 5) Remembering Kenny Rankin -- Pop Singer-Songwriter & Jazz Vocalist

 

 

THE BOSS PLAYS THE EGG - ALBANY, NY 06-22-09

DR. J.'s BOZZ SCAGGS LYRICS PERFECT RECALL -
LIVE TWITTER-FEED UPLOADS [NEWEST TO OLDEST] 

  1.
  Dr. J's Bob Scaggs lyrics perfect recall - Fooling round with you.
Wake up in the morning. Get you something to eat. Before I go to
work...less than 5 seconds ago from web

  2.
  Dr. J's Bud Scaggs lyrics perfect recall - To shoot the moon. So it
began. Yes that was the night of Van Gogh. Drizzling dancer of promise. 3
minutes ago from web

  3.
  Dr. J's Bo Scaggs lyrics perfect recall - OW ! Jump Street and I'm
gone.Stone gone. You can forget about me yeah I'm gone. Stone gone gone 8
minutes ago from web

  4.
  Dr. J's Bopp Scaggs lyrics perfect recall - Miles from the shore.
Look around and all I can see is water coming over me. Been down one time.
11 minutes ago from web

  5.
  Dr. J's Boss Scaggs lyrics perfect recall - Let's find that hill.
We're bound to make it. Moons high and I'm dry. Come on. Come on. Come on.
14 minutes ago from web

  6.
  Boss Skaggs lyrics by Dr. Jay with perfect recall. More to follow.
Stay tuned.about 8 hours ago from TweetCall

  7.
  Boss Skaggs Georgia How were we to know it wasn't moonlight, it was
spotlights? How were we to know? about 8 hours ago from TweetCall

  8.
  Here's to low down. Babies into running round hangin with the crowd.
Puttin' your business in the street, talk about loud. Saying you bo
...about 8 hours ago from TweetCall

  9.
  Scaggs concert in **** Albany New York *** ****. It was good. It was
loud. ***** ***** ****** *****. How do you turn this thing off? ...about 8
hours ago from TweetCall

  10.
  Mudpower, Jumpower is somehow silent on the question of Bob Scaggs.
Bob Scaggs at the Egg, Albany, New York. Day after Father's Day ...about 10
hours ago from TweetCall

  11.
  8:58 a.m., Albany NY. Ultraviolet Cafe Coffee Stop. Dr. J. meant
Albany NY, not any of those other Albany's. 9:02 AM Jun 17th from TweetCall

  12.
  Doctor Mompower. Albany. It's better than North Dakota. 9:01 AM Jun
17th from TweetCall

 


SUMMER SOLSTICE - JULY 21, 2009 : ALBANY, NY

http://wolframalpha.com

 Input interpretation:
summer solstice | 2009

 Result:
1:46 am EDT | Sunday, June 21, 2009
Time difference from now (6:00 pm):
1 day 16 hours 14 minutes 52 seconds ago
Time until midnight (EDT):
22 hours 14 minutes
Time from sunrise near Albany, New York (June 21):
3 hours 32 minutes until sunrise (5:18 am)

 =============
 
All Summer In A Day [excerpt]
By Ray Bradbury

 "Ready ?"
"Ready."
"Now ?"
"Soon."
"Do the scientists really know? Will it happen today, will it ?"
"Look, look; see for yourself !"
The children pressed to each other like so many roses, so many weeds,
intermixed, peering out for a look at the hidden sun.
It rained.
It had been raining for seven years; thousands upon thousands of days compounded and filled from one end to the other with rain, with the drum and gush of water, with the sweet crystal fall of showers and the concussion of storms so heavy they were tidal waves come over the islands. A thousand forests had been crushed under the rain and grown up a thousand times to be crushed again. And this was the way life was forever on the planet Venus, and this was the schoolroom of the children of the rocket men and women who had come to a raining world to set up civilization and live out their lives.
"It's stopping, it's stopping !"
"Yes, yes !"
Margot stood apart from them, from these children who could ever remember a time when there wasn't rain and rain and rain. They were all nine years old, and if there had been a day, seven years ago, when the sun came out for an hour and showed its face to the stunned world, they could not recall. Sometimes, at night, she heard them stir, in remembrance, and she knew they were dreaming and remembering gold or a yellow crayon or a coin large enough to buy the world with. She knew they thought they remembered a warmness, like a blushing in the face, in the body, in the arms and legs and trembling hands. But then they always awoke to the tatting drum, the endless shaking down of clear bead necklaces upon the roof, the walk, the gardens, the forests, and their dreams were gone.
All day yesterday they had read in class about the sun. About how like a lemon it was, and how hot. And they had written small stories or essays or poems about it:
               I think the sun is a flower,
               That blooms for just one hour.
That was Margot's poem, read in a quiet voice in the still classroom while the rain was falling outside.
"Aw, you didn't write that!" protested one of the boys.
"I did," said Margot. "I did."
"William!" said the teacher.
But that was yesterday. Now the rain was slackening, and the children were crushed in the great thick windows.
Where's teacher ?"
"She'll be back."
"She'd better hurry, we'll miss it !"
They turned on themselves, like a feverish wheel, all tumbling spokes.
Margot stood alone. She was a very frail girl who looked as if she had been lost in the rain for years and the rain had washed out the blue from her eyes and the red from her mouth and the yellow from her hair. She was an old photograph dusted from an album, whitened away, and if she spoke at all her voice would be a ghost. Now she stood, separate, staring at the rain and the loud wet world beyond the huge glass.
"What're you looking at ?" said William.
Margot said nothing.
"Speak when you're spoken to."
He gave her a shove. But she did not move; rather she let herself be moved only by him and nothing else. They edged away from her, they would not look at her. She felt them go away. And this was because she would play no games with them in the echoing tunnels of the underground city. If they tagged her and ran, she stood blinking after them and did not follow. When the class sang songs about happiness and life and games her lips barely moved. Only when they sang about the sun and the summer did her lips move as she watched the drenched windows. And then, of course, the biggest crime of all was that she had come here only five years ago from Earth, and she remembered the sun and the way the sun was and the sky was when she was four in Ohio. And they, they had been on Venus all their lives, and they had been only two years old when last the sun came out and had long since forgotten the color and heat of it and the way it really was.
But Margot remembered.
"It's like a penny," she said once, eyes closed.
"No it's not!" the children cried.
"It's like a fire," she said, "in the stove."
"You're lying, you don't remember !" cried the children.
But she remembered and stood quietly apart from all of them and watched the patterning windows. And once, a month ago, she had refused to shower in the school shower rooms, had clutched her hands to her ears and over her head, screaming the water mustn't touch her head. So after that, dimly, dimly, she sensed it, she was different and they knew her difference and kept away. There was talk that her father and mother were taking her back to Earth next year; it seemed vital to her that they do so, though it would mean the loss of thousands of dollars to her family. And so, the children hated her for all these reasons of big and little consequence. They hated her pale snow face, her waiting silence, her thinness, and her possible future.
"Get away !" The boy gave her another push. "What're you waiting for?"
Then, for the first time, she turned and looked at him. And what she was waiting for was in her eyes.
"Well, don't wait around here !" cried the boy savagely. "You won't see nothing!"
Her lips moved.
"Nothing !" he cried. "It was all a joke, wasn't it?" He turned to the other children.
"Nothing's happening today. Is it ?"

 ==============

 All in a summer day
by Jan Galligan

 06-21-2009
Albany, NY

 Morning and early afternoon spent in celebration of Father's Day with Lillian's father, Don Rafael Mulero. First spanish mass at Iglesia la Familia on Central Avenue, then lunch (cena) at Restaurante Mr.Pio Pio [Preparamos comidas para toda ocasion]
Sabor Latino. 160 B Quail St. Albany, NY 518 463-2800.
Says Don Rafael, "Delicioso!"

 After lunch, Lillian and I drove north to Valley Falls, NY to the Brick Elephant, Mary Jane Leach's home for avant garde music located in a beautiful turn of the century church where she has been living and hosting performances since 2004. Today her RE:SOUNDINGS project hosted The Downtown Ensemble, this time featuring Peter Zummo, Yvette Perez, William Hellermann and Brian Dewan. The program included compositions by each of them plus one by Paulien Oliveros. The night before, in Hudson, NY, at the Opera House they added Mary Jane and one of her compositions to the performance list. Today was rainy, the eighth consecutive day of rain in Albany this month. Here, the rain added an ambience of syncopation. Delayed by lunch, we arrived at the intermission of the concert, having missed performances of Hellermann and Oliveros' works, and sadly Yvette Perez's "I think I'm in the wrong department." But we were in time for "(The) Who Stole the Polka" by Zummo and "The Little Flowers of St. Francis" by Brian Dewan. According to Zummo, his polka work was originally scored for accordion (Dewan), keyboard (Perez), voice (Hellermann) and trombone (Zummo) and recently was extended to include marimba and clarinet. It is a short, delightful, funny but spare tone poem to the polka. You couldn't really dance, or sing to it, but the tune stays in your head long after it fades from view.

Brian Dewan's St. Francis piece was in three movements, one for each of three stories based on the "Fioretti" written in 1225. The first of the three "St. Francis, talking to Brother Leo" stories that Dewan set to music recounts St. Francis teaching Leo about Perfect Joy.

 On the first song, Dewan played accordian and spoke/sang the part of St. Francis. Yvette Perez played keyboard and spoke the part of Brother Leo. William Hellermann narrated while Peter Zummo played trombone and spoke at one point.

 [excerpt]

 How St. Francis Taught Brother Leo about Perfect Joy

 One winter day St. Francis was walking with Brother Leo, and the bitter
cold made them suffer keenly. St. Francis called to Brother Leo, who was walking
a bit ahead of him, "Brother Leo, even if a Friar gives sight to the blind,
heals the paralyzed, drives out devils, gives hearing back to the deaf, makes the
lame walk, and restores speech to the dumb, and brings back to life a man who has
been dead four days,  write down and note carefully that therein there is not perfect joy." 

 And as they walked on, after a while St. Francis called again forcefully:
"Brother Leo, Little Lamb of God, even if a Friar could speak with
the voice of an angel, and knew the course of the stars and the powers of
herbs, and knew all about the treasures in the earth, and if be knew the
qualities of birds and fishes, animals, humans, roots, trees, rocks, and
waters, write down and note carefully that therein there is not perfect joy." 
 
Now when they had been walking this way for a distance of two miles, Brother
Leo in great amazement asked Francis: "I beg you, in God's name, to tell
me where the perfect joy is."    

====

 For us, this first day of summer, Father's Day 2009 - perfect joy was
found in Valley Falls, NY at the Brick Elephant by way of  these wonderful
performances presented by Mary Jane Leach and the Downtown Ensemble Upstate.
Kudos to them all.

 More information about the Brick Elephant can be found here:
http://www.mjleach.com  see in particular... PROJECTS - RE:SOUNDINGS

 Sunday's performance information is here: http://resoundings.net

SAMPLE RECORDINGS | performed by the Downtown Ensemble, composed by:

Peter Zummo:


Yvette Perez :


Mary Jane Leach


COMING SOON - TO A THEATRE FESTIVAL NEAR US

Original Message:
-----------------
From: Sara Katzoff sara@berkshirefringe.org
Date: Sun, 21 Jun 2009 10:20:01 +1000 

 -----------------------------------------------------------------
TAKE A RISK. TRY SOMETHING NEW AT THE 2009 BERKSHIRE FRINGE!
----------------------------------------------------------------- 

for the full season schedule
http://www.berkshirefringe.org/calendar

special events, FREE PROGRAMS and tickets http://berkshirefringe.org/tickets
 

THE GAY AGENDA'S GREAT BIG BROADWAY SHOW!
Written and Performed by Micah Bucey and Nicolas Williams

 Have you ever laughed so hard for so long that your face hurt?
Because that's what will happen at The Gay Agenda's Great Big
Broadway Show!
http://www.berkshirefringe.org/2009/the-gay-agenda

  
THE DISAPPEARING WOMAN
-----------------------------------------------------------------
Created and Choreographed by media artist Nell Bryer and dancers
Alissa Cardone, Lorraine Chapman and Bronwen MacArthur Like the classic conjuring act in which a woman on stage is
concealed and then revealed again, so are the dancer's bodies in
The Disappearing Woman
http://www.berkshirefringe.org/2009/the-disappearing-woman

  CIRCUMFERENCE -----------------------------------------------------------------
Written and Performed by
Amy Salloway

 The Ghosts of Gym Teachers Past haunt the Fear of Fitness Centers
Present and the Obsession with Weight Loss Future in this new,
mostly-true solo comedy about size, sweat and exercising… your
demons. Circumference
http://www.berkshirefringe.org/2009/circumference
ELEPHANTS AND GOLD
-----------------------------------------------------------------
Written and Performed by Eliza Ladd and Little Big Tree
Productions Inspired by the New York Times Magazine article Are We Driving
Elephants Crazy? Elephants and Gold
http://www.berkshirefringe.org/2009/elephants-and-gold

 PHI ALPHA GAMMA
-----------------------------------------------------------------
Written and Performed by Dan Bernitt

 The Lamda Award nominated Phi Alpha Gamma
http://www.berkshirefringe.org/2009/phi-alpha-gamma

 GRAVEYARD SHIFT
-----------------------------------------------------------------
Written by Gabriel W. Patel, Directed by John L. Hadden

 With themes straight from Greek tragedy and language from the
skate park, Graveyard Shift
http://berkshirefringe.org/2009/graveyard-shift
HURRICANE HOTEL
-----------------------------------------------------------------
Written by John K. Lawson, Directed by Aimee Michel

 In an eclectic love letter to the city of New Orleans, Hurricane
Hotel [http://www.berkshirefringe.org/2009/hurricane-hotel]

[http://www.berkshirefringe.org/community-workshops] All workshops are FREE and take place on Saturdays at 1:30 pm in

SEASON'S PASS AND GENERAL INFORMATION
-----------------------------------------------------------------
Fancy yourself a huge risk taker? Want to see absolutely
everything? Great News! Season's passes are available for only $69!

 All performances, events and workshops take place at The Daniel
Arts Center, Bard College at Simon's Rock, 84 Alford Road in
Great Barrington, MA. Tickets are $15 to main events, 

 For directions, tickets, workshop registration, and all other
information please call (413) 320-4175,
e-mail at info@berkshirefringe.org or visit us at
www.berkshirefringe.org
http://www.berkshirefringe.org

  
Know anyone who might be interested in our newsletter?

 -----------------------------------------------------------------

  
We sent this email to galligan@sprynet.com. 

 
Thanks,

 Bazaar Productions, Inc 
 

Fiesta Henry Hudson 400 - de Albany, NY y Rio Hudson

Original Message:
-----------------
From: galligan@sprynet.com
Date: Sun, 14 Jun 2009 22:38:54 -0400
To: Olindo Pascal y Nivaldo Yiyoguaje
       IBARRA ECUADOR
Subject: 400th Anniversary of Henry Hudson Voyage
New York City to Albany, NY
 
El maestro Olindo:
 
Me gusto mucho dos encantadoras
visitantes de Ecuador. Aqui hay un PDF
de nuestra excursion de Rio Hudson para
Fiesta de Henry Hudson 400 (1609-2009).
 
Buen viaje de todos visitante de Estados Unidos,
 
 
Jan Galligan
Albany, NY
galligan@sprynet.com
518 449 7097 celular
 
todas las fotos: c.2009 Jan Galligan

75Grand's REMIX added to Wikipediaart.org REMIX page

75Grand's REMIX of Wikipediaart's REMIX page on the
Wikipediaart.org website was added to the Wikipediaart.org
REMIX page today, along with a link to 75Grand's posterous.com
page which includes the complete 75Grand REMIX of Wikipediaart's
REMIX page.
 


Wikipediaart is a project of Scott Kildall and Nathaniel Stern, artists
who had originally created an entry on Wikipedia as an
art project open for modification by all interested parties following
Wikipedia's editing guidelines. After only 15 hours the Wikipedia
community removed the Wikipediaart entry. Now, the project continues
as an on-line presence as part of the 2009 Venice Biennale.

75Grand is pleased to be a part of this artwork.
 
 

ASCII art for WIKIPEDIA art : REMIXED

REMIXED @ WIKIPEDIA - a project for the 2009 Venice Biennale

has invited artists to REMIX the wikipediaart website and upload to their website.
75Grand has taken up the invitiation using SUCURI.NET's website-to-ASCII-art
converter on WIKIPEDIA.ART's website

http://sucuri.net/index.php?page=tools&title=site2ascii
http://wikipediaart.org/remixes/
 
to create: 75Grand's/Sucuri.net's/Wikipedia.art/REMIX

  

See other WIKI art entries via this Twitter search:
http://bit.ly/e1HMX

Thanks to artnetdotcom for wikipedia_art info and
newsycombinator for ASCII-art info. Both via Twitter

Screenshot and Shockwave movie via: JING

Yoko Ono Meets The Google Translation Machine

Following on Irish artist Kennedy Brown's Google translation example
currently on view in the Irish Pavilion at the Venice Biennale - Here's
a Yoko Ono piece, also currently on display at the Biennale run through
Google's Translator, starting with the Italian and ending with English...

  


 
(Italian as displayed [see photo])
DIPINTO PER IL VENTO
Fai un buco in una borsa piena di semi
di qualsiasi tipo e metti las borsa dove
c'e vento.

 Yoko Ono, 1961
==============

 (English original)
PAINTING FOR THE WIND
Cut a hole in a bag filled with
seeds of any kind and place the bag
where there is wind.

Yoko Ono, 1961
==============

 (Translation pathway)
ITALIAN - SPANISH - FRENCH - CATALAN - DUTCH -
CZECH - FINNISH - HEBREW - HINDI - ENGLISH

 ==========

 (Final translation to English)
PAINTING HUMANITIES
Bean bag full of wine
Type of matter and the
Wind.

 Yoko Ono, Google 1961/2009
==============