I never liked you, peteski.bsky.social
5 hours ago
Monday 15 November 2010
Film of Paul Bowles Short Story Rediscovered
The tale had all the hallmarks of a baroque Paul Bowles short story, set among the remaindered possessions of Bowles himself: a film director gets a call from a stranger, who says he has stumbled across an original print of the filmmaker’s long-lost first film in a windowless Tangier apartment, coated in dust and insect powder. The director, Sara Driver, at first thought the call might be a joke, but for reasons almost as strange as fiction, she kept listening.
In the late 1970s she had fallen in love with a haunting 1948 Bowles story called “You Are Not I,” about a young woman who escapes from an asylum, and decided she wanted to make a film of it. With no money for the rights and the thinnest of shoestrings to make the movie itself — a $12,000 budget, some of it supplied by her small salary at a copy shop — she forged ahead anyway. And before its well-received premiere at the Public Theater in 1983, she shipped a print of the 48-minute black-and-white film, the first screen adaptation of one of Bowles’s stories, to his apartment in Tangier, Morocco, praying simply not to be sued.
“To my great relief, he liked it,” Ms. Driver recalled recently. “And not only that, but he wrote me back with a long, detailed critique of the film, saying, among other things, that he thought one woman overacted — which he was right about.”
Bowles’s agent granted the rights to Ms. Driver, and the movie — shot in six days near her parents’ house in western New Jersey, with an unlikely cast that included two friends, the writer Luc Sante, little known at the time, and an equally unknown photographer, Nan Goldin — developed a following. The film was named one of the best movies of the 1980s by a critic in Cahiers du Cinéma.
But almost as quickly as it built a cult reputation, the film fell from view, the victim of a leak in a New Jersey warehouse that destroyed Ms. Driver’s negative. That left her with only one film-festival print so battered that it would barely run through a projector. When museums and art house theaters called over the years asking to show it, she would turn them down, not wanting the film to be seen in such bad shape.
“Every time I’d get back to someone and tell them, my heart would just sink,” said Ms. Driver, now 54 and the director of three other films.
The film’s story might have ended there, but two years ago a film librarian from the University of Delaware, one of the most important repositories of Bowles’s papers, traveled to Morocco to speak at a conference. While in Tangier, the librarian, Francis Poole, who knew Bowles well during the last years of his life, was contacted by Abdelouahed Boulaich, Bowles’s longtime butler and his heir, who after Bowles’s death in 1999 had helped to secure many of his papers. Mr. Boulaich told Mr. Poole that he still had a few of the writer’s things and asked if he wanted to see them. The two took a taxi from Mr. Poole’s hotel to an empty house owned by Mr. Boulaich, who unlocked a door to a small ground-floor salon that smelled as if it had been closed for years.
With a small flashlight and a digital camera, Mr. Poole set about documenting the room’s contents, which included piles of letters and books and two manual Olympic typewriters, one long used by Paul Bowles and the other by his wife, Jane. Below them on a bookcase sat a film box with two reels inside; the label was faded except for a New York return address visible beneath the dust and insecticide.
“For a second I felt like I was in one of the bug powder scenes from David Cronenberg’s film of William Burroughs’s novel ‘Naked Lunch,’ ” Mr. Poole said. “There were even letters from Burroughs to Paul Bowles scattered around. And some of those had insecticide on them.”
The University of Delaware acquired the contents of the room from Mr. Boulaich, and Mr. Poole and Tim Murray, who oversees the special collections of the university’s library, returned in 2008 and 2009 to box them all up. Mr. Poole still had no idea what was on the film reels, and he acknowledged that he almost decided to leave them. But he put the film box in his carry-on bag and took it to Delaware, where he watched the 16-millimeter reels for the first time — grimy but miraculously, given the humid storage conditions, in good shape — and realized what he had found.
“It was like stumbling upon some kind of treasure in an archaeological dig,” he said. “I wasn’t there thinking I was going to find a lost film. I must say it’s been a once-in-a-lifetime bizarre experience for me.”
For Ms. Driver, the film’s rediscovery has been like opening a time capsule of the No Wave independent-film scene, which flourished in New York in the late 1970s and early ’80s. It included directors like Jim Jarmusch (Ms. Driver’s longtime romantic partner and the cinematographer and co-writer for “You Are Not I”), Amos Poe, Eric Mitchell, Bette Gordon, Susan Seidelman (“Desperately Seeking Susan”) and even Kathryn Bigelow, of “The Hurt Locker” fame, who made her first short in New York in 1978 (featuring the odd pairing of Gary Busey and the French semiotician Sylvère Lotringer).
It was a tiny film world where favors and friendships often stood in for the money no one had. Mr. Sante recalled that his role in “You Are Not I” required him to be able to drive, which he could not.
“I just needed to go across a parking lot in one scene, and I thought, ‘O.K., I can handle this,’ ” he said. “And I managed to run into a garbage can, which was the only other thing in the parking lot.” (A volunteer body double was recruited.)
The unearthed print of the film, which will remain in the University of Delaware collection, has been completely cleaned and restored. A digital copy has been created, which was used to screen “You Are Not I” for the first time in almost 20 years, at the Reykjavik International Film Festival in Iceland in September and last month at the Portuguese Cinémathèque in Lisbon, where the film first played during its initial run in the early 1980s. Ms. Driver is now applying for grants to help her produce a corrected negative and additional prints.
She said she had been overjoyed to have an important part of her past back, though she pointed out that, technically, “You Are Not I” was not her first film. “I made a little student short before it that was about Troilus and Cressida, and all the dialogue in it was in Middle English,” she said, adding, “That one I don’t think anyone’s ever going to see again.”
Randy Kennedy @'NY Times'
Black Dub (npr Tiny Desk Concert)
Black Dub is a new band whose debut album came out just last week, headlined by a 23-year-old singer with little name recognition. But don't be fooled: Black Dub reflects two remarkable intertwined musical legacies. Daniel Lanois is both a great guitarist and the producer of classic albums by U2, Bob Dylan, Peter Gabriel and others. And singer Trixie Whitley is the daughter of Chris Whitley, who released a string of oft-remarkable, blues-infused rock records before succumbing to lung cancer in 2005.
For fans of the elder Whitley, Black Dub's rise is bittersweet but ultimately inspiring: Trixie Whitley carries on impressively in the tradition of her greatest influence, to the point where "I'd Rather Go Blind" (which closes this set but was left off Black Dub's self-titled debut) sounds like a long-lost Chris Whitley cover. But where her father generally stayed low-key and let his steel guitar provide moody shading, Trixie Whitley is a fearless, almost feral singer.
At the NPR Music offices, Whitley and Lanois brought a variety of instrumental backing, including an electronic bed for the single "I Believe in You," only to ditch many of the accoutrements on the fly. The result is a gripping and revealing performance. Though almost painfully shy before and after her set — in between songs, she barely knows what to do with herself — Whitley comes alive when she's singing the blues; she seems almost possessed as she contorts her face and digs deep for notes as if no one else is in the room. Meanwhile, Lanois cuts a supportive, even fatherly figure: His masterful work on a 12-string acoustic guitar provides ample backup, but he looks like he's there for moral support, too. Together, they come off as warm, vulnerable and ferocious in equal measure, not to mention ideally suited to share our intimate stage.
"╚◎ש≡ will kiss you on the mouth and then piss on yr feet" and there was me thinking it was the other way round...
Sunday 14 November 2010
Message:
I welcome the release of fellow Nobel laureate Aung San Suu Kyi and extend my appreciation to the military regime in Burma. I extend my full support and solidarity to the movement for democracy in Burma and take this opportunity to appeal to freedom-loving people all over the world to support such non-violent movements.
I pray and hope that the government of the People's Republic of China will release fellow Nobel laureate Liu Xiaobo and other prisoners of conscience who have been imprisoned for exercising their freedom of expression.
The Dalai Lama
Nuclear Waste Pools in North Carolina
While the Bush administration fabricated evidence of Iraq’s weapons of mass destruction as a justification for war, the U.S. federal government has been sitting on the evidence of a looming nuclear nightmare in one of the most populated areas on the eastern seaboard. Storage pools of hazardous nuclear waste have converted the Shearon Harris facility in North Carolina into a ticking atomic clock.
One of the most lethal patches of ground in North America is located in the backwoods of North Carolina, where Shearon Harris nuclear plant is housed and owned by Progress Energy. The plant contains the largest radioactive waste storage pools in the country. It is not just a nuclear-power-generating station, but also a repository for highly radioactive spent fuel rods from two other nuclear plants. The spent fuel rods are transported by rail and stored in four densely packed pools filled with circulating cold water to keep the waste from heating. The Department of Homeland Security has marked Shearon Harris as one of the most vulnerable terrorist targets in the nation.
The threat exists, however, without the speculation of terrorist attack. Should the cooling system malfunction, the resulting fire would be virtually unquenchable and could trigger a nuclear meltdown, putting more than two hundred million residents of this rapidly growing section of North Carolina in extreme peril. A recent study by Brookhaven Labs estimates that a pool fire could cause 140,000 cancers, contaminate thousands of square miles of land, and cause over $500 billion in off-site property damage.
The Nuclear Regulatory Commission (NRC) has estimated that there is a 1:100 chance of pool fire happening under the best of scenarios. And the dossier on the Shearon Harris plant is far from the best. In 1999 the plant experienced four emergency shutdowns. A few months later, in April 2000, the plant’s safety monitoring system, designed to provide early warning of a serious emergency, failed. And it wasn’t the first time. Indeed, the emergency warning system at Shearon Harris has failed fifteen times since the plant opened in 1987.
In 2002 the NRC put the plant on notice for nine unresolved safety issues detected during a fire prevention inspection by NRC investigators. When the NRC returned to the plant a few months later for reinspection, it determined that the corrective actions were “not acceptable.” Between January and July of 2002, Harris plant managers were forced to manually shut down the reactors four times. The problems continue with chilling regularity. In the spring of 2003 there were four emergency shutdowns of the plant, including three over a four-day period. One of the incidents occurred when the reactor core failed to cool down during a refueling operation while the reactor dome was off of the plant—a potentially catastrophic series of circumstances.
Between 1999 and 2003, there were twelve major problems requiring the shutdown of the plant. According to the NRC, the national average for commercial reactors is one shutdown per eighteen months. Congressman David Price of North Carolina sent the NRC a report by scientists at MIT and Princeton that pinpointed the waste pools as the biggest risk at the plant. “Spent fuel recently discharged from a reactor could heat up relatively rapidly and catch fire,” wrote Bob Alvarez, a former advisor to the Department of Energy and co-author of the report. “The fire could well spread to older fuel. The long-term land contamination consequences of such an event could be significantly worse than Chernobyl.”...
Continue reading
Jeffrey St. Clair @'VoltaireNet'
Saturday 13 November 2010
What did you expect?
George Bush Book 'Decision Points' Lifted From Advisers' Books
Also love that John Howard's three mentions turn him from the man of steel to a tin soldier!
Uncle Sleazy says:
X-Industrial
Well the writing has been on the wall all along, but after the TG show in Hoxton London a week ago, which was relatively painless, enjoyable, and even began to pay off some of the cost of tickets, Genesis decided to move, first hotels, and then cities, un-announced, making herself unavailable for the remaining tour dates, and leaving the rest of TG and all the promotors and fans in a certain amount of a quandry.
Either we could bow to Gen's seemingly senseless and out-of-the-blue decision and pull the tour completely, and so be jointly responsible for all the money paid out, to get us to London, and round Europe, put us up in in hotels etc, or we could play the remaining shows as best we were able (albeit at a reduced fee since Genesis chose not to be there) to lessen our joint losses....
Fortunately, to our great gratitude, and the relief and appreciation of the fans who showed up (amounting to some 99% of ticket holders - very few were only there to see Gen it seems), what Chris, Cosey and I did as X-TG was greeted with just as much enthusiasm as TG had been in the past.
Apparently the public share our interest in "Chamber Music for the Coming Hard Times", and, despite missing the jumping-up-and-down-encore factor led by our undoubtly-skillful and curious looking, trans-dressing (though not trans-gendered) figure head - everyone said X-TG was just as good, if not better, than the old style TG.
On her website Genesis is keen to point out she only left THAT tour and still considers herself part of TG. For anyone that is interested, her included, I can confirm that TG will continue to complete all existing contracts, sales, ongoing negotiations and the recording/delivery obligations already in place, but it's clear neither Gen nor the rest of TG have the interest, time, energy (or even spare cash) to risk pursuing further live performances together, fraught as they are with the possible problems we all suffer from: concerns about health, unequal treatment or contribution, availability of the appropriate medications for pain, stress or lack of sleep, not to mention our own outside/personal commitments...
Also about the future of TG live, I do not regard it as possible for any changed band or variation of personel to perform live as Throbbing Gristle without all the original four of us on stage. If Chris, Cosey and I play live together again it will be as X-TG to make it clear it is a new entity, despite its Provenance which will draw on our own individual work and interests, just as much as any TG reference, which feel to me at least, tired, though the approach to music composition, remains as unique and exclusive to us, as any band I have ever come across....
I for one bear Genesis no ill will, though it would be nice to recieve some communication explaining what happened, rationally, and accepting that her precipitous actions had consequences for all of us, even though I am still several thousand pounds worse off than when we all agreed to do these dates...Money I can ill-afford to lose at this point...
As luck would have it, the "doors" Genesis opened by flying home, and out of the way unexpectedly, have revealed hitherto unseen paths into the future that are both interesting, exciting, as well as being ones I would probably not have pursued, if I'd just been Harry Pottering around in Bangkok with my HouseBoys...
So I thank you all for that, from the bottom of my heart!
Sathu, Sathu, Sathu....
Nobody knows the future, after all.... All we can do is try to make it as enjoyable, inspiring, helpful, encouraging and illuminating for everyone as possible, in the time that we have left.
In my book that means not only remembering the past and music of 30 years ago, (whether or not it's good enough to satisfy drunken Americans!) BUT NOT REPEATING IT, no matter how easy.
best2all
Nigerian films to undergo censorship in Uganda
A new law which will subject all films entering Uganda to censorship has been suggested by Member of Parliament Sarah Wasike Mwebaza, who has appealed to government to institute a special regulatory body to check and regulate films and the content of movies imported into the country.
"The regulation of the content of especially Nigerian movies will help rid the country of harmful practices like child sacrifices, witch craft, violence and kidnaps among others which negatively influence morals for Ugandans" she argued.
Sarah Wasike Mwebaza believes that there is sufficient evidence showing that Ugandans are copying witchcraft behaviour from Nigerian movies which are now easily accessible around the country.
Wasike who is also a member of the parliamentary committee on Gender, Labor and Social development committee said "The movies currently watched by adults and children have widely contributed to societal moral decay, They have led to increase in prostitution, murder and violence cases."
Wasike urged parents and guardians to always scrutinize movies before availing them to kids to watch. She also called upon parents, teachers to be vigilant with their children against strangers.
The minister of ethics and integrity, James Nsaba Buturo said that a bill on pornography and movies will will soon be tabled in parliament and will deal with Wasike’s concerns.
According to James Nsaba Buturo, obscene movies "will soon be history" in the country if the bill is passed because they will not be allowed in.
The anti-pornography bill seeks to impose heavy fines or a 10-year jail sentence or both on any person found guilty of dealing in pornographic materials.
The minister also warned that a section of the new legislation will deal with activities on the internet. Internet owners will be liable to 5 years imprisonment if found guilty.
Early September, Mr. Buturo had been quoted saying: "Pornography breeds homosexuality. I am happy that finally a bill to curb pornography in Uganda is out to punish the promoters of the vice. The draft bill is already in cabinet for discussion"
In October 2009, an Anti-Homosexuality Bill was tabled in parliament by member of parliament David Bahati. The proposed law sought the death penalty against people convicted of aggravated homosexuality with minors and those who knowingly infect others with HIV.
The proposed anti-homosexual legislation, which also urged parents and school authorities to disclose any child believed to be gay, was criticised by the international community, including U.S. President Barack Obama, the Netherlands, the UK, France, Canada and Sweden which threatened to cut financial assistance.
Geof Magga @'Afrik-News'
♪♫ Elvis Costello & The Attractions - Watching The Detectives (Live at Eric's)
(Thanx Leisa!)
My fave club in the world!
Think I may still have my membership card somewhere in storage.
Didn't see this gig but the first time I saw him was pre band at The Watermill Hotel in Paisley and then also a great night in the company of Allan Jones from (MM/Uncut) at the Live Stiff''s tour in Glasgow which carried on way into the wee hours back at the hotel. Oh and thank you Floyd for stealing my tour itinerary that had been signed by Nick Lowe, Ian Dury, Dave Edmunds, Wreckless Eric. Larry Wallis, Costello et al.
Bastard!
My fave club in the world!
Think I may still have my membership card somewhere in storage.
Didn't see this gig but the first time I saw him was pre band at The Watermill Hotel in Paisley and then also a great night in the company of Allan Jones from (MM/Uncut) at the Live Stiff''s tour in Glasgow which carried on way into the wee hours back at the hotel. Oh and thank you Floyd for stealing my tour itinerary that had been signed by Nick Lowe, Ian Dury, Dave Edmunds, Wreckless Eric. Larry Wallis, Costello et al.
Bastard!
Shit name but...
Tracklist:
Telespazio – ‘Telemetric’ (Arto Mwambe Remix) – Tiny Sticks
Spectacle – Prism – Permanent Vacation
Mango Boy – If It Ain’t Broke – Mango Boy Records
Neal Howard – The Gathering (Joey Negro edit) – NRK
Miranda – Jacques Renault Edit – On The Prowl
Lee Curtiss – Freak On – (Get Physical)
Layo & Bushwacka – The Raw Road (Nic fanciulli remix) – Olmeto
Basic Soul Unit – In The Trunk – Room With A View
DJ Sprinkles – Grand central Pt.1 (Deep In The Bowel Of House) MCDE Bassline Dub – Mule Musiq
Hrdvsion – Captivated Heart – Wagon Repair
Murk – Bugged out – Solid Pleasure
The Orb – Little fluffy Clouds (Cumulonimbus mix) – Big Life
The White Anti-Racist Is an Oxymoron: An Open Letter to 'White Anti-Racists'
I received an annoying e-mail about white people and their struggle to do anti-racist work. I keep reading and hearing white people talk about their struggle to do anti-racist organizing, and frankly it gets on my nerves. So I am writing this open letter to white people who engage in any activist work that involves or affects non-whites. Given that the US social structure is founded on white supremacy, and that there is a global order in which white supremacy and European domination are at large, I would challenge any white person to figure out what movement or action they can get involved in that will not involve or affect non-white people.
That said, I want to begin with what has become a realization for me through the help of different politically conscious friends. There is NO SUCH THING AS A WHITE ANTI-RACIST. The term itself, "white anti- racist" is an oxymoron. In the following, I will explain why. Then, I will begin to detail how this impacts non-white people in organizing work specifically, along with how it affects non-white people generally.
First, one must realize that whiteness is a structure of domination. As such, there is nothing redeemable or reformable about whiteness. Intellectuals, scholars and activists, especially those who are non- white, have drawn our attention to this for years. For example, people such as Malcolm X, W.E.B. DuBois, Marcus Garvey, James Baldwin, Toni Morrison, Ida B. Wells, Sojourner Truth, Frederick Douglass, and many, many others who are perhaps less famous, have articulated the relationship between whiteness and domination.
Further, people such as Douglass and DuBois began to outline how whiteness is a social and political construct that emphasizes the domination, authority, and perceived humanity of those who are racialized as white. They, along with many other non-white writers and orators, have pointed to the fact that it was the bodies who were able to be racialized as "white" that were able to be viewed as rational, authoritative, and deserving. Further, and believe me, this is no small thing, white people are viewed as human. What this means is that when white people suffer, as some who are poor/female/queer, they nevertheless are able to have some measure of sympathy for their plight simply because they are white and their marginalization is considered an emergency, crisis or an issue to be concerned about.
Furthermore, even when white people have been oppressed by various dimensions of classism, homophobia and heterosexism, they have been able to opt for what DuBois, in his monograph "Black Reconstruction" brilliantly called "the psychological wage of whiteness." That is, whites that are marginalized could find comfort, even if psychological, in the fact that they were not non-white. They could revel in the fact that they could be taken as white in opposition to non-white groups. The desire for this wage of whiteness was also what drove many white people, albeit marginalized, to engage in organized violence against non-whites.
Of course, legal cases such as the Dred Scott Decision along with many different naturalization cases involving Asian individuals, has helped to encode a state-sanctioned definition of whiteness. But there are other ways in which white people can be racialized as white by the state. They are not stopped while driving as much as non-white people. Their homes and businesses are not raided and searched as much by police officers, INS or License and Inspections (L&I). White people's bodies are not tracked and locked up in prisons, detention centers, juvenile systems, detention halls in classrooms, "special education" classes, etc. White people's bodies are not generally the site of fear, repulsion, violent desire, or hatred.
Now some might point out to me that white people are followed, tracked and harassed by individuals and state agents such as the police. This is true. Some white women get sexually harassed and experience state-sanctioned discrimination. Queer whites are the subject of homophobia, whether by individuals or by the state through laws and the police. Some queer whites are harassed by cops. Activist whites are stopped by police. White people who play rap music and wear gear are stopped by cops. Poor whites can be criminalized, especially by the state around welfare issues. What I want to point out is that, while I do not condone police violence and harassment, there is a way in which white people will not be viewed as inherently criminal or suspect unless they are perceived as doing something that breaks particular norms.
Conversely, other racial groups, particularly Blacks and Native Americans, are considered inherently criminal no matter what they do, what their sexual identity is or what they wear. Further, it has always struck me as interesting that there are white people who will attempt to wear what signifies "Blackness," whether it is dreadlocks (which, in my opinion, should be cut off from every white person's head), "gear," or Black masks at rallies. There is a sick way in which white people want to emulate that which is considered "badass" about a certain existential position of Blackness at the same time they do not want the burden of living as a non-white person. Further, it really strikes me as fucked up the way in which white people will go to rallies and taunt the police with Black masks in order to bring on police pressure. What does it mean when Blackness is strategically used by whites to bring on police violence? Now I know that somewhere there is a dreadlocked, smelly white anarchist who is reading this message and who is angry with me for not understanding the logic of the Black masks and its roots in anarchism. But I would challenge these people to consider how they are reproducing a violence towards Blackness in their attempts to taunt and challenge the police in their efforts.
Now back to my point that white anti-racism is an oxymoron. Whiteness is a social and political construct rooted in white supremacy. White supremacy is a structure and system of beliefs rooted in European and US imperialism in which certain racialized bodies (non-white) are selected for premature negation whether through cultural, physical, psychological genocide, containment or other forms of social death. White supremacy is at the heart of the US social system and civil society. In short, white supremacy is not just a series of practices or privilege, but a larger social structure and system of domination that overly-values and rewards those who are racialized as white. The rest of us are constructed as undeserving to be considered human, although there is significant variation within non-white populations of how our bodies are encoded, treated and (de)valued...
Don't forget Boss Goodman's benefit tonight if you are in London
BIG hugs and kisses from Angie and I
(The Dingwalls Down Under Duo)
XXX
HA!
jackofkent Have just been told by a journo that a certain tweet is now the most RT'd tweet ever. Is this correct? How wd one know? Twitter anger over bomb tweeter
Henryk Gorecki RIP
Polish composer Henryk Gorecki has died at the age of 76, the country's national orchestra has announced.
He was best known for his Symphony of Sorrowful Songs, which was composed in 1976 and sold more than a million copies following a 1992 re-release.
The symphony, re-issued to commemorate those who died in the Holocaust, featured vocals from US soprano Dawn Upshaw.
It was often played on radio station Classic FM when it launched in 1992.
Monumental style
Gorecki had been suffering from a prolonged illness, a spokeswoman for Polish Radio's National Symphony Orchestra said.
He was born close to the industrial city of Katowice in southern Poland where he studied music and became a professor at the city's music academy.
The composer's earlier works in the 1950s and 1960s explored folk music traditions, but by the 1970s had formed into the monumental style he became famous for.
He was often at odds with the authorities in communist Poland, withdrawing from public life in the 1980s to concentrate on composing music.
Gorecki's Symphony No 3 became the best-selling record by a contemporary composer, with its slow and stark style dealing with the themes of war and separation.
The composer had completed his fourth symphony, but its premiere was shelved due to his illness.
He was awarded the Order of the White Eagle last month, Poland's highest honour.
Friday 12 November 2010
RT
exilestreet Crap! Robin Hood airport is closed. You've got a week to get your shit together, otherwise I'm blowing the airport sky high! #IAmSpartacus
David Dawson: Lucian Freud, Working at Night (2005)
This photo of Lucian Freud working at night in his studio was taken by long time assistant David Dawson. The photo was part of an exhibition held by Hazlitt Holland-Hibbert to coincide with the book launch of Freud at Work (Knopf, 2006). The photo, along with a dozen others, was reproduced by the catalog put forward by the Centre Pompidou for its recent exhibition Lucian Freud. L’Atelier (March 10 2010 – July 19 2010
Subscribe to:
Posts (Atom)
