__ a bird for all seasons ___

"Oriole Bird was preening his feathers, twitting and cleaning his tiny claws,
before he went back into his Tipi . . . he'd heard that Tzimo Crow, his friend,
was coming back . . . very soon . . . he sang his favorite Oriole Tunes,
practiced drums . . . and sung in a delighted voice . . . hmmm, he thought, singing
is the best medicine __as he said that, he opened his small Medicine Bundle
made out of a soft hide . . . it was tied at the top with a single Jade Bead . . . and a
cut-short Aspen twig . . . in it, Oriole kept Sacred Things _ that made him feel strong
and gentle at the same time. . .

before leaving Tzimo had carved a small stone in the shape of a Bear . . .
he'll keep you happy and healthy . . . he'd said sweet-like to Oriole. . .
and Oriole Bird felt tears coming to his eyes . . . when he began singing
his goodbye song , his tiny bird's whistle . . . shook a bit . . . but then,
he knew Tzimo wouldn't mind. "

He took a deep breath and said to himself, Tzimo is back !
Oriole had lit a small fire, Spring in the Mountains hadn't
warmed up, yet . . . and Oriole Bird was after all a Bird from
the South . . . so he'd been told. . . Oriole's home were
the Aspen Hills and the Ash-Woods . . . the tall Black Pines
__ long Fall nights and the High-Snows Winter brought to his
door. . . ice shone in the light of his fire. . . at times he felt his
Tipi . . . shivering with the icy winds . . . as much as he did . . .
where is Spring? where is Tzimo ?

I'm here Oriole Bird . . . this is Tzimo, I'm back . . .
I knew, I knew it , yelled Oriole Bird at the top of his lungs . . .
you're here . . . you're here my friend, he said in his tiny
Bird's voice . . . Tzimo, come in, oh do come in, please !

When friends meet again after a long long time away from each other,
words don't come out easy . . . all you really want to do is gaze
at your friend, hold him in your eyes, and secretly you want to hear
his dream-voice, the voice you recalled . . . while he was gone . . .
You know his now-voice . . . but the one that kept you warm
when you slept long Winter nights, wondering and alone, sitting in your
Tipi with no one to talk to . . . that's the voice you loved . . .
the dream-voice, that made time go faster or slower . . .
but kept you alive, so to speak.

Tzimo Crow who was timid by nature , didn't talk much and what he had to
say could wait 'til morning . . . when Oriole Bird would stretch out a bit under in
Bear fur blanket . . . he'd cough slightly as all birds do when they open their
eyes or when a tiny seed gets stuck in their gullet . . .

I made you some grits and a bowl of mush , he'd say to Tzimo . . . mush ?
do I eat mush? questioned Tzimo . . . of course you , do smiled Oriole Bird,
you just plain forgot. . . and as they stepped out of the Tipi to greet the sun,
the trees, new plants and the Yuhakta River that ran below the camp . . .

Oriole Bird whispered to the Aspen trees that barely woke up . . .
do you know whne Spring will flower?

_ there are different kinds of Oriole birds, some are yellow, some are orange . . .
all are beautiful, fun, and sing sweet-whistle-like tunes, each in their own
tiny way . . . they do eat berries, nuts . . . some like Tzimo's friend
eat mush ! but that you already knew. . .

_ Tzimo and Oriole Bird
- (c) 2010 by bijou le tord


__ a bird that says it all __

"People sometimes forget whom they've loved . . . Birds fly and don't wonder why
Spring is late or seeds . . . forget to grow ! "
__ Charles Pequint, 1884.
photo: from Birds Brain . . . a book to love.



"statue du roi archer conservée au Musée national
du Soudan ( Kkarthoum) provenant de Tabo sur l'île d'Argo."

Egyptian Antiquities
from 03-26-2010 to 09-06-2010
. . . Louvre Museum, Paris
Curator(s) : Guillemette Andreu-Lanoë, Michel Baud et Aminata Sackho-Autissier, Department of Egyptian Antiquities, musée du Louvre.photo © Jürgen Liepe


__ Tzimo__

_ " Tzimo sent a message to Oriole Bird . . . I'll be back
before the flowers open . . . we've prepared a few ears of
corn for him. Tzimo where are you?"
. . . Woman Bucksin dress, glass beads, thread.
_Lakota Indian Ca. 1870

__ a bug for all weathers___

"once upon a time we met a bug. . . that didn't mind the rain. . ."

photo (c) bijou le tord



__ jazz & blues on NPR __

"jazz is for the birds . . . music to your ears . . . on npr.org"
photo credit: td 123 usa on flickr

Springtime brings songbirds back to the sky. The first "bird" many think of when they think jazz is sax legend Charlie Parker (it was his nickname). This Take Five doesn't focus on Bird, Birdland or the many song titles that riff on that theme. Instead, this jazz ornithology lesson features songs of a different feather flocked together.


__ cat of different colors __

Emile Reynaud, inventeur du théâtre optique, a précédé le dessin animé sur pellicule d'Emile Cohl,
avec ses bandes perforées peintes, dessin après dessin. Gloire du musée Grévin où la foule se bousculait
pour admirer ces images douées de vie, l'oeuvre de Reynaud fut balayée par le cinématographe.

Jean Clerté, pour le projet des "Conquérants de l'illusion", revisite sa période des "moulins à dessins"
pour rendre hommage à ce pionnier de l'image animée.
Photo: Moulin à dessins de Jean Clerté 1977



__ RecliningFigure 1951

Henry Spencer Moore OM CH FBA (30 July 1898 – 31 August 1986) was an English artist and sculptor. He is best known for his abstract monumental bronze sculptures which are located around the world as public works of art.

His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures.Moore’s works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his birthplace, Yorkshire.

Moore was born in Castleford, the son of a mining engineer. He became well-known through his larger-scale abstract cast bronze and carved marble sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom. His later life ability to satisfy large-scale commissions made him exceptionally wealthy. Yet he lived frugally and most of the money he earned went towards endowing the Henry Moore Foundation, which continues to support education and promotion of the arts.

__El Lissitzky__

Untitled, ca. 1919–20
© El Lissitzky, by SIAE 2008
Oil on canvas, 79.6 x 49.6 cm
Peggy Guggenheim Collection, Venice 76.2553 PG 43

El Lissitzky was born Lazar Markovich Lisitskii on November 23, 1890, in Pochinok, in the Russian province of Smolensk, and grew up in Vitebsk. He pursued architectural studies at the Technische Hochschule in Darmstadt, Germany, from 1909 to 1914, when the outbreak of World War I precipitated his return to Russia. In 1916, he received a diploma in engineering and architecture from the Riga Technological University. Lissitzky and Kazimir Malevich were invited by Marc Chagall to join the faculty of the Vitebsk Popular Art School in 1919; there Lissitzky taught architecture and graphics. That same year, he executed his first Proun (an acronym in Russian for “project for the affirmation of the new”) and formed part of the Unovis group.

In 1920, he became a member of Inkhuk (Institute for Artistic Culture) in Moscow and designed his book Pro dva kvadrata. The following year, he taught at Vkhutemas with Vladimir Tatlin and joined the Constructivist group. The Constructivists exhibited at the Erste russische Kunstausstellung designed by Lissitzky at the Galerie van Diemen in Berlin in 1922. During this period he collaborated with Ilya Ehrenburg on the journal Veshch/Gegenstand/Objet. In 1923, the artist experimented with new typographic design for a book by Vladimir Mayakovski, Dlya golosa, and visited Hannover, where his work was shown under the auspices of the Kestner-Gesellschaft. Also in 1923, Lissitzky created his Proun environment for the Grosse Berliner Kunstausstellung and executed his lithographic suites Proun and Victory over the Sun(illustrating the opera by Alexei Kruchenykh and Mikhail Matiushin), before traveling to Switzerland for medical treatment.

In 1924, he worked with Kurt Schwitters on the issue of the periodical
Merz called “Nasci,” and with Arp on the book Die Kunstismen. The next year, he returned to Moscow to teach at Vkhutemas-Vkhutein, which he continued to do until 1930. During the mid-1920s, Lissitzky stopped painting in order to concentrate on the design of typography and exhibitions. He created a room for the Internationale Kunstausstellung in Dresden in 1926 and another at the Niedersächsisches Landesmuseum Hannover in 1927. He died on December 30, 1941, in Moscow.

__ Counter-Composition XIII Theo van Doesburg__

Theo van Doesburg
Counter-Composition XIII
Contra-Compositie XIII), 1925–26
Oil on canvas, 49.9 x 50 cm

Peggy Guggenheim Collection, Venice 76.2553 PG 41

Christian Emil Marie Küpper, who adopted the pseudonym Theo van Doesburg, was born in Utrecht, the Netherlands, on August 30, 1883. His first exhibition of paintings was held in 1908 in the Hague. In the early 1910s he wrote poetry and established himself as an art critic. From 1914 to 1916 van Doesburg served in the Dutch army, after which time he settled in Leiden and began his collaboration with the architects J.J.P. Oud and Jan Wils. In 1917 they founded the group De Stijl and the periodical of the same name; other original members were Vilmos Huszár, Piet Mondrian, Bart van der Leck, and Georges Vantongerloo. Van Doesburg executed decorations for Oud’s De Vonk project in Noordwijkerhout in 1917.

In 1920 he resumed his writing, using the pen name I. K. Bonset and later Aldo Camini. The following year he visited Berlin and Weimar, where in 1922 he taught at the Bauhaus, associating with Raoul Hausmann, Le Corbusier, Ludwig Mies van der Rohe, and Hans Richter. He was interested in Dada at this time and worked with Kurt Schwitters as well as Jean Arp, Tristan Tzara, and others on the review
Mécano in 1922. Exhibitions of the architectural designs of Gerrit Rietveld, van Doesburg, and Cor van Eesteren were held in Paris in 1923 at Léonce Rosenberg’s Galerie l’Effort Moderne and in 1924 at the Ecole Spéciale d’Architecture.

The Landesmuseum of Weimar presented a solo show of van Doesburg’s work in 1924. That same year he lectured on modern literature in Prague, Vienna, and Hannover, and the Bauhaus published his
Grundbegriffe der neuen gestaltenden Kunst (Principles of Neo-Plastic Art). A new phase of De Stijl was declared by van Doesburg in his manifesto of “Elementarism,” published in 1926. During that year he collaborated with Arp and Sophie Taeuber-Arp on the decoration of the restaurant-cabaret L’Aubette in Strasbourg. Van Doesburg returned to Paris in 1929 and began working on a house at Meudon-Val-Fleury with van Eesteren. Also in that year he published the first issue of Art concret, the organ of the Paris-based group of the same name. Van Doesburg was the moving force behind the formation of the group Abstraction-Création in Paris. The artist died on March 7, 1931, in Davos, Switzerland.

__ head of a young girl__

"head of a young girl"
_ Henri Laurens, French

Peggy Guggenheim museum, venice

Henri Laurens was born on February 18, 1885, in Paris, where he attended drawing classes in 1899. The sculpture he produced during the early years of the twentieth century reflects the influence of Auguste Rodin. In 1911 the sculptor entered into a lifelong friendship with Georges Braque, who introduced him to Cubism. The artist would work within this movement until 1925, making polychrome bas-relieves that are plastic translations of the Cubist research in painting. Laurens participated for the first time in the Salon des Indépendants in Paris in 1913, and two years later met Juan Gris, Amedeo Modigliani, and Pablo Picasso. From 1916 Laurens executed Cubist collages and constructions. He became a friend of Pierre Reverdy in 1915 and illustrated the writer’s Poèmes en prose that same year.

The artist was given a solo show at Léonce Rosenberg’s Galerie l’Effort Moderne in Paris in 1917, and signed a contract there the following year. During the 1920s he executed designs for various architectural projects and stage decors. From 1932 to 1933 he divided his time between Paris and nearby Etang-la-Ville, where his neighbors were Aristide Maillol and Ker-Xavier Roussel. Laurens contributed substantially to the World’s Fair in Paris in 1937. In 1938 he shared an exhibition with Braque and Picasso that traveled from Oslo to Stockholm and Copenhagen. His work was shown in 1945 at the Galerie Louis Carré in Paris and in 1947 at the Buchholz Gallery in New York.

About this time Laurens made prints for book illustrations. He was represented at the Venice Biennale in 1948 and 1950. An important exhibition of his work was organized by the Palais des Beaux-Arts in Brussels in 1949, and a major Laurens retrospective took place at the Musée National d’Art Moderne in Paris in 1951. The following year he received a commission for a monumental sculpture for the University of Caracas. He exhibited extensively in Europe and the United States during the early 1950s, and received the Prize of the IV Centenary of São Paulo at the São Paulo Bienal in 1953. Laurens died in Paris on May 5, 1954.


__ PARKING LOT Posted by Jorge Colombo__

Jorge Colombo sketches a parking lot, using Brushes, an application for the iPhone.
"you can see it on video at:
http://www.newyorker.com/online/blogs/fingerpainting/ "

___ new yorker jigsaw-puzzle___

"up to you to finish it . . . if you go to the New Yorker's site. . . "
_ http://www.newyorker.com/magazine/covers/jigsaw


__ coca cola new square bottle__

CCS student Andrew Kim's Coke bottle redesign is an ambitious take on the iconic bottle, going square in the name of eco-friendliness. The new bottle shape would take up far less space in shipping pallets per bottle, and a push-up in the bottom large enough to accommodate the cap of the bottle beneath it would enable stacking. Said cap is offset for better drinkability.


__ blue velvet cow __

" I want to make things that are

fun to look at."

_ Alexander Calder, 1957

Blue velvet cow