A Card Catalog

Weep no more, little love-notes, your shoebox homes are safe from Dewey's decimals.

I have found a prettier way to index.

Ali & Avo at the Guggenheim

Ali & Avo at the Guggenheim

Sketching at the Met, Picasso’s Weeping Women exhibition in 1994. I mulled over the problem of these tortured lovers for a long time after. What had he done to make them cry so desperately?

Sketching at the Met, Picasso’s Weeping Women exhibition in 1994. I mulled over the problem of these tortured lovers for a long time after. What had he done to make them cry so desperately?

From among the senses, the sense of touch pervades all the others and has the mind inherent in it; the ‘mind-field’ is co-extensive with the tactile sense.

Charaka Samhita

painting at the Asian Art Museum, San Francisco


favorite day at the Cooper-Hewitt, college.

favorite day at the Cooper-Hewitt, college.

Netty confections from a genius milliner, korean olden time.

Netty confections from a genius milliner, korean olden time.

My former office in a coffee table book!  
The art school building was lovely and naturalist-y, a treat that made working at the museum pleasant. Built by Childs Frick (son of the Frick Collection Fricks), it housed his scientific specimens and was called Millstone Laboratory. The junior Frick distinguished himself as one of AMNH’s paleontology bigwigs, which I think means he paid for a dino wing and got into lots of bone-related kerfuffles with other scientists. After each grueling expedition, Childs retreated to this office to plan his next move. He banished the staff of scientists to the unpaneled, unrestful spaces in the building. The doors are thick metal with deadbolts and rumor has it he went so far as to lock them out. A gentleman likes peace and quiet when he’s labeling moss and pinecone specimens.
But oh! Time marches on. Now (well, last I checked), boring files take the place of critters in Frick’s cabinets of curiosities.  

My former office in a coffee table book!  

The art school building was lovely and naturalist-y, a treat that made working at the museum pleasant. Built by Childs Frick (son of the Frick Collection Fricks), it housed his scientific specimens and was called Millstone Laboratory. The junior Frick distinguished himself as one of AMNH’s paleontology bigwigs, which I think means he paid for a dino wing and got into lots of bone-related kerfuffles with other scientists. After each grueling expedition, Childs retreated to this office to plan his next move. He banished the staff of scientists to the unpaneled, unrestful spaces in the building. The doors are thick metal with deadbolts and rumor has it he went so far as to lock them out. A gentleman likes peace and quiet when he’s labeling moss and pinecone specimens.

But oh! Time marches on. Now (well, last I checked), boring files take the place of critters in Frick’s cabinets of curiosities.  

Recent history that seems insane now: commuting four hours daily for my art school job.
but, I consoled myself: 
anyone capable of flash-commuting is a cubicle jockey
and their cubicle-farm offices come with milquetoasty coworkers 
whereas Kiril and his sculptures keep things interesting, in a CSI, morguey kinda way.

Recent history that seems insane now: commuting four hours daily for my art school job.

but, I consoled myself: 

  • anyone capable of flash-commuting is a cubicle jockey
  • and their cubicle-farm offices come with milquetoasty coworkers 
  • whereas Kiril and his sculptures keep things interesting, in a CSI, morguey kinda way.

Small Things

On the Met website they have up a most comforting, personal audio-visual tour. It’s a curator telling her stories and free-associations about “small things” in the Met’s holdings! Her narration reminds me of my experiences going to museums with Mom—always the token afterwards, which I, too, could fit in my pocket; more often than not a tiny animal (especially the scarab beads, so painful to part with even in adulthood), or miniaturized replica of large-scale artwork.  Touching in the audio how the woman’s voice changes (the real breaks through) when she’s talking about the Bolivian poncho, small enough for a Barbie to wear, and also her smooth recovery of polish by redesribing it as an artist’s maquette.  Love maquettes too, both as concept and word. Some people are miniaturists, I guess.  This explains the Met watch I got on my last visit (without Mom)—my fate was sealed by the tiny hippo trapped in endless circles around the watch face. The hippo mesmerized me, I swear! Because, get this, it’s a miniaturized version of the already miniaturized figure. I’ve known the original’s name, William, since I was nine; murmur it like an incantation whenever I’m in the Egyptian wing. It’s not waterproof, my new watch, so it’s also an endless pain. But it’s a small thing that makes me happy. Foggy ticktock recalling happy, early memories: my family’s alltogether adventures in New York.

“The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling… .

… [O]nce we begin to feel deeply all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that they feel in accordance with that joy which we know ourselves to be capable of. Our erotic knowledge empowers us, becomes a lens through which we scrutinize all aspects of our existence, forcing us to evaluate those aspects honestly in terms of their relative meaning within our lives… .

“…During World War II, we bought sealed plastic packets of white, uncolored margarine, with a tiny, intense pellet of yellow coloring perched like a topaz just inside the clear skin of the bag. We would leave the margarine out for a while to soften, and then we would pinch the little pellet to break it inside the bag, releasing the rich yellowness into the soft pale mass of margarine. Then taking it carefully between our fingers, we would knead it gently back and forth, over and over, until the color had spread throughout the whole pound bag of margarine, thoroughly coloring it. I find the erotic such a kernel within myself. When released from its intense and constrained pellet, it flows through and colors my life with a kind of energy that heightens and sensitizes and strengthens all my experience.” —Audre Lorde

From “Uses of the Erotic: The erotic as Power.” Sister Outsider: Essays and Speeches. Freedom, CA: Crossing Press, 1984. 53-59.

my ultimate. Asian Art Museum, San Francisco

my ultimate. Asian Art Museum, San Francisco

oooh the Jade Room (Asian Art Museum, San Francisco!)

oooh the Jade Room (Asian Art Museum, San Francisco!)