Sleepwalkers, Night 5
Two things my camera missed tonight, but my eyes (and ears) didn't. 1. At 6 PM sharp, church bells began to ring in the neighborhood as every single wall in the garden filled with clock images. This might have been more magical than the snow last night. 2. There was a wonderful moment when Tilda Swinton walks across the screen, and on the west wall of the garden it looks as if she's walking across the 3rd floor of MoMA.
I did, however, manage to catch this nice series in the parking lot.
Tonight it was reaffirmed. Donald Sutherland is totally the man. In the NYT article of January 7, Aitken talked about the stir that went on when he was shooting Sutherland. Tonight, there were two couples standing near me in the garden who were disappointed that the Sutherland film wasn't being shown while they were there. I told them that it was ok. He would probably be in the next rotation. They were thrilled when he appeared on the east wall. Yes. He's the man.
Earlier in the garden . . .
From across 54th Street . . .
And I caught a good example of what I meant when I referred to the unlocked rhythm of the work yesterday. This approach is not dissimilar to the rhythmic attacks employed most skillfully by the Stax house drummer Al Jackson, Jr. or legendary bassist Busta Jones (These pics aren't the clearest, but they're clear enough to illustrate my point.)
You can play right on the beat . . .
Or just slightly off it (Look close.) . . .
Where do you want the song to go?
I did, however, manage to catch this nice series in the parking lot.
Tonight it was reaffirmed. Donald Sutherland is totally the man. In the NYT article of January 7, Aitken talked about the stir that went on when he was shooting Sutherland. Tonight, there were two couples standing near me in the garden who were disappointed that the Sutherland film wasn't being shown while they were there. I told them that it was ok. He would probably be in the next rotation. They were thrilled when he appeared on the east wall. Yes. He's the man.
Earlier in the garden . . .
From across 54th Street . . .
And I caught a good example of what I meant when I referred to the unlocked rhythm of the work yesterday. This approach is not dissimilar to the rhythmic attacks employed most skillfully by the Stax house drummer Al Jackson, Jr. or legendary bassist Busta Jones (These pics aren't the clearest, but they're clear enough to illustrate my point.)
You can play right on the beat . . .
Or just slightly off it (Look close.) . . .
Where do you want the song to go?
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