posted by Caroline Picard

I found this post a few weeks ago, but now it seems to have been taken down. To that end, I thought I’d direct you to this fellow’s blog and copy and paste what he said about SKETCHES.

Flipping Through Sketches

Posted on December 6, 2008

by Damien Franco


Often times, as almost every artist I know, I find myself in a creative slump.  Perhaps it’s the area that I  live in.  Midland, TX doesn’t seem to inspire me as a contemporary photographer and that may have to do  with me having grown up here, but it shouldn’t stop me.  Still… I find myself in a creative slump.  I don’t think I’ve taken my camera out in a couple weeks which is rare.  Too many excuses.  Too little time.  Too many excuses.  But even when I don’t find myself capturing images, I still spend time looking at photographs.  Reading  books on photography and art really helps me to cope with these down times.  Currently reading (or rather flipping through): Sketches: Organizing Arts edited by Elizabeth Chodos +  Kerry Schneider
Really enjoying so much about it.  It’s a great insight into the creative minds of arts administrators.

Sometimes I feel like I would be a better curator than an artist.  I guess I’m too hard on myself  sometimes.

Edith Wharton

February 28, 2009

posted by Caroline Picard

you can read more about Edith Wharton by going here.


  • 1862 Born, New York City
  • 1878 Publishes Verses, privately
  • 1885 Marries Edward(Teddy)Wharton
  • 1889 Publishes poems in Scribner’s Magazine
  • 1897 Publishes Decoration of Houses, w Ogden Codman
  • 1899 Publishes first stories, Greater Inclination
  • 1902 Publishes first novel, Valley of Decision
  • 1905 Publishes important best seller, House of Mirth
  • 1907 Settles in Paris
  • 1908 Teddy has nervous breakdown
  • 1911 Publishes Ethan Frome
  • 1913 Divorces from Teddy
  • 1913 Publishes Custom of the Country
  • 1914-1918 Devotes time to refugee and charity work in wartorn France
  • 1917 Publishes Summer
  • 1920 Awarded Pulitzer Prize for novel, The Age of Innocence
  • 1923 Receives Yale honorary award of Doctor of Letters
  • 1930 Elected to American Academy of Arts and Letters
  • 1937 Dies of stroke in France
  • from Edith Wharton, a collection of critical essays. Edited by Irving Howe. Prentice-Hall, 1962.


an excerpt from ETHAN FROME

“‘When a man’s been setting round like a hulk for twenty years of more, seeing things that want doing, it eats inter him, and he loses his grit. That Frome farm was always ’bout as bare’s a milkpan when the cat’s been round; and you know what one of them old water-mills is wuth nowadays. When Ethan could sweat over ’em both from sun-up to dark he kinder choked a living out of ’em; but his folks ate up most everything, even then, and I don’t see how he makes out now. Fust his father a kick, out haying, and went soft in the brain, and gave away monely like Bible texts afore he died. This mother got queer and dragged along for years as weak as a baby; and his wife Zeena, she’s always been the greatest hand at doctoring in the county. Sickness and trouble: that’s what Ethan’s had his plate full up with, ever since the very first helping.'”

“The next morning, when I looked out, I saw the hollow-backed bay between the Varnum spruces, and Ethan Frome, throwing back his worn bearskin, made room for me in the sleigh at his side. After that, for a week, he drove me over every morning to Corbury Flats, and on my return in the afternoon met me again and carried me back through the icy night to Starkfeild. The distance each way was barely three miles, but the old bay’s pace was slow, and even with firm snow under the runners we were nearly an hour on the way. Ethan Frome drove in silence, the reins loosely held in his left hand, his brown seamed profile, under the helmet-like eak of the carp, relieved against the banks of snow like thr bronze image of a hero. He never turned his face to mine, or answered, except in monosyllables, the questions I put, or such slight pleasantires as I ventured. He seemed a part of the mute melancholy landscape, an incarnation of its frozen woe, with all that was warm and sentient in him fast bound below the surface; but there was nothing unfriendly in his silence. I simply felt that he lived in a depth of moral isolation too remote for casual access, and I had the sense that his loneliness was not merely the result of his personal plight, tragic as I guessed that to be, but hat in it, as Harmon Gow had hinted, the profound accumulated cold of many Starkfield winters.”

licensing : a preamble

February 28, 2009

posted by Caroline Picard

We got a nice little plug on the TOC blog. I thought I’d post a link here, in case your interested. Apparently the Hyde Park Arts Center is having related problems. You can read more about that here. While I plan to write a longer something explaining what’s going on here at The Green Lantern, I’m not sure what to make of everything. Why are these issues coming up now? Is it in fact because of the city’s need to generate income?

Hope y’all are having a happy Saturday, staying warm and all that-

written by Meredith Kooi

I visited the Krannert Art Museum originally to see the exhibition Polaroids and Portraits:  A Photographic Legacy of Andy Warhol, but I was more impressed with two of the other exhibitions there – Jean Luc Mylayne and Audubon at Illinois:  Selections from the University Library’s Birds of America.

Since 1976, Jean Luc Mylayne and his wife / co-collaborator, Myléne, have been following and photographing birds.  This exhibition features his work from his and his wife’s travels from 2004 through the present in the Fort Davis, Texas area.  The photographs are huge – 4 by 5 feet.  The colors are vibrant and the multiple focal points are interesting and captivating.  Though the subjects of the photographs may be birds, Mylayne is not a wildlife photographer and the birds do not always occupy much of the composition – sometimes you have to actually look for the bird because you know that it has to be there.  His photographs are not just point-and-click, capturing a bird’s flight for moment in time.  They are carefully planned compositions, using a large format camera with a combination of different lenses to create the multiple focal points.

My favorites were No. 300 March April 2005; No. 368, February March 2006; No. 334 April May 2005; No. 335 April May 2005; and No. 336 April May 2005.

In the next gallery space, I was happy to find the Audubon at Illinois exhibition.  This exhibition features John James Audubon’s illustrations of birds in North America. Unlike Mylayne, Audubon was a naturalist and a wildlife illustrator, as per the fact that his Illustrations are scientifically correct.  However, he adds something to the drawings so that the viewer can really feel the bird and not just see it.

I liked the juxtaposition of the two “bird” exhibitions.  Mylayne is not Audubon’s contemporary, but it was nice seeing their work near each other.  Each has an intimate and unique relationship with the birds, and it is apparent in their visual representations of them.  Mylayne focuses on the landscape and the bird’s place within it.  He lives in a landscape for a long period for the birds to become used to him – then he takes the photograph.  Audubon, on the other hand, uses specimens to greater study and understand their nature – then he draws them.  Both place themselves and the viewer within the experience of birds.

Jean Luc Mylayne
January 30 – April 5, 2009

Audubon at Illinois:  Selections from the University Library’s Birds of America
January 30 – May 24, 2009

Both at the Krannert Art Musem at the University of Illinois at Urbana-Champaign.

Pictured are No. 334 April May 2005; No. 335 April May 2005; and No. 336 April May 2005.

You are cordially invited to the Green Lantern this Saturday, February 28th for a screening of THE QUEEN’S TAILOR and an artist talk with Matthew Jinks. At 2pm the screening will begin, with the artist talk starting at 3 pm. THE QUEEN’S TAILOR is a stunning film. You can read more about it in last week’s issue of NewCity, or by going to:

If you can’t make this screening, but would still like to see the show, please contact Caroline Picard via email to schedule a separate appointment:

The Green Lantern Gallery is located at 1511 N Milwaukee ave., on the second floor.

**ALSO** Don’t forget about The Parlor next Tuesday with Terri Kapsalis-

that THE PARLOR is also looking for submissions for their second annual emerging writer’s festival.

posted by Caroline Picard

Karner Blue Estates

February 26, 2009

posted and written by Caroline Picard


Karner Blue Estates

by Rowland Saifi

pub. Black Lodge Press, 2009

As small press publications often go unnoticed, it seems worthwhile to mention them here, when and if they are discovered and particularly if they are worth reading. Recently I came across a small, handsomely (hand)bound book called Karner Blue Estates by Rowland Safi. Published by Black Lodge Press, a small company based out of Chicago, Brooklyn and Northhampton (what times we live in!), they produce beautiful books that feel good to hold and therefore make happy reading companions.

That aside, the book is lovely. The protagonist is a single man who thinks only of his mother (on such occasions when he thinks of other particular relationships). While the mother functions as a kind of blinking satelite, the majority of the main character’s life is taken up with the exploration of other apartments in the apartment block. Having discovered that his key fits and opens all other locks, the protagonist develops a hobby exploring other peoples’ lives, playing the games that they offer (in some cases elaborate LARP-style-choose-your-own-adventure books), consuming their food (they are always absent) and sitting on their various furnitures. Were it not for the strange land lords, Ken and Jim, the life of the story takes place in the wanderings of its tenant, who (as far as I can tell) is never given a name.

Of course the apartment he takes up is racked with eccentricites–a faulty disposal, a single color of ubiquitous paint, no heat etc., and it is those eccentricities that force the tenant out to explore other rooms.

While it did not occur to me until after I’d put the book down, (a signature of good story telling, I feel) I cannot help but imagine this tale to somehow reflect the process of writing itself. The protagonist does not have a name, because in some sense he is the reader, just as the apartments that he visits are uninhabited because he explores as a writer, capable of entering any new place, tasting its fridge and thereby drawing conclusions about its inhabitants.

Aside from being a delight, the book indulges all voyeuristic appetites, thereby transposing the otherwise apparent loneliness of its main character.


Next Week!!! Terri Kapsalis to read at The Parlor Tuesday, March 3rd, 2009 at 7pm

Terri will read an excerpt from The Hysterical Alphabet as well as a new work. Following Terri’s 30 minute reading, she will take questions from the audience.


As always, the event will be recorded and published on-line for your repeated listening pleasure on iTunes and at

Terri is a writer, performer, and cultural critic whose work appears in such publications as Short Fiction, Denver Quarterly, Parakeet, The Baffler, New Formations and Public. She is the author of The Hysterical Alphabet (WhiteWalls) and Public Privates: Performing Gynecology from Both Ends of the Speculum (Duke University Press) and the co-editor of two books related to the musician Sun Ra.  As an improvising violinist, Kapsalis has a discography that includes work with Tony Conrad, David Grubbs, and Mats Gustafsson, and she is a founding member of Theater Oobleck.  She works as a health educator at Chicago Women’s Health Center and teaches at the School of the Art Institute of Chicago.

All readings take place at The Green Lantern 1511 N. Milwaukee Ave, 2nd Floor


For more information, please visit or contact

The Parlor is a monthly reading series, hosted by Chicago’s Green Lantern and sponsored by Bad At Sports Podcast.