http://www.juliazanes.com/paintings_e
Thursday
Friday
Zerizus
When I think of Zerizus I picture the scenario where a mother asks her son to bring her a glass of milk, and he runs to the fridge, gets her a glass of milk and brings it to her right away. I also think of “Danny three times” where the child had to hear things 3 times before he listened. But I realized there’s more to zerizus than doing what we’re told right away.
Zerizus is actually a fundamental building block in doing mitzvos and leading a productive life. I once wrote about how organization and cleanliness helps you be productive. But there’s still something more needed, and that’s Zerizus. Zerizus tells you to do something without delay, to do it at the first possible chance.
Usually, when you plan to do something, your excited about it in the beginning because its a new thing, that is the time when you are supposed to act upon it. I remember in HS I was always good about it, when girls would say we had to bring in money for a school function, I would be the first to bring it in the next day. Because it was fresh on my mind, so why not do it right away.
If you keep up to date with all you have to do, then you will always continue to do things right away.
If however, you figure that you’ll do it later, the next day, so as not to seem over eager, then you will forget about it. Then when you plan on doing another thing, you don’t do that either, cause you know you still have something unfinished to do.
Lately, I feel as though I have so much unfinished tasks to do, that it just pulls me down and doesn’t allow me to be productive. So the key is to try to get them all done, and to do each task right away as its given, not to let things pile up.
When I’m in class, and I’m given HW, I think that I can’t wait to do it, I understood the class, so the HW should be fun to do. I want to do it right when I get home. But then what happens, things get in the way, and I think to myself I still have time, its not due till 2 weeks from now. But then 2 weeks later I’m sitting to do my HW, and I have lost the enthusiasm to do it, its no longer fresh in my mind.
I will get myself to do it though.
So this all comes back to zerizus, how amazing the Mitzvah is, such a great common sense mitzvah. Do things right away, and you will be ahead of the game, accomplishing the most.
Zerizus is actually a fundamental building block in doing mitzvos and leading a productive life. I once wrote about how organization and cleanliness helps you be productive. But there’s still something more needed, and that’s Zerizus. Zerizus tells you to do something without delay, to do it at the first possible chance.
Usually, when you plan to do something, your excited about it in the beginning because its a new thing, that is the time when you are supposed to act upon it. I remember in HS I was always good about it, when girls would say we had to bring in money for a school function, I would be the first to bring it in the next day. Because it was fresh on my mind, so why not do it right away.
If you keep up to date with all you have to do, then you will always continue to do things right away.
If however, you figure that you’ll do it later, the next day, so as not to seem over eager, then you will forget about it. Then when you plan on doing another thing, you don’t do that either, cause you know you still have something unfinished to do.
Lately, I feel as though I have so much unfinished tasks to do, that it just pulls me down and doesn’t allow me to be productive. So the key is to try to get them all done, and to do each task right away as its given, not to let things pile up.
When I’m in class, and I’m given HW, I think that I can’t wait to do it, I understood the class, so the HW should be fun to do. I want to do it right when I get home. But then what happens, things get in the way, and I think to myself I still have time, its not due till 2 weeks from now. But then 2 weeks later I’m sitting to do my HW, and I have lost the enthusiasm to do it, its no longer fresh in my mind.
I will get myself to do it though.
So this all comes back to zerizus, how amazing the Mitzvah is, such a great common sense mitzvah. Do things right away, and you will be ahead of the game, accomplishing the most.
Read more: http://thejewishside.blogspot.com/2009/02/zerizus.html#ixzz2Lc2pMo4C
Tuesday
Monday
so, who I'm trying to cheat with?
I took a day-off, stay at home for all day. Yes, one day before the audition.
(I would like to defination it is "performance.") I'm feeling not well today, probably got the flu from other people. All my body aches especially in right shoulder through the hand.
Just like back to the summer/winter vacation, I followed by my own biological clock, don't care about the people, sunrise/sunset, festival, and the outside real world that much.
I back to my isolated and elusive life. The worst thing is- I'm so fucking enjoy that.
I did everything slowly, nicely, and elegantly. Trying to pretend that I have nothing left but time.
Like a greedy pioneers, I'm desperately want more spiritual shock by the other similarity people.
They do really exist in the same world; However, to a certain degree, we cannot develop
something real between us. We always have to find a bridge to be connected by other people which are more neutral, normal, or bored.
ok, the medicine I took working now.
Let's forget about everything, like what you've said, we should forget.
I took a day-off, stay at home for all day. Yes, one day before the audition.
(I would like to defination it is "performance.") I'm feeling not well today, probably got the flu from other people. All my body aches especially in right shoulder through the hand.
Just like back to the summer/winter vacation, I followed by my own biological clock, don't care about the people, sunrise/sunset, festival, and the outside real world that much.
I back to my isolated and elusive life. The worst thing is- I'm so fucking enjoy that.
I did everything slowly, nicely, and elegantly. Trying to pretend that I have nothing left but time.
Like a greedy pioneers, I'm desperately want more spiritual shock by the other similarity people.
They do really exist in the same world; However, to a certain degree, we cannot develop
something real between us. We always have to find a bridge to be connected by other people which are more neutral, normal, or bored.
ok, the medicine I took working now.
Let's forget about everything, like what you've said, we should forget.
Thursday
Tuesday
Friday
MUSIC REVIEW
A Debut With a Proustian Touch
The violinist Paul Huang’s Francophile New York recital debut on Tuesday evening at Merkin Concert Hall had an unlikely literary connection.
“Below the delicate line of the violin part,” he recalls, “slender but robust, compact and commanding, he had suddenly become aware of the mass of the piano part beginning to emerge in a sort of liquid rippling of sound.”
Proust later suggested that the fictional Vinteuil’s sonata was inspired by a real work, perhaps Saint-Saëns’s Sonata No. 1 in D minor, which the author had heard in a recital and loved. The “little phrase” that Proust describes in Vinteuil’s sonata, the one that emerges over the piano’s rippling, may well be the second theme of Saint-Saëns’s first movement.
When Mr. Huang, 22, played the Saint-Saëns sonata on Tuesday with the pianist Jessica Osborne, under the auspices of the venerable Young Concert Artists series, his sound was not far from the “slender but robust, compact and commanding” tone described by Proust. He sounds like a wire filament: lithe but with a metallic bite — even, in intense moments, a satisfying squeal of vehemence.At one point in Proust’s “In Search of Lost Time,” Charles Swann remembers Vinteuil’s sonata for violin and piano, a work inextricable in his mind from his love for Odette.
In a program note Mr. Huang wrote that French music, which dominated the program, held particular appeal for him, and he plays that repertory with sensitivity, a range of color and a light touch. (The opener, Beethoven’s Sonata No. 8 in G, seemed out of place, a remnant of the convention that a debut recital must include a canonical Classical or early Romantic selection; here was no reason for the recital not to be entirely French.)
Mr. Huang sounded sweet and assured throughout, from his perfectly balanced, lucid double-stops in Ysaÿe’s Sonata No. 3 in D minor for solo violin to the confident mixture of cool and soulfulness in both Messiaen’s “Theme and Variations” and Ravel’s tranquil, twinkling “Pièce en forme de Habanera.”
Two works by Debussy, the smoky slow waltz “La plus que lente” and the gentle song “Beau soir,” highlighted Mr. Huang’s subtlety, his sense of how to shape the line dramatically but without exaggeration.
Even his moments of virtuosic showmanship felt earned and natural. The fantasy on themes from Bizet’s “Carmen” that Mr. Huang chose, the film composer Franz Waxman’s rather dull version, is less sparkling than, say, Sarasate’s. But when it heats up near the end, Mr. Huang was ready with finger-bending agility and more of those gorgeous double-stops.
Saturday
‘Inventing Abstraction’ at MoMA, Collaboration With WQXR
It’s not often that you leave a major museum exhibition with strains of Schoenberg or Webern or Debussy running through your head. It is even less often that you can listen to these and other compositions created around the same time both at the show and on a playlist, which is available on Q2, WQXR’s online contemporary classical station.
But when “Inventing Abstraction, 1910-1925” opens at the Museum of Modern Art on Dec. 23, paintings, drawings, books, sculptures, films and photographs will be only part of the story. Music, poetry and dance will play a role, too. In addition to illustrating the radical art produced during those 15 years, the show will conclude with what curators there call a “sound chamber,” an enclosed space titled “Reinventing Music, 1910-1925,” where visitors can hear innovative music from those years.
This is the first collaboration between MoMA and WQXR. Graham Parker, WQXR’s vice president and general manager, calls the pairing perfect, especially for “Inventing Abstraction,” because the years represented were “such a critical moment.”
When Mr. Parker joined the radio station in August 2010, he learned that listeners were so interested in visual art that “we started talking with MoMA about working together around the time of their de Kooning exhibition, but that didn’t work.” For “Inventing Abstraction,” WQXR teamed up with Leah Dickerman, a MoMA curator, to conceive the show’s musical component.
“It was a very synergistic moment in time,” Mr. Parker said of the music. “On our Web site there will be a fuller playlist, everything from small pieces to large orchestral works.”
Dance is also part of the mix. The last section of the exhibition will incorporate film of performances by the pioneering dancers and choreographers Rudolf von Laban and Mary Wigman.
“If you go artist by artist in the show, put their names on an Excel spread sheet and ask who knew who, you will see how richly connected the field is,” said Ms. Dickerman, who organized “Inventing Abstraction” with Masha Chlenova, a curatorial assistant at MoMA. A giant map at the show’s entrance illustrates the connections among all the players — painters, sculptors, poets, composers, musicians, choreographers and dancers — sort of like the art world’s own social network well before it was technological reality.
Ms. Dickerman explains her point further by telling a story that was recorded in a memoir by the dancer Gabrielle Buffet, the painter Francis Picabia’s wife.
“Picabia says he invented abstraction in 1912,” Ms. Dickerman said. She went on to explain that in July of that year he took his car and drove from Paris to England with Debussy and Apollinaire. They stopped along the way in a cafe and had too much to drink, and together discussed what they called pure painting. “Put an artist, poet and composer in a car and what do you get?,” Ms. Dickerman continued. “Abstraction.”
The show, on view through April 15, is to begin with Picasso’s “Woman With a Mandolin,” created in 1910 around the time other artists, including Wassily Kandinsky, Robert Delaunay and Frantisek Kupka, were first showing their radical abstract paintings. The walls will also be filled with work by artists like Fernand Léger, Piet Mondrian, Marsden Hartley and Georgia O’Keeffe, and photographs by Alfred Stieglitz and Paul Strand.
On a recent afternoon at MoMA, as workers built the bones of the exhibition, Ms. Dickerman gave a tour of the space, explaining how the show would be laid out and how art would be juxtaposed with music and poetry. Rather than piping music into the galleries, it will be contained within “sound columns,” listening areas dotted throughout the show. (These are in addition to the “sound chamber.”) “Visitors will be able to look at a Kandinsky and hear Debussy at the same time,” Ms. Dickerman said.
KOONS SHIFTS SITES
It seems to be something of a trend that big-name artists no longer have allegiances to one gallery; rather, like free agents, they show their work wherever they please and often with fiercely competitive dealers. So news that Jeff Koons is planning a big show at David Zwirner and not Gagosian or Sonnabend — where he has had longtime associations and exhibitions — has left some wondering what’s going on.
“Jeff reached out to us,” Mr. Zwirner said in a telephone interview. “He called me a while ago and said he wanted to do a show with us.” That show is scheduled for May 2013 at Mr. Zwirner’s West 19th Street space. It will feature new paintings and sculptures. Mr. Koons did not return phone calls. At Art Basel Miami Beach, the Gagosian Gallery is showing three of Mr. Koons’s important 1980s sculptures as well as a recent painting by him. Rebecca Sternthal, a director of Gagosian who works with Mr. Koons, said: “The gallery still represents Jeff Koons. He works closely with us and with Sonnabend. In the past he has had shows in different galleries but we are still actively working with him and with his studio. This month we will be showing a coloring-book sculpture and one of his new gorilla sculptures in our L.A. gallery.”
NEW ROLE AT WHITNEY
The Whitney curator Scott Rothkopf has received considerable attention for the succession of successful shows he has organized there. These include “Glenn Ligon: America,” a traveling midcareer retrospective that opened at the Whitney last year; “Wade Guyton OS,” on view through Jan. 13; and most recently, “Sinister Pop,” a show on view through March 31 that he organized with the museum’s chief curator, Donna De Salvo.
Now Mr. Rothkopf will wear two hats — becoming the Whitney’s associate director of programs. In this new position Mr. Rothkopf will concentrate on programming as the museum prepares to move in 2015 from its Madison Avenue home to a new building in the meatpacking district. He will still organize exhibitions, and is currently working on a major Jeff Koons retrospective. Set to open in June 2014, it would be the last show in the Marcel Breuer building on Madison Avenue before the museum moves downtown.
Monday
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