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Prior Letters
Kandinsky and de Hartmann
How wonderful to read this article, from
Renaud's meaningful introduction, to
'touching' the real Kandinsky via his own
feelings and words! It is – or should be –
really amazing that Kandinsky's complete letters
have not been published, or it seems even
contemplated!... while so many have had that
coverage... . In a way, we really do not know him,
this private Kandinsky. I'm sure he put effort and
thoroughness into his correspondence, as he did with
all he had put his name to, so even a good-size
selection of his letters would be revelatory, judging
by this sample here! Kudos to the author and the two
collaborators!... and please do not stop there...
Philip Gerstein
Jelena Hahl-Fontaine's and Lissa Tyler Renaud's article:
Kandinsky and His Closest Friend, Thomas de Hartmann
Summers in Saratoga
Ah, such a lovely
reminiscence. Born and raised nearby and spent many a
season at the Springs. Many happy memories: the
weather, the scenery, the people and of course -- the
racing. Something ethereal about the racing, unlike
any other in the country. Thank you Ms
Verdino-Süllwold, you are a merchant of dreams.
George Nierbasch
Carla Maria Verdino-Süllwold's Article: Summers at the "Spa"
Calling All Builders
This
Gerstein painting is an "architectural"
work. Can you imagine an entire wall with this
painting stretching across it. Or the side of a
windowless building. His colors alone are that
constructionist. He never ceases to amaze me.
Sidney Siegal
Philip Gerstein's painting: The
Glorious Union of Greenland with Iceland
Jack Kerouac Trilogy
Kerouac, Clarise Lispector, Edward Hopper all
in one play! Silva is an ingenious playwright with a
wicked sense of humor. This is the kernel of a future
film or maybe as a trilogy, a tasty mini- series. As
the Orange Cuckoo says: We'll wait and see.
Lou Laird
Jack Kerouac? Clarise Lispector? Edward
Hopper? What kind of mind would put these three
people in the same play, a Jack Kerouac trilogy?
Altenir Silva's mind. He's Brazilian, like
Lispector, and he's a NY Yankees fan, so he knows
his Americana. Imagine what he might do in a longer
form. Nós estamos esperando.
George Vecsey
Altenir Silva's play: 1. Clarice & Jack
How To Poem
Nicely
stated. I'd only add: there are no rules, only
good and bad choices, and if after all this, you find
yourself unhappily having to force yourself to write
poetry, quit! There's no shame in not writing
poetry though the Creative Writing Industry would have
you believe otherwise. However, becoming a sensitive
and perceptive reader of poetry is a noble and
worthwhile endeavor.
Jefferson Carter
Delightful.
It reads as if Dorothy Parker and Robert Benchley had
put their heads together at the request of Harold
Ross. And yes, poeming while driving or operating
heavy machinery can be hazardous to your health!
Miles David Moore
I
love what Greg Luce is doing in How to Poem. We need
poetry now more than ever. So many good suggestions.
Karren Alenier
Gregory Luce's column: How To Poem
The Fire Next Time
Many thanks
to Michael Bettencourt for reminding us that James
Baldwin was a "trumpet on the mountain" of
his time and still today as Frederick Douglass was in
his time, and still today. Their voices can't be
drowned out, as Mr. Bettencourt says: "Not at all
".
Berk Redmond
Michael Bettencourt's column: The Fire Next Time
Faeries et al
Here, dear Arthur, are a few
thoughts from better minds than mine and I'm sure
part of your Faeries' creed:
There are no facts, only interpretations.
There are no answers, only choices.
We are predetermined to repeat the past.
It took me
a while and several read-throughs to realize that this
essay is an undisguised sub-text with many interesting
metaphors and shadowed similes. Clever, a trifle
insidious, blandly provocative. It's a good read.
Betel Hershowitz
Sadly, I don't think there are any faeries
left in the Americas. They were driven out by the
Scots-Irish-British-German-Spanish invasions which
replaced them with goblins, trolls and social
medianiks. And that includes my ancestors who
couldn't even spell the word correctly, uh... who
couldn't even spell.
Michael Aptrow
Arthur Danin Adler's column: The Last of My Faeries
Evocative and Masterful
I thought Karren Alenier's
"pennydreadful of a great nation" was
absolutely brilliant. Each vignette or section is more
evocative than the last. It really captured the
horrors we are living through with wit, wisdom and
sorrow for our current predicament. She has done a
masterful job in capturing the sorry state of our
nation; I hope that after November 3 she can turn her
talents to celebrating a new dawn.
Nancy Braymer
Thank you to Karren Alenier and to the editors of
Scene4 for this entertaining way of using a past
style of writing to set forth the horrors of our
present situation. It tells our current and awful
story, artfully presented!
JoAnne Growney
Gertrude Stein, Jonathan
Swift and Terry Southern walk into a bar: That's
my description of Karren Alenier's
"pennydreadful of a great nation." It is
exactly the sort of witty, all-encompassing satire we
need right now, and kudos to Alenier for providing
it. Meanwhile, may the actual Penny Dreadful
we're living through have a happy ending!
Miles David Moore
Wow !! This IS something.
What a consciousnessraising. I love how she
represents so many viewpointsall. She will be like
Shakespeare - making up new words by combining
them: moonbeam, farmhouse, dewdrop ....
Mary Anne Braymer
Karren Alenier's column: pennydreadful of a great nation
Knitting and Guillotines
Claudine's piece is
laugh-out-loud hilarious. She captures well the
landmines of language laid out for us today, where
even the simplest statement, such as Jack's "Bob, you
want to go first?", triggers grievance and
retribution. As she says at the end of her essay, our
language hubs these days are like the Bastille: "no
yogurt and chocolate, only knitting and guillotines."
Michael Bettencourt
Claudine Jones' column: Gobshite
Delightful Changes
Once again I am delighted, with the October
issue of Scene4. I can't stop talking about it and
sharing articles and photographs with my colleagues
and throughout my social media networks. This was a
tough month for me, losing several good friends to
chronic illnesses and just when I thought I
couldn't smile again, Scene4 changed all of that
for me. The Seven Dawns brought me the greatest
delight. I also loved reading about the Arts of
Thailand, The Summer of Spa that reminded me of many
good times from yesteryear and I was moved by Michael
Bettencourt's article about James Baldwin,
especially with everything that is happening in the
world today. Sometimes I can't tell if I am living
in the year 2020 or in the 1800s. The fear of racism
and hatred feels the same to me. I also enjoyed Miles
David Moore's article Mea Culpa on What I Missed.
Loved it. I apologise for writing too much and being
so overjoyed with the beauty of Scene4 magazine. Thank
you and I am already on pins and needles waiting for
the November issue.
Mikael
October Issue
The Color of Seasons
Thank you for this. It is so sad that the
exhibition was not to be. As lovely as this
presentation is, it never matches the truth and beauty
of the actual paintings hanging for all to see, there
to feel the presence of the artists. Ms
Newberger's painting is sumptuous and subtle, as
she says: "Everything is interesting". And
Mr. Gerstein's painting is so beautifully nuanced,
I do not see anything "abstract" about it
all. I also appreciated the enlightening essay of
Brian George. Wonderful. Bravo Scene4.
E. Goldenthal
The Presentation: The Color of Seasons
Surprising Photos
Photos in this
month's magazine were all excellent. I was
surprised to see a twist in Jon Rendell's section
this time around. It was a pleasant surprise that made
me smile a lot. Again, thank you for all the wonderful
articles, photos, paintings, poems and everything that
you provide to all of us that love Scene4 so much.
Mikael Wagner
September 2020 Issue
Life on the Small Screen
I couldn't
agree more with Miles David Moore (and the emphasis is
surely on more more more) about missing the experience
of going to a movie theater and comparing it to a
two-week vacation. The small screen at home just
isn't the same as the big screen in the dark
cinema. That said, Moore still makes us feel we have
experienced the full breadth of theater in his
full-spectrum reviews of 7500 and The Truth. While
I'm not partial to small spaces like the cockpit
of a jet under terrorist seige, I might give 7500 a
try because of this reviewer's thoughtful
comments. The Truth sounds more suited to my tastes
and goodness knows we Americans are struggling these
days with a deluge of books on that theme of relative
truth. Good choice, MDM. Thank you for overcoming your
justified misery about missing the movie theater.
Karren Alenier
Miles David Moore's review: Life On The Small Screen
A Pause for Praise
2020 has been the most challenging year
in my life. Each and every day seems to be the same as
the day before and I can't seem to tell the
difference between one day from the next. There was a
time that I would be so excited on Thursday knowing
that TGIF was coming around again and I would be able
to see friends and enjoy each other's company. Those
days seems to have disappeared. The one thing that my
mind and soul seems to be aware of is when Scene4
Magazine is coming out. Usually on the day before
the notice comes out I am already tingling about the
wonderful magazine. There aren't many magazines
that grab me the way Scene4 does. The articles are
well thought out and brilliantly written to grab my
attention. This month's article about Quarantine
Love grabbed my attention because I feel exactly the
same way and the time period is allowing me to learn
to so many new things through practice and reading. I
loved the article on Meth and Tattoos because of
previous work in the field and it's well written
in a very user friendly way. The Native American
poetry also meant a lot to me too. Last but not least,
the photographs by Jon Rendell continue to take my
breath away. Fog on Hobsons Bay was spectacular
although I am still holding on to the visuals from the
July issue of the beautiful pelicans that he managed
to photograph. Overall, Scene4 brings me so much joy
and I wanted to take a pause and say Thank You to
Scene4 and all the wonderful creative people that come
together to make it so incredible.
Mikael Wagner
August 2020 Issue
Patrick Nagel
Just to let you know that there is a
new Patrick Nagel discussion group, where fans,
collectors and anyone else interested in Patrick
Nagel's life and work can explore and converse.
You can ask, buy, sell and discuss anything and
everything about Patrick Nagel, and meet others who
enjoy his work as much as you do -- and there are
always more people becoming more interested in Nagel
every day.
Rob Frankel
Patrick Nagel in Scene4: it's in the eyes
Patrick Nagel Discussion Group
Fog on Hobsons Bay
Love these aqueous studies of the
waterscape just at our front door. Keep up the good
work as in this challenging time we need your
insightful 'artistic vision' more than ever.
Anne of Avec Pleasure
Jon Rendell's photography: Fog On Hobsons Bay
A Wonder
This is brilliant, beautifully written, and
populated with wonderful photos. I wish I had seen 15%
of the films you cite. You've seen so many
it's a wonder that you've had time to write
poems, including the interesting one with which you
end the piece. Kudos.
Gary
Miles David Moore's Review: A Fine Madness
Hat's Off to Steiny
This is a fine essay about a fine poet. My hat
is off to Steiny for her clear presentation and
appreciation of Don Krieger's work and deep
thinking.
Gregory Luce
Karren Alenier's column: Discovery—Poetry from a Brain Expert
Who Made New York?
This is such a deceptively hilarious little
play, seemingly tossed off by the playwright, backward
in time. My only question is: who is John Brawl?
Brazilian anagram for the playwright?
Lou Laird
Altenir Silva's play: Who Made New York?
True Comfort Zone
Every time Claudine (Jones) speaks, she takes
me into her home. It's as if I'm walking
through the front door and she shows me around. Her
anecdotes and reminiscences, laughter and tears are
part of our conversation even if I truly don't
speak. Even though I do, talk to her every time she
speaks. We've been talking and speaking for years
and I look forward to our monthly conversations.
Ann Marie Cuzca
Claudine Jones' column: Comfort Zone
On Hitchcock
Thanks to Miles David Moore for an absorbing
and insightful look at this great director's work.
He is such a major influence on today's movies but
no one comes close to his clean and precise and
harrowing filmmaking. Well, maybe, Christopher Nolan
does.
Dean Sprigett
Miles David Moore's article: Hitchcock- Master of Claustrophobia
Portrait of a Lady On Fire
What a wonderful film review. It
readily brings this exquisite film back to mind,
touching upon all major themes in it – and then
generously expanding our understanding of it by
bringing to light the director's references, to
other movies, to painters, writers and historical
figures. Particularly relevant and valuable is
Stendhal's underlining at several points the
distinction between the female gaze vs its all too
familiar patriarchal equivalent, and her apt
comparison to such rarely mentioned movies as
Rivette's "La Belle Noiseuse". If
anything, I wish she expanded further on that... .
Ultimately and happily, as full and enrapturing as
this movie experience was, Stendhal's detailed
explication of it does not detract, but rather
enriches one's recollection and understanding
– which is an accomplishment and a rare gift for
a film review!
Philip Gerstein
Renate Stendhal's article: Portrait of a Lady On Fire
From Gaudi to Kandinsky
What an arc of architecture this is and
so complemented by the rest of the issue (February
2020). If everything is wiped away by climate change,
the visions and minds of these two great artists will
bring it all back. Kind of over hopeful, huh? Kudos to
Stendhal, Wolfe and Renaud.
Lou Laird
Renate Stendhal's article: Art and the City
Ross Wolfe's article: Kandinsky and Architecture
Some Joy
This issue (February 2020) is simply
amazing and congratulations on continuing to always do
an outstanding job every month. The photographic work
of Jon Rendell in this issue blows my mind. He
certainly has an eye to see what's really going on
out there. The black swan's photo is beautiful and the
way he captures the smoke from the fires in Melbourne
takes my breath away. Thank you so much and also great
thanks to all the other writers and artists because I
love their work just as much. Whenever I see the new
Scene4 Magazine I start to smile before I start to
look at it. Thank you for adding joy to my life.
Mikael Wagner
February 2020 Issue
Making Sense of It All
"Human beings are the only creatures on
earth with the potential to make themselves the only
creatures on earth." As usual, Michael
Bettencourt has that marvelous writing skill to merge
cynicism and optimism into a stand-still overview of
the human condition. I only wish that he were there
every day. But Scene4 is a monthly. It's a
long wait for good writing.
Tom Pierman
Michael Bettencourt's column: Making Sense of Non-Sense
SS. Burrus
There is so much spirtuality in SS.
Burrus' painting, so much rich and mysterious
feeling. Thank you for publishing this retrospective
of her work, especially of her last artworks.
Sophi Dietrich
The Art of SS. Burrus: Eye to Eye
Impossible Bird
What is so delightful about this
display is that it is not a fantasy. It is real, and
your photographs are wonderful, there really are black
swans. Moreso, the portait of the swan, up close and
personal, is a breath-taker, especially when it is
presented on the cover juxtaposed eye-to-eye with
Kenneth Branagh as Shakespeare. Happy for you that you
are back in Australia and I gather that you are too.
More, please, more.
Charla Tintari
Jon Rendell's photography: The Impossible Bird
How Anorectic Can A Homily Be?
Hilarious as this is, it also churns my
anxiety (which doesn't need much churning these
days). A one long sentence that flashes through
dangling its invitation to be read again and again.
Very clever! But what happens is that my
"future" brain matter collides with my
"past" brain matter and raises so many
questions, such as: Who the hell is Clementine? and
How did your good doctor ever get a Ph.D.?
Louis Laird, Ph.E.
Arthur Danin Adler's column: A Brief Anorectic Homily On Time
Lives of the Lens
There's no doubt about it, Penn was brilliant and
so is Freson. I met Penn once in New York and always
followed his work especially his photojournalism. I
believe and still do that he edited his shots in the
camera, in his eye, in his mind and didn't rely on
darkroom wizardry to capture and produce the image.
How far we've come from Penn's vivid and
nuanced portraits to what passes for photography
today: filmless, paperless and mindless. Today, the
camera shoots the photo, not the photographer.
Hans Ivganz
Carla Maria Verdino-Süllwold's article: Lives
Intertwined by the Lens
Banjerd Lekkong
Yes, a very world class artist. Janine Yasovant writes
about him with compassion and trust. She lets him
speak and he speaks with the passion and strength that
he creates in his sculptures. He should be in the art
headlines everywhere, but then we would lose him to
New York and Paris and Thailand cannot afford to lose
him. Bravo and thank you for this inspiring view of a
great artist.
Timo Sunchai
Janine Yasovant's article: Banjerd Lekkong
Votes for Women
I think of Gertrude Stein's Tender Button,
"Mildred's Umbrella," which one may
posit has something to do with the Suffrage
Movement(s). "A cause and no curve..."
Perhaps sons, grandsons, et.al. should come along for
this ride, too! A thank you to Karren Alenier for her
report on this exhibition.
Teri Rife
Karren Alenier's column: Votes for Women
Journal Regrets
Whatever the reasons, Patrick Walsh
echoes those of us who cannot reconcile our innermost
thoughts and memories with the everyday life we lead.
Journals are important, I agree, but they are also
destructive and deadening in that they stalk our
living memory, which continues to change, and make it
blurred and forgetful. Who are journals for anyway?
Certainly not the journal keeper.
Andrew Mendelsen
Patrick Walsh's column: The Journal I Never Kept
From Satie to Monk and Back
This is a very hip analysis. Thank you
Gregory Luce. You give us a slant that spurs a
thousand angles. The one that tickles me the most is
what if Monk came first and Satie after. Would he lap
up the great Thelonius? No doubt in my mind as his
great protege Maurice Ravel drank up the jazz of his
time. Monk still cuts through the noise and leaves
space for Satie to follow.
Michael Aptrow
Gregory Luce's article: The piano ain't got no wrong notes
Man Sex
I
think Gertrude Stein once said: A man's Sex is a
man's sex is a man's sex". No she
didn't but I'm sure she would. Ms Selena
you're on your toes and in the race.
Olivia Minton
Selena Zachai's poem: A Man's Sex
Divas: Maria Callas with a Dash of Gertrude Stein
Excellent article, which is both an engaging
review of the film as well as a commentary on
Callas's life and career reaching beyond the
film. Now I'm primed to see the Habanera aria
from "Carmen" as performed by Callas. If
only Callas had loved her body, as I believe Ms. Stein
did hers, she might have had a longer career... and
that is something to dream about.
Teri Rife
Karren Alenier's column: Divas:
Maria Callas with a Dash of Gertrude Stein
Pivoting Backwards
If 1968 was a pivotal year, what does that
make 2018? Les Marcott's take on that timeline is
on the mark. His comment: "We can learn from the
events of 1968 or we can repeat its follies." is
particularly poignant. And we're wallowing in
repetition, aren't we?
Lou Laird
Les Marcott's column: LBJ and the Pivotal Year of 1968
Current Letters
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