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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
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