Kyle Thomas Hemingway: The ephemera edit
An ongoing digital archive of 1,410 items (and counting) proving that I read, I saw, and I actually paid attention.
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Curtain call at Death Becomes Her -
“Potential is what people see when they think what’s in front of them isn’t good enough.”
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“I must go punch that baby.”
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Curtain call at A Strange Loop -
Firelei Báez, Adjusting the Moon (The right to non-imperative clarities): Waxing, 2019–2020 -
Yvette Mayorga, Surveillance Locket 2, 2021 (background) -
“But now isn’t simply now. Now is also a cold reminder: one whole day later than yesterday, one year later than last year. Every now is labeled with its date, rendering all past nows obsolete, until—later of sooner—perhaps—no, not perhaps—quite certainly: it will come.”
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The Hot Sardines perform -
“The emotional bond between owner and pet is often, perhaps to some degree always, bound up in anthropomorphic projections.”
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“There is a kind of energy born out of shame, formed by and in it, that can act as a force for transformation. This energy finds its expression in a theatricalized identity, in performance, in a love of display or extravagance, in parody. Self-display and theatricality are and have been among the most important means of defying heteronormative hegemony—and this is why they have always been the objects of such virulent attacks.”
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Curtain call at The Drowsy Chaperone -
View of the courtyard with nasturtiums in foreground -
“Most of life is so dull it is not worth discussing, and it is dull at all ages. When we change our brand of cigarette, move to a new neighborhood, subscribe to a different newspaper, fall in and out of love, we are protesting in ways both frivolous and deep against the not to be diluted dullness of day-to-day living.”
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Curtain call at Cost of Living -
“Growth is often associated with moving on. It’s a commonly posed question, for example, whether one should ever vacation in the same place twice. If travel broadens the mind, the argument goes, then a travel itinerary should be as broad as the horizon. There’s such a lot of the world to see: Why go back again?”
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The ensemble takes a bow -
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Arghavan Khosravi, Untitled, 2020 (right); The Pain, 2020 (right) -
McKim, Mead & White, Newport Casino, 1879
