Kyle Thomas Hemingway: The ephemera edit
An ongoing digital archive of 1,376 items (and counting) proving that I read, I saw, and I actually paid attention.
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Abbot Benedikt Eck, Mondsee Abbey, 1470–1487 -
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The view from our seats after the set broke down 30 minutes into the performance, causing the remainder of the evening to be cancelled -
Various, St. Stephen’s Cathedral, 1137-1578 -
Johann Bernhard Fischer von Erlach, Schloss Schönbrunn, 1569 -
Mihály Kolodko, Ruszkik Haza!, 2016 -
Imre Steindl, Országház, 1885-1904 -
Gyula Pauer and Can Togay, Shoes on the Danube Bank, 2025 -
József Hild, Rotunda, 1851–1906 -
View of the interior -
Frigyes Feszl, ceiling, 1854-1859 -
“I don’t care where you have to go and find one I don’t care if you have to drive to Ikea and buy one. I don’t care if you have to go to Jennifer Convertibles. Give my husband a bed!”
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“Why do we still fail to realise that difference adds depth and complexity, creating a more resilient system for all?”
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“Real luxurious people hate status. You don’t look rich because you have a rich dress. When you look at a person, do you see the spirit or the sexiness or the creativity? Just to see a big diamond, what does it mean? It’s all about satisfaction. I think it’s horrible, this judgment based on money. It’s all an illusion that you look better because you have a symbol of luxury. Really, it doesn’t bring you anything. It’s so banal.”
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The view of the Nasturtiums in the courtyard -
“For the less zealous, a silent city may come with trade-offs. Enforced quiet—imposed, say, through city-wide regulations—is far from a cure-all. Not only would it limit activity and deflate the vitality of urban life, but it would inevitably shrink that third space between home and work. The street—the liminal zone of travel, meetups and play—would be reduced to quiet desolation.”
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Curtain call at Sweeney Todd -
Curtain call at Parade -
For this ambitious inquiry, Grau traveled to Williamstown, New York City, Vienna, Oxford, Ampthill, Moscow, Berlin and London to speak to the people working behind the scenes in the Western world’s greatest museums. Focusing on the 1960s to the 2000s, Grau details the stories of these cultural institutions from the perspectives of those who know them.
