This is George Herlick's b&w photo called "Bread in Window," taken on April 21, 1937, part of a series called "City Scenes" that Herlick shot as part of the Photographic Division of the New York City Fine Arts Project, a New Deal enterprise. The remarkable online New Deal Network has organized this and hundreds of other Depression-era photographs in its Photo Library. Herlick is also known for his photographs of rural scenes in the city, such as "Haycart".
Wednesday, October 10, 2007
daily bread
This is George Herlick's b&w photo called "Bread in Window," taken on April 21, 1937, part of a series called "City Scenes" that Herlick shot as part of the Photographic Division of the New York City Fine Arts Project, a New Deal enterprise. The remarkable online New Deal Network has organized this and hundreds of other Depression-era photographs in its Photo Library. Herlick is also known for his photographs of rural scenes in the city, such as "Haycart".
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
