"Peace was Restored"
Dear David and Stacey:
An officer investigated when a mailbox was reported to have been run over at a Deadman’s Canyon Road address. The officer noted the incident was specific to this mailbox; no others in the area were damaged.
A caller from the McLeod Bar called 911 at 3:20 a.m. to report someone was trying to steal a truck from the parking lot. An officer responded and the report notes “peace was restored”.
A caller requested an officer respond to the gate of the gold course east of town where a boy was trying to sell golf balls to people as they entered the parking lot. The complainant was concerned because the young person would sometimes step out onto the highway while attempting sales. The boy left the area before the officer arrived.
A man parking his horse trailer near the mine parking lot on Business Loop West observed an old headstone about 10 feet off in the grass which bore a 1924 date. An officer investigated and reported it looked like it had been there for a long time.
Officers responded when a City Club employee asked for assistance to “settle things down” when two guys at the bar were getting mouthy with each other.
An officer was unable to locate a four wheeler reported to be running up and down River Street, out to Highway 191, coming back into the bird houses and up and down Second and Third that did not have a light. In addition, the caller said there was also a foreign car running around without a muffler. When asked what the complaint was about the foreign car, the caller said it wasn’t doing anything, just running around.
©bill hayward 2008
Admission $10.00 will support this fascinating project by one of our most talented photographer/filmmakers. Find more information here.
Photo credit: Bill Hayward
Click on the image for the details:
--sdh
bill hayward © saman giraud
Did you know that there’s a theater on the second floor of the Apple Store in Soho? I confess that I did not. In fact, I’m not sure I’d ever been on the second floor of said store until this past Monday (August 8) when I walked up the pale lucite steps (or whatever kind of steps they are) to take my place with the sixty or seventy other people who had come out for “Looking for Dragons,” the latest installment of the store’s Meet the Artist series. This night, the artist was my friend Bill Hayward, a passionate and relentlessly innovative photographer, painter, filmmaker, and choreographer.
bill hayward and robert duvall © saman giraud
Hayward began by showing his portraits of musicians, politicians, artists, and actors—images first published in magazines such as Rolling Stone, Interview, and GQ. Ronald Reagan, Bob Dylan, and Robert Duvall all made appearances. “He was a lot like the characters he played,” Hayward said of Duvall. Sonny Rollins popped onscreen, grinning and looking toward the ceiling, his sax cradled in one arm at his side. Later, a close-up of a cruel-eyed man who did not smile. “Anyone know who that is?” Hayward asked. “Anyone?” It was Roy Cohn, whose baleful legacy was cemented during the Army-McCarthy hearings in the 1950s.
bill haywawrd and sonny rollins© saman giraud
Despite his success, Hayward told us he’d grown restive as a portrait photographer. “I can tell you how to sit and I can light you and dress you and make an image….but in the end it's not so much about you as what I did to you, and in the end I found the process hollow and unfulfilling.” He described how his focus expanded from the face to include the whole body, in motion or at rest. He showed photographs he’d manipulated in the dark room, or developed into prints and painted on, waxed, or changed by some other means. One particularly powerful piece (top) had begun life as a black and white close-up of a woman’s face that Hayward had shellacked directly onto a specially designed raw wood frame then driven through with screws and covered with in beeswax.
Hayward shared several clips and stills from his current film project, Asphalt, Muscle and Bone, as well as a generous selection of images from his ongoing series “Portraits of the Collaborative Self,” for which Hayward reverses the usual relationship between the photographer and subject. Hayward’s subjects
Continue reading "Dwelling in possibility with Bill Hayward at Apple/SoHo by Justin Taylor" »
Here's a chance to go behind the scene with the brilliant Bill Hayward, who is often featured here. Bill will be at the Apple Store in NYC's SoHo on August 8th at 7 pm to talk about his many projects. Take advantage of this opportunity to learn more about what he's been up to and why we love him.
-- sdh
Here's a chance to go behind the scene with the brilliant Bill Hayward, who is often feature here. Bill will be at the Apple Store in NYC's SoHo on August 8th to talk about his many projects. Take advantage of this opportunity to learn more about what he's been up to and why we love him.
-- sdh
©billhayward
Is the audience for dance engaged in a kind of group voyeurism? What is really going on when we watch young and highly trained thoroughbreds push their bodies to unnatural extremes for our entertainment? Is the effect titilating? Listen to the audience as a dancer executes an especially challenging passage, say, the thirty-two fouettes of the Black Swan. And when a dancer falls, is there an element of pleasure in the audiences’ collective gasp?
These questions swirled around me after watching the most recent performance in the continuing Bill Hayward / Miranov Dance / Redress Films The Intimacies Project. Eight of us gathered in Hayward’s studio where he had constructed a mock window out of a plastic sheet and rigged it with an irrigation system to simulate the look and sound of falling rain. We were instructed to stand in front of the barrier to watch the performance on the other side, as if we were looking into a stranger’s apartment. The only props in the “apartment” were a long low steel bench with a moss-covered sphere at one end.
As the house lights dim, we hear a plaintive harmonica and heavy breathing. From behind us, a man (Jason Nowak) carries a limp woman (Jordan Marinov) upside down – his arms are wrapped around her calves. It’s as if he’s carrying a lifeless sack. He places her on the bench, where her hands drop toward the floor. After he leaves, she rouses herself and begins to move about. The music changes from Charlie Chaplin's haunting "Smile" to the driving beat and percussive lyrics of The Roots' "Walk Alone." It was during the next fifteen minutes of solo dance that my comfort level was pushed to its extreme.
Jordan Marinov (pictured above) is a compelling dancer. With her mile-long legs, angular features, and intense expression, it’s tough to take your eyes off her when she’s performing. Even when she’s still, she radiates energy. Watching her through a window felt illicit, yet it is impossible to look away. She makes full use of the space, by turns cowering, uncoiling, reaching, crawling, stretching. Now she’s a frightened animal, now an angry aggressor, a supplicant, a lover. She moves the bench across the floor to below the window, climbs upon and continues to move. She looks out the window, but over, not at, us. We’re eye level with her thighs and torso and her dance is an invitation to examine her bare skin. She’s that close. Yet there’s a barrier, we can’t touch. Then, in a brilliant stroke, we're shaken out of our reverie by Marinov's voice. "I knew a guy once," she says. So rare is the sound of a dancer's voice that the effect is unsettling.
In previous performances in the series, Marinov danced with a partner. Together they animated the push-and-pull of two individuals at once yearning for and repelled by true intimacy. This time, she was alone for most of the performance and drew the audience into her evolving emotions. Without the usual comfort of a theater seat – we stood throughout – or the distance that typically separates the audience from the stage, we felt exposed, vulnerable, perhaps even more so than the dancer before us. I have a feeling that this is exactly the response Hayward / Marinov were hoping to arouse.
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willem dafoe - from badBehavior - ©billhayward
freedom -
daughter of NYPD detective ann marie moloney. ©billhayward
Our favorite photographer, the incomparable Bill Hayward, sends along this photo and reminiscence of Ai, who died last week: From my book of portraits of the collaborative self...Bad Behavior (Rizzoli). She had just the morning before won the National Book Award for her book of poems, Vice. Over and over she said, "I suppose I should be using one of my dark lines but I feel so good today."
©bill hayward
Thanks, Bill.
-- sdh
Bill Hayward sends along this link and photos from The Port Authority, where poets Jeff Johnson and Claire Donato are live blogging poetry every day during the performance's 10-day run. Check it out!
Continue reading "This Just In . . . Live blogging from Bill Hayward's Intimacy Project" »
We've been following Bill Hayward's Intimacies Project since the day we started this blog so we are thrilled that he's taking it to the streets, with live performances daily at The Port Authority of NY/NJ, just about the most central location in NYC. Time your lunch hour or evening commute so you can catch this exciting event. The space will be open for viewing daily between noon and 7:00 PM with live performances at 1:00 and 6:00. Find more information here.
-- sdh
Mark Doty reading at the gala launch reading
for The Best American Poetry 2009
at the New School's Tishman Auditorium in NYC
September 24, 2009
photo credit: Bill Hayward
Radio
I left it
on when I
left the house
for the pleasure
of coming back
ten hours later
to the greatness
of Teddy Wilson
"After You've Gone"
on the piano
in the corner
of the bedroom
as I enter
in the dark
from New and Selected Poems by David Lehman
