It goes without saying that Morrison’s literature tackles the national themes of racism and sexism, but her work also resists many of the pervasive liberal dogmas of her time, particularly the black movement’s interest in only presenting positive portrayals of black characters and second-wave feminism’s tendency to diminish the significance of motherhood—that topic being a clear set piece of her 1987 masterwork Beloved.

It is one kind of bravery to refuse to write under the paradigm of the white-master narrative, but it is quite another kind of bravery to not defect to the most obvious and immediate rival.

In her latest novel, Home (Knopf), out this month, Morrison tells the story of a recently returned Korean War veteran named Frank Money, who journeys from a hospital in Seattle all the way to Georgia to save his younger sister Cee before she dies at the hands of a white doctor’s brutal medical experimentation. Along the way, Frank discovers a 1950s America that’s violent, deeply segregated, and occasionally capable of small measures of generosity, hope, and home.

On a warm spring morning in March, I drove to Morrison’s home two hours north of New York City. Her house sits on the banks of the Hudson River with a sweeping eastern view that includes a low gray cantilever bridge. Morrison left her teaching position at Princeton University in 2006 and moved out of New Jersey in 2011, and this riverfront house serves as her primary residence. The sunlit interior has a few of her well-known and not-so-known prizes on display—her Nobel diploma lies open on a table, while framed on a wall near the bathroom is a letter written by Antonia Fraser from her and her husband, Harold Pinter, congratulating Morrison on Beloved and mentioning that the novel’s sadness “ruined our weekend.”

Morrison wore a two-toned gray sweater, and a purple handkerchief was wrapped around her famous gray hair. She has the kind of striking bone structure of a face that they don’t often make anymore—strong and sharp and perfectly fitting for a future postage stamp. Her voice has such a potent timbre that she could have read me my rental car contract and it would have sounded momentous. But here’s the thing: What Morrison says is momentous. She has earned her reputation, the awards, and the mainstream podium. But the podium isn’t the message. It’s still the words that matter.

CHRISTOPHER BOLLEN: What bridge is that?

TONI MORRISON: The Tappan Zee. They keep threatening to tear it down and put up another one. You know, they wiped out half of Nyack to build that in the 1950s. They compromised the bridge and made it low, probably so it wouldn’t destroy the so-called view. The problem is when people commit suicide off that bridge—which they do a lot—they often don’t die, they just break their backs.

BOLLEN: Because it’s so low?

MORRISON: Because it’s so low. They’ve installed little phones there now, so if you see a car parked in the center with nobody in it . . .

BOLLEN: I read that at the Golden Gate Bridge, which is the bridge most frequented by jumpers, most suicides face the city and not the ocean when they die. Isn’t that strange? You’d think they’d face the open waters and not the crowded coast.

MORRISON: Goodness.

BOLLEN: You wrote your graduate school thesis on the theme of suicide in Virginia Woolf, didn’t you?

MORRISON: I wrote on Woolf and Faulkner. I read a lot of Faulkner then. You might not know this, but in the ’50s, American literature was new. It was renegade. English literature was English. So there were these avant-garde professors making American literature a big deal. That tickles me now.

BOLLEN: At that time did they teach any African-American writers?

MORRISON: They didn’t teach African-American writers even at African-American schools! I went to Howard University. I remember asking if I could write a paper on black people in Shakespeare. [laughs] The teacher was so annoyed! He said, “What?!” He thought it was a low-class subject. He said, “No, no, we’re not doing that. That’s too minor—it’s nothing.”

BOLLEN: You recently wrote a play based on the character of Desdemona from Othello, and you made a point that I had never considered before: Desdemona was raised by her nurse Barbary, so, in a sense, Desdemona does have a background of blackness even before she marries Othello. That changes the story of Othello quite a bit in terms of what Desdemona was thinking and how she came to understand her place—

MORRISON: And who she would not be alarmed by. I was at a dinner in Venice some years ago with the sponsors of the Biennale, and one guy said to me, “You know, we don’t have that race problem in Europe.” I think I might have been tired. I shouldn’t have done this, but I said, “No, you threw all of your trash over to us.” Peter Sellars [theater director] was sitting across from me and his eyes went big. At the dinner, they had these fabulous tapestries on the walls, and there was one with a big, black king-like figure. Back then, the problems were with class—a Moor could come to Venice and it wasn’t a problem. But I was starting to think about that play then. When Peter was at Princeton, he said he would never do Othello. He said it was too thin. And I said, “No, you’re talking about the performances, not the play. The play is really interesting.”

BOLLEN: How did you pick 1950s America as the setting for your new novel?

MORRISON: I was generally interested in taking the fluff and the veil and the flowers away from the ’50s. Was that what it was really like? I thought. I mean, that was my time. I’m 81. So that was when I was a young, aggressive girl. And it tends to be seen in this Doris Day or Mad Men–type of haze.

BOLLEN: A decade done by Douglas Sirk.

MORRISON: Exactly. And I thought, That’s not the case. Then I thought about what was really going on. What was really going on was the Korean War. It was called a “police action” then—never a war—even though 53,000 soldiers died. And the other thing going on in the ’50s was [Joseph] McCarthy. And they were killing black people right and left. In 1955, Emmett Till was killed, and later there was also a lot coming to the surface about medical experimentation. Now, we know about the LSD experiments on soldiers, but there was experimentation with syphilis that was going on with black men at Tuskegee who thought they were receiving health care.

BOLLEN: They were used as guinea pigs.

MORRISON: And that still goes on in Third-World countries. But it was those four events that seemed to me to be among the seeds that produced the ’60s and ’70s. I wanted to look at that, so I chose a man who had been in Korea who was suffering from shell shock. He goes on this journey—reluctantly. He didn’t want to go back to Georgia, where he was from. Georgia was like another battlefield for him.

BOLLEN: The book starts out in Seattle. To be honest, I guess I always think of segregation and race problems as a North-versus-South divide. I never really thought of the discrimination in the Pacific Northwest.

MORRISON: My editor questioned that, too. I did my research. Boeing owned all of that property that’s mentioned in the book. There were documents that said, “No Hebraic, Asiatic, Afric, whatever, can rent or buy. They can’t live here unless they work as domestics.” My editor said, “I didn’t know that. We Northerners think of that as always being in the South.” I said, “What do you mean, ‘We Northerners?’ I’m a Northerner.” He said, “Well, I guess I mean, ‘We white Northerners.’ ” Because there is custom—not law, but custom. And then my editor said something about the main character being black, and I said, “How do you know he’s black?” He said, “I just know.” I said, “How? ’Cause I never said it. I never wrote it. I only describe what’s going on. You can’t go in this bathroom . . . ” Everything is viewed through a screen. The character just deals with the situation and takes it for granted. He’s not staging a march because he can’t go into a bathroom.

BOLLEN: We have a tendency to romanticize the stability of the ’50s in the same way that we romanticize the upheaval of the ’60s. You’ve spoken out about how a certain consumer-friendly, drug-induced version of the ’60s has obscured the real social changes that occurred during that decade. Was Home your attempt to rewrite the ’50s away from the favored version?

MORRISON: Somebody was hiding something—and by somebody, I mean the narrative of the country, which was so aggressively happy. Postwar, everybody was making money, and the comedies were wonderful . . . And I kept thinking, That kind of insistence, there’s something fake about it. So I began to think about what it was like for me, my perception at that time, and then I began to realize that I didn’t know as much as I thought. The more one looks, the more that is revealed that’s not so complimentary. I guess every nation does it, but there’s an effort to clean up everything. It’s like a human life— “I want to think well of myself!” But that’s only possible when you recognize failings and the injuries that you’ve either caused or that have been caused to you. Then you can think well of yourself because you survived them, confronted them, dealt with them, whatever. But you can’t just leap into self-esteem. Every nation teaches its children to love the nation. I understand that. But that doesn’t mean you can gloss over facts. I was an editor in the school department of [publisher] L.W. Singer Co. for a year before I came to Random House. I edited 10th- to 12th-grade literature books. For Texas books, we were forbidden to say “Civil War” in the text. We had to write “war between the States.” And of course we had to take out all sorts of words that Whitman wrote. There were caveats, constantly, when you sold text-books to Texas. And they’re still doing it, just with religion. I understand they’ve taken the word slavery out and replaced it with something to do with trade . . .

BOLLEN: Obviously, the interest is not to educate, it’s to reeducate.

MORRISON: Another reason for Home is that I got very interested in the idea of when a man’s relationship with a woman is pure—unsullied, not fraught. If it’s his relationship with his mother or his girlfriend or his wife or his daughter, there’s always another layer there. The only relationship I thought that would be minus that would be a brother and a sister. It could be masculine and protective without the baggage of sexuality. So the sort of Hansel and Gretel aspect really fascinated me. And his traveling back to save her would be transportation with violence all around him.

BOLLEN: Did you name it Home because of that journey back? At the start of the novel, there is a whole section about how the Money family originally lives in a small Texas town and is given 24 hours to pick up and leave their land or else they will be killed. What does home mean after that kind of exile?

MORRISON: It was a regular thing. I have an interesting book that looked at the counties that were “cleansed.” A lot were in Texas. It was like the Palestinians. They’d just say, “Go,” and if you didn’t, you’d get killed. There was a migration—a forced migration. But the naming of the book, well, I’m really awful with titles.

BOLLEN: Hold on. Your titles are great. They have a very pure, singular, uncongested sensibility. Although it’s a lot to promise when naming a novel Home.

MORRISON: When I was working on the book, I called it Frank Money. It was my editor who suggested the change. When I wrote Song of Solomon, I called it something else. John Gardner [novelist] made me take that title. Somebody said “Song of Solomon,” and I said, “That’s terrible!” I was up in Knopf’s offices. John Gardner was up there, and he said, “Song of Solomon, that’s a lovely title! Keep it!” I said, “You sure?” He said, “Yes!” And I said, “Okay.” Then he left, and I thought, “Why am I paying attention to him? He wrote a book called The Sunlight Dialogues. He hasn’t had a good title since the beginning of time!” [laughs] But by then, it was too late.

BOLLEN: In a reprint of Sula, you wrote a forward where you describe writing that book under the added pressure of raising two children and also having a full-time job at Random House. You were living in Queens. I feel like today we always glorify the young, just-plucked-from-college writer. But it’s much harder to start writing later, in middle age, struggling on a book around a full-time job and family.

MORRISON: I started at 39.

BOLLEN: Do you remember writing in those tougher circumstances as a desperate time or a liberating one in terms of waking every morning to face the blank page?

MORRISON: That was a liberation. There were two areas of total freedom for me. One has to do with my children, because they were the only ones who I knew who were not making insane demands on me. They made certain demands, but they didn’t care if I was sexy or hip, or any of those things that seem to factor in how we are judged—or at least how I was judged, as a woman in the publishing industry, by a certain kind of ambition. Other than taking rudimentary care of them, they just wanted me to be honest, and have a sense of humor, and be competent. That was simpler for me. Outside was complicated. But the writing was the real freedom, because nobody told me what to do there. That was my world and my imagination. And all my life it’s been that way, even now. I sometimes get stuck—my son died two years ago. I stopped writing until I began to think, He would be really put out if he thought that he had caused me to stop. “Please, Mom, I’m dead, could you keep going . . . ?” So when I got to that point, I could finish Home. But it’s not just liberating. It’s an education for me. In Home, I wrote from a man’s point of view. I had never really done that seriously until Song of Solomon. I thought, “What are they really like? What do they really think?” My father had died shortly before, and I remember saying, “I wonder what he knew.” And then I just felt relief, that, at some point, I would know, because I’d asked the right questions of him, and that it would come. And in fact it did. I’ll tell you what helped: black male writers write about what’s important to them or their lives, and what is important to them is the oppressor, the white man, because he’s the one making life complicated. Then I noticed that black women never do that. In the ’20s, they did, but I mean contemporary—and I wasn’t interested in it. Suddenly if you took the gaze of the white male—or even the white female, but certainly the male—out of the world, it was freedom! You could think anything, go anywhere, imagine anything . . . There was no longer the problem of looking through the master’s gaze. With that gaze, you’re always reacting, proving something. So not having to do that . . . I think one of the reasons I’m so thrilled with writing is because it is an act of reading for me at the same time, which is why my revisions are so sustained. Because I’m reading it. I’m there. Intimacy is extremely important to me and I want it to be extremely important to the readers, too.

BOLLEN: You’ve described your refusal to write a book that comfortably lets in the white male reader as not providing a “lobby” to your books. What freedom not to be writing and measuring what you write as worthy or marketable or entertaining for a mainstream white audience. It must have been doubly bold because you risked not being published.

MORRISON: Publishing was not on my mind. Long before I was living in Queens, I was teaching down in Washington and was surrounded by some serious writers and poets. They had a little group, and we met once a month and read our stuff. I brought old things I’d written and they would comment. But they wouldn’t let you come if you didn’t have something to read. I didn’t have anything else, so I wrote this little story about a black girl who wanted blue eyes, which is based on an incident that I had witnessed as a kid. And they talked about it, and I liked writing it, and they had such good food at these little meetings! But then I put it aside. Then I came to Syracuse. My younger son was just six months old, and I began to write and add to that story before they got up and after they went to bed just as something to do.

BOLLEN: You famously wake up before dawn to write.

MORRISON: I’m very smart in the morning. And also, those are sort of farmer’s hours. I like to be up just before the sun. Anyway, after I finished The Bluest Eye, I had sent it out to a number of people, and I got mostly postcards saying, “We pass.” But I got one letter—somebody took it seriously and wrote a rejection letter. The editor was a woman. She said something nice about the language. And then she said, “But it has no beginning, it has no middle, and it has no end.” And I just thought, She’s wrong. But the thrill was having done it. And then [writer] Claude Brown recommended somebody to me at Holt, Rinehart, and Winston. But this was back in the day of the “screw whitey” books. One of the aggressive themes of the “screw whitey” movement was “black is beautiful.” I just thought, “What is that about? Who are they talking to? Me? You’re going to tell me I’m beautiful?” And I thought, “Wait a minute. Before the guys get on the my-beautiful-black-queen wagon, let me tell you what it used to be like before you started that!” [laughs] You know, what racism does is create self-loathing, and it hurts. It can ruin you.

BOLLEN: So by telling the story of a girl who wants blue eyes and thinks she’s ugly, your first novel was really out of step with the whole “black is beautiful” program. Does that mean some of your earliest critics were from the black community?

MORRISON: Yeah, they hated it. The nicest thing I ever heard wasn’t from a critic, it was from a student who said, “I liked The Bluest Eye, but I was really mad at you for writing it.” And I said, “Why?” And she said, “Because now they will know.” But most of them were dismissive. I thought that in that milieu, nobody was going to read this. Twelve-hundred copies they printed, 1,500. I thought it would be 400. Bantam bought the paperback. It was a throw-away book. And then something extraordinary happened. I think it was City College. The book was published in ’70, and City College decided that the curriculum for every entering freshman would have to include books by women and books by African Americans, and I was on that list. That meant not just for that class, but many classes thereafter!

BOLLEN: You’ve been called “the national novelist.” You’ve also been called “the conscience of America.” In fact, it’s hard to think of another writer, except for Walt Whitman, who has been asked to stand for so much of the national voice. Do you ever feel that distracts you from your own writing? That such extreme success is, in a way, a pigeonhole?

MORRISON: I had a little moment of difficulty after I won the Nobel Prize, but I was already writing Paradise [1997], thank god. I didn’t have to invent something worthy of the prize. Now I just take the good stuff. I remember a grudge, but I take the good stuff. [laughs]

BOLLEN: There’s the romantic vision of the Nobel committee waking American recipients from their early morning sleep with a phone call. Did that happen to you?

MORRISON: No, they changed it. They’re much more civilized about it. They announce it when they have figured it out, which is in the middle of the night. So it gets out. But they have decided not to make people crazy and call them up at night, and just do it at a normal time for whatever country they’re in. What happened was a friend of mine, Ruth Simmons, who is now president of Brown, she was still at Princeton then, called me up at about seven o’clock in the morning and said, “You won the Nobel Prize.” And I thought, What? I thought she was seeing things.

BOLLEN: Did you even know you were in the running?

MORRISON: I really never thought about it. So I hung up on her! I said, “What is she talking about?” Because I thought, How would she know something that I wouldn’t know? She called me right back and said, “What’s the matter with you?” I said, “Where’d you hear that?” And she said, “I heard it from Bryant Gumbel on the Today show.” So then I had to think, Well . . . Maybe? But there had been so many moments—as I later learned, more than I thought—when people believed they were going to get it, and journalists were beginning to circle, and they didn’t get it.

BOLLEN: I think that happened to poor Norman Mailer. Friends even told him that he got it and he might have given an interview. But he never received it.

MORRISON: I know. It happened to Joyce Carol Oates once! The journalists were out waiting for her. But I didn’t know what to do! I just went to class, right? And then that afternoon, around 12:30, I got a telephone call from the Swedish Academy saying that I had won—at a reasonable time of day. I still wasn’t quite certain. I said, “Would you fax that?”

BOLLEN: You wanted it in writing! [laughs]

MORRISON: That’s right! But the event itself was just heaven. It’s the best party.

BOLLEN: I saw the recent Fran Lebowitz documentary, Public Speaking, by Martin Scorsese, where she talks about going with you and being forced to sit at the kids table.

MORRISON: [laughs] I know! She was serious. But it was really lovely. It was palatial and grand . . . And a little inconvenient.

BOLLEN: Is it?

MORRISON: I mean, the risers on the stairs—they were so short—I could barely walk down them. But anyway, I thought it was the best time. It was so much fun. Fran said the right thing to me, she said, “This is the first time I’ve seen pomp with circumstance.”

BOLLEN: When you finally quit your editing job to concentrate on writing in 1983, was that a moment where you thought, Okay, no going back?

MORRISON: That was different, because I sat out there on that porch when I quit [Morrison points out the window to her porch over the Hudson River]. It wasn’t as lovely as it is now because the storm knocked it down and I had to have it redone. But I was sitting out there, and I felt afraid, or something jittery. I didn’t have a job. Still with kids. It was a strange sort of feeling. And then I thought, No, what I’m feeling is not anxiety—this is happiness!

BOLLEN: Relief.

MORRISON: More than relief. I was really happy. Which is to say I guess I hadn’t been. I hadn’t felt that—it must have been a combination of happiness and something else. And it was then that I wrote Beloved. It was all like a flood when I wrote that book.

BOLLEN: How did you find that article about Margaret Garner [the escaped slave who killed her daughter in Cincinnati to avoid her daughter’s reenslavement upon capture], which became the basis for the story of Beloved?

MORRISON: I was doing The Black Book [1974 nonfiction book by Middleton A. Harris and Morrison], and these guys were bringing me all this stuff because I was going to make a whole-earth catalog about black history—the good and the bad. I got old newspapers from a guy who collected them, and I found an article about Margaret Garner. What was interesting to me was that the reporter was really quite shocked that Margaret Garner was not crazy. He kept saying, “She’s so calm . . . and she says she’d do it again.” So I decided to look into this. It was not uncommon for slave women to do that, but I thought, Suppose she was rational and there was a reason. This was also at a time when feminists were very serious and aggressive about not being told that they had to have children. Part of liberation was not being forced into motherhood. Freedom was not having children, and I thought that, for this woman, it was just the opposite. Freedom for her was having children and being able to control them in some way—that they weren’t cubs that somebody could just buy. So, again, it was just the opposite of what was the contemporary theme at the moment. Those differences were not just about slavery or black and white—although there was some of that—but in the early days, I used to complain bitterly because white feminists were always having very important meetings, but they were leaving their maids behind! [laughs]

BOLLEN: Did you feel a real split between white and black feminists?

MORRISON: Womanists is what black feminists used to call themselves. Very much so. They were not the same thing. And also the relationship with men. Historically, black women have always sheltered their men because they were out there, and they were the ones that were most likely to be killed. As a matter of fact, this was an interesting thing for me. When I went into the publishing industry, many women talked about the difficulty they had in persuading their families to let them go to college. They educated the boys, and the girls had to struggle. It was just the opposite in the African-American communities, where you educated the girls and not the boys, because the girls could always go into nurturing professions—teachers, nurses . . . But if you educated your men, they would go into jobs where they would have to be confronted or held down. They could never flourish so easily. Now that has changed in any number of ways, but it was like an organism protecting itself.

BOLLEN: In Home, there’s the zoot-suited man that haunts the narrative and appears before the main character a few times. How did he enter the novel?

MORRISON: Well, a lot of the book confronts the question of how to be a man, which is really how to be a human, but let’s say “man.” And he’s struggling with that, and there’s certain pro forma ways in which you can prove you’re a man. War is one. But the zoot-suit guys, postwar, in the late ’40s, early ’50s, they were outrageous—they were asserting a kind of maleness, and it agitated people. The police used to shoot them. You talk about dress, not to speak of hoodies—they were always arresting those guys. I wanted this figure of a fashion-statement male to just hover there.

BOLLEN: You bring up hoodies. Is there a link between what happened then to what is happening today with the Trayvon Martin case? There was the Million Hoodie March. Do you think situations like Trayvon Martin’s shooting still happen all of the time and they just aren’t reported? Or have we curtailed the systematic murder of black men in America?

MORRISON: The hoodie is just a distraction. I thought they should have had a Million Doctors March or something like that! For me, it’s highly theatricalized now, very theatricalized in the media. The killing of young black men has never changed all that much, with or without hoodies. I don’t know of any young black men who haven’t been stopped by cops. Ever. My sons . . . I was listening to Jesse Jackson talk about his sons—one was in law school and one was in business school. But they were all stopped. I remember Cornel West telling me he was teaching somewhere and he had to commute. He was stopped every time. It doesn’t matter if the car is new or beat up—Cornel’s was beat up, they still stopped him. [laughs] So the pervasive notion of black men as “up to no good” may be spoken about more right now in the media, but it’s no less pervasive than it’s always been. It’s like my character Frank Money in Home. I just took it for granted that the police would search him on the street. But I’m interested in what the consequences of this situation will be for any number of reasons. There are two things I want to know, and I may spend some time doing research. One is, has any white man in the history of the world ever been convicted of raping a black woman? Ever?

BOLLEN: I can’t think of one offhand.

MORRISON: I just want one. The other thing is, has any cop shot a white kid in the back? Ever? I don’t know of any. Those are two things I’m looking for. And then I will believe all this stuff. Once I find a cop who shoots a young white kid for being in the wrong place at the wrong time.

BOLLEN: That never seems to happen, does it? Back in 2008, when Barack Obama was running for office, he asked you for an endorsement, which you eventually gave. You said having him in the office would be a restitution. You called it a necessary evolution and not a revolution.

MORRISON: Did I say that? It sounds good! [laughs]

BOLLEN: You did. Now, on the eve of his reelection, do you think Obama fulfilled those expectations?

MORRISON: More. More. He’s better than I thought he would be.

BOLLEN: I feel that way overall. There are moments where I’ve had some doubts, but it’s natural to lose confidence with a president at certain points in a presidency.

MORRISON: Of course, but what I didn’t expect was the amount of hostility. I knew there would be some—maybe even lots—but this is really deranged. For the people who hate Obama, it doesn’t matter what he does. Nothing matters. And the things they say are so retro. I decided that once they have something called the n-word that no one can say, it did the opposite of the word like. Taking the n-word—N-I-G-G-E-R—out of language left a hole. So now there is this flood of other words—Kenyan and no-births—that they have produced in order to fill that hole. The n-word used to say it all. Now there’s this other loaded vocabulary that’s become totally insane. It’s the opposite of like. As in, “I’m, like, ‘Wow . . . ’” Or, “It was, like . . . ” Or, “I’m thinking, like . . . ” Like has taken 90 words out of the vocabulary. They don’t say felt any more. And I get really upset about that. So there’s a word that erases language, and then there’s the erasure of a word that produces a deranged kind of language. That’s startling to me. And the response from the people who dislike Obama is a really visceral dislike. I read a sentence in a newspaper article that said, “The real problem is that here’s a black man in charge of the world.” It’s not a judge or a doctor or the head of a neighborhood—it’s the world. Some people aren’t able to deal with that.

Quantum Levitation

A thin superconductor layer (~1µm thick) is coated on a sapphire wafer. Quantum physics tells us that the magnetic field penetrates into the superconductor in the form of discrete flux tubes. The superconductor strongly pins these tubes, causing it to float in midair. This effect is called ‘quantum levitation’.

The physics behind

We start with a single crystal sapphire wafer and coat it with a thin (~1µm thick) ceramic material called yttrium barium copper oxide (YBa2Cu3O7-x ). The ceramic layer has no interesting magnetic or electrical properties at room temperature. However, when cooled below -185ºC (-301ºF) the material becomes a superconductor. It conducts electricity without resistance, with no energy loss. Zero.

Superconductivity and magnetic field do not like each other. When possible, the superconductor will expel all the magnetic field from inside. This is the Meissner effect. In our case, since the superconductor is extremely thin, the magnetic field DOES penetrates. However, it does that in discrete quantities (this is quantum physics after all! ) called flux tubes.

Inside each magnetic flux tube superconductivity is locally destroyed. The superconductor will try to keep the magnetic tubes pinned in weak areas (e.g. grain boundaries). Any spatial movement of the superconductor will cause the flux tubes to move. In order to prevent that the superconductor remains “trapped” in midair.

Imagine a bullet fast train suspended in midair. The superconductor disc is suspended above/below two magnet rows and move frictionless along the rail. This demonstration is perfect for large audience such as in science museums and colleges.

The superconductivity group at Tel Aviv University

Lead by Prof. Guy Deutscher, a leading physicist in the field of superconductivity. We are studying the, yet unknown, mechanism of superconductivity in high temperature superconductors. We are also dedicated to making the amazing physics of superconductors accessible and exciting for young and adults through the unique and counter-intuitive phenomena of ‘quantum trapping’ and ‘quantum levitation’.

Annunciation (1961) — Mische Technique (layers of oil and tempera on primed canvas)
[88 x 128.5 cm]

“Annunciation is the first painting I painted after my initial New York awakening. I was 28 years old and at the peak of my molecular bio-energy. You can feel the sudden burst of the Big Apple’s electric zap in the composition after all the early years of adolescent brooding over potatoes and eggs and the romantic nostalgia of the preceding Flight to Egypt.

Years later Carlos Santana saw a reproduction of the Annunciation in a magazine and wanted it for the cover of his all-time best selling Abraxas album. It did me a world of good. I saw the album jacket pinned on the wall of a shaman’s mud hut in Niger and inside a Rastafarian’s ganja hauling truck in Jamaica. I was in good global company, muchísimas gracias Carlitos!”

From Mati Klarwein’s Collected Works

Abdul Mati Klarwein was born in Hamburg on the 9th of April 1932, to a Jewish architect father from Polish origins, and a German opera singer mother. The three of them fled to Palestine when he was two years old after the rise of Nazi Germany.

“I am only half German and only half Jewish with an Arab soul and a African heart”

– Improved Paintings, © 2000 Max Publishing

(Later for a time Mati adopted the name of Abdul Mati Klarwein: “He wanted to have both a Muslim and a Jewish name: he was the healer,” said a friend).

In 1948, Mati and his mother moved to Paris where he enrolled at the Académie Julian having previously dropped out of school in Israel and been sent at the age of 15 to an Art college in Jerusalem. He later studied with painter Fernand Léger, who introduced him to the art of Salvador Dalí, Buñuel, and the world of surrealism. Later in his life, he befriended Dalí, writing about his bizarre encounters with Salvador’s sexual behaviours in his book “Collected Works 1959-1975”. In Paris, he also met Viennese fantastic realist painter Ernst Fuchs.”Ernst insisted on teaching me his mixed technique of Van Eyck and the Flemish school. I learned it in one week and sold every one of my paintings ever since.”

With Paris as his base Mati spent long periods of time traveling, painting portraits during summers in Saint Tropez and, together with his father, who had recently won the competition to build Israel’s Parliament, the Kneset, he started to build a house in the small village of Deia, Majorca, having fallen in love with this place during a short visit, invited by archeologist Bill Waldren. In Deia he also became good friends with the poet Robert Graves, who was followed by many other artists who settled in this small community.

Klarwein moved to New York in 1965. By then his work was considered to be inspired by surrealism and the so-called psychedelic movement of the time. However, it was more his extensive traveling and wide interests of non-Western deities and symbolism that inspired his art more than the use of psychedelic drugs. His friend Timothy Leary once stated, that judging the character of his paintings, “Mati didn’t need psychedelics!” During his New York years he created paintings such as Bitches Brew, commissioned by Miles Davis for his landmark album of the same title. He also completed many portraits of people such as John F. Kennedy, his friend Jimmy Hendrix and other important characters of the time, and finished his large scale project, The Aleph Sanctuary, a cubic temple of all religions, featuring 68 paintings, representing some Biblical passages such as “Anunciation” (1961) (later used by Santana for the cover of his best selling album, Abraxas), “Crucifixion” (1963-1965) represented by a highly sexual tree of life which caused quite a turmoil within the puritan white establishment as well as with the black panthers, “Nativity”(1962), “Grain of Sand” (1963-1965), and many other of Mati’s best known paintings. Later, Klarwein was forced to dismantle his Chapel and sell the paintings individually for economical reasons. The chapel was rebuilt in 1992 using aluminum structures to hold Plexiglas reproductions lit by rows of fluorescent tubes.

Flight to Egypt (1959-61) — Mische Technique (layers of oil and tempera on primed canvas) [58.5 x 98 cm]
Mati settled in Deia in the early 80’s, working from his studio and home up in the northern costal mountains, surrounded by the landscapes that he so admired and painted in such astonishing detail as may be seen in his collection of “real-estate paintings” or “inscapes”. Also during these years, he created a number of “improved paintings” a collection that he had begun in the 1970’s, where he would purchase unwanted paintings in thrift stores and flea markets and bring them back to life by “improving” or recycling them, adding his own brush strokes to the originals, giving them a new meaning, often humorous, and if placed, always sharing both artists signatures.

Still best known for his art of the 1960s and 1970s, (featured in a vast collection of important album covers). Mati also worked more conventionally across a variety of genres including still life, landscape, and commissioned portraits. The amount of these are considerable, from Brigitte Bardot to Leonard Bernstein, Richard Gere, Geraldine Chaplin. Robert Graves, Peggy Hitchcock, Nan Kempner, Florence Van der Kemp, Yussef Lateef, Donyale Luna, the Mellon family, Jean Baptiste Mondino, Carmen Rossi, and many more…

Klarwein had two daughters and two sons, Eleonore (b.1963) with painter Sofie Bollack, Serafine (b.1971) with writer and photographer Caterine Milinaire, Balthazar (b.1985) and Salvador (b.1988) with painter Laure Klarwein.

Mati passed away on the 7th of March of 2002 in his home in Majorca.

Improved Paintings

‘Bad Art made Gooder’

Since the late 1970′s and up until his departure, Abdul Mati Klarwein rescued forsaken paintings from flea markets and thrift stores, buying them for the same price or less of a virgin canvas, bringing them back to life by what he called improving or recycling them.

He added to these what he thought was missing, what he wanted to see in them and at the same time gave them a new meaning by displacing them from their role as a purely visual product, simulating the style of the original artist to give a sensation of unity, and if placed, always sharing both signatures. A paint brushed dance between the two artists, the past and the present, life and death, bad and good, good and gooder.

Balthazar Klarwein (2006)



La Coiffeuse — Anonymous / MK (1992) [55 x 46 cm]

Cox, Renee
(1960- )
photographer
mixed-media artist

One of the most controversial African-American artists working today, Renee Cox has used her own body, both nude and clothe, to celebrate black womanhood and criticize a society she often views as racist and sexist.

She was born on October 16, 1960, in Colgate, Jamaica, into an upper middle-class family, who later settled in Scarsdale, New York. Cox’s first ambition was to become a filmmaker. “I was always interested in the visual,” she said in one interview. “But I had a baby boomer reaction and was into the immediate gratification of photography as opposed to film, which is a more laborious project.”

From the very beginning, her work showed a deep concern for social issues and employed disturbing religious imagery. In It Shall Be Named (1994), a black man’s distorted body made up of eleven separate photographs hangs from a cross, as much resembling a lynched man as the crucified Christ.

In her first one-woman show at a New York gallery in 1998, Cox made herself the center of attention. Dressed in the colorful garb of a black superhero named Raje, Cox appeared in a series of large, color photographs. In one picture she towered over a cab in Times Square. In another, she broke steel chains before an erupting volcano. In the most pointed picture, entitled The Liberation of UB and Lady J, Cox’s Raje rescued the black stereotyped advertising figures of Uncle Ben and Aunt Jemima from their products, labels. The photograph was featured on the cover of the French newspaper Le Monde.

“These slick, color-laden images, their large format and Cox’s own powerfully beautiful figure heighten the visual impact of the work, making Cox’s politics clear and engaging,” wrote one critic.

But her next photographic series would be less engaging for some people and create a firestorm of controversy. In the series Flipping the Script, Cox took a number of European religious masterpieces, including Michelangelo’s David and The Pieta, and reinterpreted them with contemporary black figures.

“…Christianity is big in the African-American community, but there are no presentations of us,” she said. “I took it upon myself to include people of color in these classic scenarios.”

The photograph that created the most controversy when it was shown in a black photography exhibit at the Brooklyn Museum in New York City in 2001 was Yo Mama’s Last Supper. It was a remake of Leonardo Da Vinci’s Last Supper with a nude Cox sitting in for Jesus Christ, surrounded by all black disciples, except for Judas who was white. Many Roman Catholics were outraged at the photograph and New York Mayor Rudolph Guiliani called for the forming of a commission to set “decency standards” to keep such works from being shown in any New York museum that received public funds.

Cox responded by stating “I have a right to reinterpret the Last Supper as Leonardo da Vinci created the Last Supper with people who look like himŠ.The hoopla and the fury are because I’m a black femaleŠ. It’s about me having nothing to hide.”

Renee Cox continues to push the envelop in her work, questioning society and the roles it gives to blacks and women with her elaborate scenarios and imaginative visuals that offend some and exhilarate others.

I found photos from some of the photographers/artists mentioned on the site — http://www.rushartsgallery.org/

Neekid Blk Gurls — OPENING RECEPTION Dec. 8th 6-8 pm. – 526 W 26th ST suite 311

Not so long ago I was a gardener and woodland conservationist. My life; sitting in the trees talking green with the birds.

Drawing was just a hobby, one of those things I did in the coffee shop to keep my idle hands occupied, a brief moment of escape from falling trees.

Then one day a friend suggested that I show the world my drawings.

I was truly surprised at how well my artwork has been received and the interest it is generating, I watch people as they look at the pictures I create and I am in awe. meta.METTA

Photography Via Daniel Hathaway of Vanguard Atelier

Our work belongs to a narrative tradition within photography existing at the intersection of contemporary photography and 18th and 19th century painting. It is based on the personal and collective stories of place, where the pictures become condensed impressions showing the latent and ephemeral rather than the obvious. Place and story are the catalysts of our work – transforming narrative and memories into image. But the images that emerge out of the stories take on lives of their own. Like the portrait in Oscar Wilde’s novel “The Picture of Dorian Grey”, our images show more than just an objective view of the person portrayed. Instead, they also depict something we can not see – the past, the insubstantial and intangible, where the life and sentiment of the person photographed are woven together with our perception and experience of the moment. In the end, our pictures are the stories’ beautiful remains. via — coopergorfer.com

Cooper & Gorfers work is photographic, where the picture taken is the initial substance to the image, but thereafter subjected to multiple layers of manipulation in a subsequent working process of photographic collage, surface transformations and painting. There is a highly seductive notion to Cooper & Gorfers images. The modification of surface properties evoke an almost haptic material experience, while the contained threads of art historical references allow the viewer to render additional associations within every image: from the dream like parallel world of the Pre-Raphaelites, to the startling juxtapositions and suggestive manner of surrealism.

The exhibition, Under Nomadic Surfaces, shows a selection of work from two of the Cooper & Gorfer series, Kyrgyzstan and Qatar, each based on travel. On these journeys the artists work in parallel as directors, photographers and authors: casting the people they meet into the stories they gather. By focussing on the cognition of the human element, rather than on political, religious or social views, the artists bridge the differences between two countries, that despite their disparity, share elemental features: nomadic history, Islamic culture, and almost more importantly, the confrontation with change in an attempt to redefine their identity on the cusp of transformation.

Cooper & Gorfer consists of the two artists Sarah Cooper (USA, 1974) and Nina Gorfer (Austria, 1979). With their backgrounds in art, architecture, and photography they began their collaboration in 2006 and are now living and working in Göteborg, Sweden. via — http://www.christianlarsen.se/artists/cooper-gorfer/

An authoritative book published in collaboration with Christie’s, featuring photographs of the Bergé Saint Laurent collection in situ, complete with estimated value information and final auction prices. In February 2009, 733 pieces from Pierre Bergé’s and Yves Saint Laurent’s art collection—one of the world’s largest private collections—was auctioned off in a record-breaking sale of the century. Modern paintings, baroque bronzes, antique silverware, statues, cameos, and minerals comprise this diverse collection that furnished the pair’s two luxurious residences in Paris, and included major works by Picasso, Brancusi, Matisse, Mondrian, in addition to furniture by the Art Deco masters Eileen Gray and Jean Dunand. Many works sold for prices far exceeding the highest estimates. The five-volume catalog published by Christie’s for the event sold out before the end of the auction, leaving collectors and art connoisseurs the world over empty-handed. This new book features one hundred of the most important pieces from the collection with detailed commentary by Christie’s experts. An introduction by Christie’s vice president François de Ricqlès revisits the intense three-day auction at the Grand Palais. An appendix includes images of the works sold, accompanied by their estimated values and final auction prices. Publication coincides with the auction of the collection from their Château Gabriel property in November 2009.

6 Sep – 6 Oct
RODRIGO TIZIL
Libido and a tour of the voyeuristic enjoyment

“Trick or treat?”
The artist Tizil causes, wonders about the temptations more visceral – our libido. His work reveals a provocative narrative about what is desire, which is intense.
Nothing more disturbing to imagine the sensual look of a “voyeur”. The mind of this artist to lump together and becomes a collage of their own emotions. Questina thought voyeuristic and brings out the source of eroticism. His work goes beyond the taboo, it translates, becomes lines, colors, cuts, paper, ink, prints – creates mythical forms.
In the drawings, their conical perspective manifests itself especially in the visual perception of human being – a curious trait become desconstructing anatomical studies and re-built in the foreground with vibrant colors to celebrate and fill in this consciousness. The small collages over the work make up this narrative – and mostly – home porn: old magazines printed. Sometimes, in support of his narrative, it also features pictures – porn movie still printed xerox to trivialize the pornographic and the erotic re-synthesis. His multidisciplinary work that enriches the mixture in a single technical work and to his end in a harmonious composition, so subtle and so provocative.
Voila to delight in, be troubled, to question, let taboos aside. Ask yourself: What is eroticism? What is art? And why erotica can not be beautiful and sexy ..
Joan Estellita, via — human art projects

Rodrigo Lima (aka Tizil ) was Born in Rio de Janeiro, Brazil, and have been always linked to colors, grafitti, chaos, music and tipography.
Since an early age, he had shown extreme sensitivity to shapes and lines, wich, later, led him to fine arts and graphic design school.
Over the past years he has experienced the fashion industry, creating graphics and assisting the development of clothing lines for Brazilian brands.
Along with that, has taken part of some fine arts related projects with some exposure in Rio de Janeiro – Brazil, and New york City – USA, and motion graphics as well.
Workaholism, letter, lines, and primary colors describe an artist that keeps a strong and organic identity.
aka tzl

FILM NAME: Onions Don’t Make Me Cry

DIRECTOR’S NAME: Bryan Adams
Duration 1:08

SHORT FILM SYNOPSIS:

Actor Danny Trejo on the virtues of making spaghetti sauce to ease his mind.
However his mind is also distracted by other things…

SHORT DIRECTOR BIO
Bryan Adams is a Canadian musician and photographer based in London, England. He has been nominated for both Academy Awards and Golden Globes for writing music in film.
This is one of Adams’s first forays into film making.

Dutch artist SIT has been part of the Amsterdam creative scene for many years. Doing action painting, graphic design, advertising and more until he got fed up. He went back to square one to find his true essence. Back to head and handcraft. Sit has recently updated with a few new projects including this Dark Vadar (2011) series … A collaboration with the great photographer Cornelie Tollens for SOUP Magazine Germany. text via www.computerlove.net/generic/mainitem/38650

Four boys from Sudan embark on a journey to America after years of wandering Sub-Saharan Africa in search of safety.

Big Shot
by Tamsin Blanchard


He says he is a prude, but Nick Knight has been photographing a lot of nudes recently. He shot the model Sophie Dahl for i-D magazine in all her curvaceous glory—except that her curves were not glorious enough. When she arrived at the studio, Ms. Dahl had been on a diet. “I curved her up on the Paint Box and made her tummy bigger, her breasts bigger, her bottom bigger,” he says. That’s why the images in i-D’ s New Beauty issue in March looked a little unreal, as though this was a body that had been gently eased from a jelly mould. Not only does the camera lie, but the computer paint box can triple your cup size with one single swoop of the mouse. As Knight admits, photography is not a good medium to record reality: “If you want reality, look out of the window.”

Fashion photographers traditionally spend hours in the darkroom—re-touching, streamlining, shaving off a slight hip bulge here, a dimple in the bum there. Nick Knight, however, has perfected the art of enhancement. He also has the great gift of anticipating trends. The shoot with Dahl made her an instant celebrity. Then he was credited with another fashion coup.

http://nickknight.com

showstudio.com

SHOWstudio is an award-winning fashion website, founded and directed by Nick Knight, that has consistently pushed the boundaries of communicating fashion online.

Established in November 2000, SHOWstudio’s innovative and ground-breaking projects have defined the manner in which fashion is presented via the Internet. SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age.

Working with the latest technology SHOWstudio broadcasts live from catwalk shows and fashion shoots, allowing an international audience instant and unparalleled access to the previously closed world of high fashion. Inspired by the inherent generosity of the verb ‘to show’, SHOWstudio opens up the studio of designers and artists, allowing everyone to not only witness the creative process, but to respond and contribute creatively, documenting, communicating and evaluating the results.

SHOWstudio collaborates with some of the most influential and acclaimed figures of contemporary fashion, including John Galliano, Kate Moss, Rick Owens, Comme des Garçons and Alexander McQueen. Alongside these established names, SHOWstudio has also supported and nurtured emerging talent, including Giles Deacon, Gareth Pugh, Rodarte and Mary Katrantzou, offering exciting new designers an important global showcase for creative expression. SHOWstudio has also worked with pop culture icons and creatives from the world of art, music and film including Tracey Emin, Björk, Brad Pitt and Lady Gaga.

Since its inception, SHOWstudio has worked with the world’s most sought-after filmmakers, writers and cultural figures to create visionary online content, exploring every facet of fashion through moving image, illustration, photography and the written word.

Constantly changing, consistently innovating, SHOWstudio delivers fashion, live, as it happens.

These men are the descendants of the knights and soldiers of King Sundiata Keita, who had introduced the twelfth and thirteenth century in West Africa an egalitarian society. They know no borders and live in Mali, Senegal, Gambia, Guinea, Guinea Bissau, Mauritania and Ivory Coast. They form a brotherhood of masters of therapeutic knowledge, hunting and magic. via google translate

What is beautiful and very disturbing in these images brought back from Africa and Bordas travels since 1988 is that it puts us in touch with a world that is completely inaccessible and yet, is real. The army raised from the hunters of Mali comes from far away: the men covered with amulets, talismans, and armed with weapons also come from another time, were not found for seven centuries. Bordas and followed for seven years from 2001.

These men are the heirs of the elite corps of the empire of Mali. They wear the same outfits, and obey the same laws as the horsemen and soldiers of King Sundiata Keita (1190-1255) whose empire stretched from the Sahara to the rain forest from the Atlantic to the loop of Niger.

These hunters out of the shadows after seven centuries, constitute a sort of underground river that irrigates and transnational values ​​by much of Africa today. The images of Philippe Bordas us into this mysterious world. These men are inhabited by a palpable force transmitted to us by the photographer. It remains absolutely fascinated by the faces that we observe in the darkness of the showroom and we talk quietly. via madame lefigaro