Ice Run-out

I'd seen these before, in other rivers, and assumed them to be old bridge abutments, of which I am a great fan. They look just like abutments, but they are ice piers, which provide a break in the flow, when massive amounts of ice run-out, turn the river into a grave-yard. A great many boats just carried away and broken up. Staggering numbers. You could tie up to one and , the pier would part the river of ice. Boats liked to anchor in the mouth of Kentucky streams, anywhere to get out of the awful flow. A rough life, and everything constantly changing. Grew a strong batch of misfits that continues to this day. We have photographs, there's one photo, in this show, that shows a stern-wheeler, moored on Second Street, at the bakery. Donuts are the coin of the realm, even then. Holes, maybe not so much. Last night, I couldn't get the place cool enough to write until after I'd fallen asleep on the sofa. Exhausted from a day that I didn't feel 100% and there was a lot to do. A good night's sleep (I left the AC on, I'd never done that) and then a good breakfast this morning, potatoes and eggs, and I was back in the race. I open up early, all this week, for the Art Camp teacher, a lovely April. I volunteered for the job because her comportment is so jaunty it makes me giddy. Got rolling on this installation, set the show in the morning, tweaked in the early afternoon, then hung the entire show before quitting time; 27 pieces, not sure exactly, we added one, I think I remember correctly. So punch-drunk, at the end, doing the 'main' wall, the big front wall, which we had agreed to put off until tomorrow, but it wasn't as late as we had thought, and there was time to hang that wall too. I said to D I was OK with that (we usually don't hang anything after 4 because the hanging algorithm is such a complex set of numbers) but that we had to do the math twice; we ended up doing it three times, and still, the result is three sixteenths off, over 223 inches. Acceptable. The show looks great, you can tell even without the lights and labels, but the lights will change it dramatically, and the labels, this time, carry a huge amount of information. We're all over this information thing. Now, I can't even find Way's "Packet Directory" because it's buried under other materials on Sara's desk, she's gone through 10 or 12 drafts of these labels, as we keep adding information. You need the information for the show to make sense. I do, I have to know what that thing, in that photograph, is, and what it does. Interpret this cleanly, and you add a level, vertical integration is always good, it's the most difficult thing to teach, because it runs contrary to that whole notion of learning to do something and then drifting up the food chain. The American Zen, that hippy embracement, when the moment was all. I don't believe that either. Still, I must mean something. It might just be an intervention, but I noticed people were looking at me strangely, I always go into an interior mode, when that happens, and consider what I was doing. Your peanut-butter and crackers couldn't be that much better than mine. I'm just saying, we're pretty much in the same boat.