Rauschenberg, Charles, Betancourt, Foote, Wilson, Cheever, Merwin, Snyder, Wrigley, Gladwell
(Click on sketch to enlarge)
Landscapes made out of food
His art was exhilaration, fearlessness, a wild grab at life. The wire he and his friends strung at night between the two towers formed the intersection of recklessness and precision. And those buildings, those silent supporting actors, you can’t help marveling at how young they are. In August 1974, when Petit took his morning stroll, they were still raw on their upper floors, not completely finished. I would wish for those buildings that they could someday be remembered for how they began — with the felonious act of a young man who was madly in love with them, their height, their audacity, their doubled beauty — instead of how they ended. “Man on Wire” gives those towers back to us, at least for a little while. It also reminds us of all that art is capable of when what is risked is everything.
In the end the only events in my life worth telling are those when the imperishable world irrupted into this transitory one. That is why I speak chiefly of inner experiences, amongst which I include my dreams and visions. These form the prima materia of my scientific work. They were the fiery magma out of which the stone that had to be worked was crystallized.