Those Who Can’t is a half-hour show, based in Denver, Colorado, that follows three dysfunctional teachers, played by show creators Adam Cayton-Holland, Andrew Orvedahl and Ben Roy of the Denver-based comedy troupe The Grawlix. More inept than the kids they teach, they’re out to beat the system as they struggle to survive each day on their own terms. Maria Thayer stars as the school librarian with a bubbling passion for life.
Across the centuries, memorials have acted as public sites of collective remembrance and markers of our shared cultural heritage. Some monuments continue to hold a contemporary significance, while others have become obsolete in an ever-changing urban and social landscape; their meanings often lost from civic consciousness.
Memorial, Rear View (Plaza Hotel in Background)
Memorial, by British artist David Shrigley honors one of the most common of all acts: the writing for a grocery list. By engrave this ephemeral, throwaway list on a solid slab of granite — a material ubiquitous with the language of monuments — the artist humorously subverts both a daily routine and the role of the classic memorial.
While Shrigley’s shopping list might appear to posture as a counter-monument, through its celebration of common activity, its anonymity and absurdity, the sculpture becomes a memorial both to no one and to everyone — perhaps standing as a simple but poignant ode to humanity.
David Shrigley: Memorial will be on view through February 26, 2017 in Doris C. Freedman Plaza, Central Park, Fifth Avenue at 59th Street.
“This invention relates to educational devices, and has particular reference to an apparatus for facilitating the observation, study and photography of subterranean life, especially the life and habits of insects and smaller animals who live underground.” So began Frank Austin ((1873 – 1964)’s application to the U.S. Patent Office, filed on June 21, 1929, for his storied Ant House (also known as the Ant Farm).
A simple design based on glass panes and soil or sand allowed a curious viewer to observe as ants or other insects furrowed their way through the ground. Word has it that Austin paid local boys $4.00 a quart for ants brought in alive, and that carpenter ants were his preference as they were the largest and most interesting. His patent application consciously stated that that “other objects of the invention reside in the simplicity of construction and mode of use of the device, the economy with which is may be produced and the general efficiency derived therefrom.”
Photographed in Chamber Boutique on 23rd Street, West of 10th Avenue.