Mercedes Lambert is Douglas Anne Munson. Douglas Anne Munson is Mercedes Lambert. Born in Crossville, Tennessee on February 17, 1948, Douglas Anne Munson's childhood was spent moving from town to town before her family finally settled in southern California in the 1960s. Douglas attended the University of New Mexico, where she majored in Latin American studies, and lived for a year in Ecuador. After attending law school at UCLA, Douglas became an attorney in the Los Angeles criminal courts. Most of her legal career was spent in dependency court, where children who have been removed from their parent's custody because of severe abuse, neglect or abandonment move through the legal system. In 1990, Douglas published a novel called El Niño. The book was well received by critics and Douglas went on to publish two mystery novels under the name of Mercedes Lambert, Dogtown in 1991 and Soultown in 1996, which featured two women detectives. She completed a third novel in the series, Ghosttown, which remained unpublished during her lifetime. After leaving the legal profession, Douglas taught creative writing and journaling at UCLA. She lived briefly in Washington State and San Francisco, and after completing a program to teach English as a second language, moved to the Czech Republic where she taught English to soldiers, missionaries, and mink farmers. After being diagnosed with cancer (she had successfully fought breast cancer while writing El Niño in the late 1980s), Douglas returned to the United States in 2001 and sought medical treatment in Connecticut. She was able to make one last visit to the Czech Republic in December of 2003 before dying on December 22, 2003 at a hospital in Norwalk, Connecticut. Her ashes were returned to southern California where they were scattered at sea.
Four years after her death, Ghosttown, the third and final Whitney Logan mystery, was published by Five Star Mystery; in the Spring of 2008, the first two Whitney Logan mysteries—Dogtown and Soultown—were reprinted in a single edition by Stark House. With the resurgence of interest of Douglas Anne Munson, her books have been translated and published in Japan and Italy.
Ashes to ashes, ashes to art. Only Heide Hatry could have dared to confront (and collaborate with) eons of belief systems and taboos to produce these evocative portraits of mortality and its mirror image.
Lucy R. Lippard (art critic, curator, activist)
John Bernard Boxer (a)
Artist Heide Hatry understands the fundamental human desire to have the dead with us always – as image, as memory, as physical remnant. Her portraits made from the ashes of the deceased are haunting modern-day relics, poignant to any viewer, virtually sacred to those who knew and loved the departed. Each is a compelling likeness, a personal shrine.
Richard Vine (art critic, managing editor of Art in America)
James Otis Purdy (b)
In establishing new relations between the formerly unrelated – the essence of creation – Hatry found a contemporary formulation of the memento mori that has pervaded art since the very beginning of culture. Wolf Singer (director at the Max Planck Institute for Brain Research, Frankfurt)
Roberto Guerra (a)
The exhibition is particularly relevant and timely in light of the Vatican's response on October 25th to what it called an "unstoppable increase" in cremation and its issuance of guidelines barring the scattering of ashes "in the air, on land, at sea or in some other way." The Vatican decreed that the ashes of loved ones have
no place in the home, and certainly not in jewelry. While the Vatican was silent on the use of ashes in painting, we can assume that Hatry's work falls outside its newly articulated "canonical norms" and within its idea "unfitting or superstitious practices."
David A. Petracca (a)
The project is accompanied by the book publication, Heide Hatry: Icons in Ash, in which twenty-seven contributing authors, including Siri Hustvedt, Lydia Millet, Rick Moody, Mark Dery, Peter Weibel, Eleanor Heartney, Steven Pinker, Hans Belting, Wolf Singer, and Luisa Valenzuela have offered a multiplicity of perspectives on the human relationship to death. These cover a wide range of topics, from art history through anthropology, psychology, philosophy, semiotics, ecology, and beyond, as well as discussing death taboos, post-mortem practices, personal experience, the impact of the relic and more. A social, deeply humanistic, and an aesthetic project, Icons in Ash, proposes an alternative to the way we see and interact with death, in particular a radically different approach to mourning and consolation, as well as to how we understand the purpose of art at its most fundamental level.
Germaine A.A. Charbonneau (a)
The exhibition can be viewed from December 8, 2016 to March 7, 2017 at Ubu Gallery, which is located at 416 East 59th Street in Manhattan.
An opening reception will be held on December 13, 2016 from 6:30 – 8:30PM.
24 portraits will be on display – most are not for sale. But Heide Hatry will be accepting commissions for ash portraits, for which a photograph of the subject and a small amount of his or her ashes are required.
For further information or images, please contact Ubu Gallery at 212 753 4444 or
Lena Sereda (a)
UBU GALLERY 416 EAST 59 STREET NEW YORK NY 10022 212.753.4444 INFO@UBUGALLERY.COM
WWW.UBUGALLERY.COM GALLERY HOURS: M – F 11AM TO 6PM
(exceptions to opening hours may occur, but they will be posted in advance at www.ubugallery.com)
If any single person is responsible for post-1980s interest in David Goodis, it's surely Philippe Garnier, arguably the first to write at length about Philadelphia's favourite noirist. While a handful of others have tried to thumb a ride on Garnier's coat-tails, he remains, at least when it comes to Goodis's retreat from oblivion, the primary investigator. Not only has he done the ground-work- interviewing the relevant parties and scrounging the archives- he's conveyed what he's found with no small amount of panache. That goes for David Goodis, Un vie en noir et blanc, or his "translation" of that book David Goodis, A Life In Black and White (my review of that book can be found here). "Translation" because A Life... is anything but a word-for-word translation of his earlier book, rather an adaptation meant English-speaking Goodisites.
“It’s All One Case” is a book that any devotee of American detective fiction would kill for. For fans of Ross Macdonald, the finest American detective novelist of the 1950s and ’60s, it’s an absolute essential.
"It's All One Case: The Illustrated Ross Macdonald Archives," by Kevin Avery and Paul Nelson (Fantagraphics)
First off, this huge album contains the transcript of 47 hours of talk between Kenneth Millar — Macdonald’s real name — and Rolling Stone reporter Paul Nelson. The conversations, which took place in 1976, were intended for an article that never got written. Soon after the interviews were over, Millar began to exhibit symptoms of Alzheimer’s disease and would never write another book. He died in 1983. Nelson’s life would gradually just fall apart. He died in 2006.
Largely because of Kevin Avery’s devotion and hard work this major work of mystery scholarship has finally appeared in print.
Yet there’s still another reason to covet this book — its pictures, hundreds of them. Virtually every page shows off Jeff Wong’s awe-inspiring collection of material relating to Millar.