최승준씨 강의 사이트

Nadine Dorries

Which brings me back to the tan people in the garden. They'd bought expensive tickets to be there. Most of them there were die-hard supporters. These are the people who probably have Chihuly glass in their homes. Having a tan is a funny thing in Seattle. It makes you look like this is not your habitat. Or maybe you've just returned from somewhere brighter? Or you're prematurely ready to go? A tanned person in Seattle in May is flaunting mobility. Maybe you could say a tan here is a sign of wealth in motion, not stable wealth, not family money—maybe it's a sign of being nouveau riche.

Chihuly gets a lot of disdain for the style of his wealth, but all art museums rest on wealth. It's just usually more camouflaged. Chihuly, who is new to wealth, sells art to people new to wealth. He's a Tacoman with his own museum in Seattle. And it's full of art made of glass, a derided, minor material. Take that, historical hierarchy. Though Chihuly's vanity museum is in Seattle, it is not of Seattle. He put it there by hook or by crook. He is a product not only of a working-class family, but of a working-class city. Why hide your upward mobility with good taste when you've made it so far flying in the face of those who excluded you?

What I can appreciate in Chihuly's career, in his aesthetic, and in his tanned gala is how his story reveals something very human about striving to be recognized. Chihuly Garden and Glass is a naked chest of booty. Its ambition, pride, and lust are conspicuous. (Kids won't see any of this, but keen adults will, and that's how it should be—kids will love this place, by the way.) Naked climbing might be off-putting to the comfortably middle-class, and it probably hits too close to home for those with family money. But as the class gap widens and there's less of a middle, it might make sense to ask what Chihuly's treasure chest looks like to those who are truly struggling in a society where vast and growing inequality is the rule. Maybe, for increasing numbers of people, the only way to see even middling, ostentatious wealth like Chihuly's (after all, he's not Paul Allen or Bill Gates) is as a wild—and beautiful—fantasy.

The experiences of men like Junior suggest that the sexual liberation touted in Cape Town (and South Africa at large) are highly mediated by race and class, social realities still deeply interwoven in South African life.

"The lower forms watch us intently. They give me the creeps."