In making preparations for the summer series of recovery celebration, I hearken back to the Promises of the 12 Step Program that I learned about. I find that my life has taken paths I could never have imagined- both dark and light. I find myself today feeling relieved and blessed that I have had the opportunities before and those in front of me.
When I was managing Medusa’s Music Hall in the mid-80’s in Chicago, I had a life-size replica of Winged Venus in my bedroom for awhile. She held court in the club for a while and then she found a home in my crib for some time. Once in a while i set an old neon clock on her neck where her shoulders used to be.
She was originally designed to signal victory to all those who came to visit. I place it here at this time because I feel I have experienced victory. Victory over all the darkness that had me stuck in a quagmire for over 30 years.
- If we are painstaking about this phase of our development, we will be amazed before we are half way through . . .
ontext of the Winged Victory of Samothrace, discovered in 1863, is controversial, with proposals ranging from the Battle of Salamis in 306 BC to the Battle of Actium in 31 BC as the event being celebrated. Datings based on stylistic evaluation have been equally variable, ranging across the same three centuries, but perhaps tending to an earlier date. For much of the 20th century, the prevailing theory, based on the works of Hermann Thiersch and Karl Lehmann, considered it a Rhodian monument dedicated following the victories at Side and Cape Myonessos in 190 BC, and suggested that it might have been carved by the Rhodian sculptor Pythocritus. However, in recent years, the reconstructions of the monument proposed by Lehmann have been shown to be false (the remains of the surrounding space that housed the Victory belong to the Roman period), and the question of why the statue was dedicated on Samothrace, which at the time was a Macedonian possession, remains unanswered.
The winged goddess of Victory standing on the prow of a ship overlooked the Sanctuary of the Great Gods on the island of Samothrace. This monument was probably an ex-voto offered by the people of Rhodes in commemoration of a naval victory in the early second century BC. The theatrical stance, vigorous movement, and billowing drapery of this Hellenistic sculpture are combined with references to the Classical period-prefiguring the baroque aestheticism of the Pergamene sculptors