Beautiful, I wish I had blog readers because I would force them all to read this.
The hologram that is our cathedral of consciousness and our national mind is an ever-darkening one. The average American, if he even thinks about the mind, thinks of it in the obsolete "mind-contained-in-the-brain" way. A few intellectuals and a handful of old dopers like me understand that reality is consensus based and is an interconnected network consisting of many minds operating along a theme. And the theme seems to be pathological.
Thursday, December 22, 2005
Beautiful, I wish I had blog readers because I would force them all to read this.
Monday, December 19, 2005
Alright, after several weeks review i am giving serious kudos to winkelman. His blog work just keeps getting better and better. Not sure i always like his taste, but his words are precise, cool and to the point. And obviously it is always better to have a friend with more patience than I've got.
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Saturday, December 17, 2005
Below are some pics from a 15 minute walk around my new neighborhood. Note the proximity to rotten grafitti, good for the soul, good for the sensitivity, also a lush garden, beautiful park, crap like that...
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Sunday, November 27, 2005
Every once in a while I check through the slim list of Art Blogs that I have book marked here at home. Mostly they are people from Brooklyn and Philly and by and large I don't turn away from them outraged by any of the opinions that I find expressed.
I did this tonight after happily checking a couple of reviews in the New York Times and feeling my thirst had hardly been satiated. I say happily not because I particularly care about New York or its insipid NY Times, but because it makes me feel good to know that there are a couple of decent shows that I am missing but that I can still glean a few useful factoids.
I have come to the conclusion that the internet, the blogosphere, remains a miserly, pointless, stupid place to talk about art. In the end, I look at the Rudolph Steiner e-Library because I am so tired of all of these flying opinions like a swarm of ambitious gnats. The long and short of it is, in my opinion, that high art is dead, not because people stopped respecting painting and sculpture, but because intellectuals started believing that their stupid game is worth pursuing.
I ended up last weekend in a wee bit of an argument about positive vs negative aspects of PRETENSE. I think it is fine to be pretensious. I think artists need to consider carefully what they are pretending to be and then be it fully. The internet, though, shows a lot want for not disproving pretense, in fact, the merely pretensious show up in a rather glaring light.
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Wednesday, November 23, 2005
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Worth looking at. Pity I don't read more of this stuff.
"...Art was a form, and then it became more and more no more a form but a value, an aesthetic value, and so we come from art to aesthetics—it’s something very, very different. And as art becomes aesthetics it joins with reality, it joins with the banality of reality. Because all reality becomes aesthetical, too, then it’s a total confusion between art and reality, and the result of this confusion is hyperreality. But, in this sense, there is no more radical difference between art and realism. And this is the very end of art. As form.”
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Monday, November 21, 2005
Wednesday, November 16, 2005
Wednesday, November 02, 2005
Ampersand International Arts
1001 Tennessee Street, at 20th
San Francisco, CA 94107
Opening Recept: Fri, Nov 4, 6 - 8:30PM
Onto the scrap heap of Neo-Con ideas, may I suggest we include also the idea of art as entertainment? We won’t need to struggle with vague concepts and pretentious platitudes to understand Rebecca Szeto’s work, but indeed, it is work for us as well. Among the central tenets of modernism that we are leaving behind is the idea of art merely for art’s sake and Szeto’s is work that provides one of many paths into a world that both embraces its past and works towards redeeming its future.
The work we are looking at is alive with a creative nutrient that is feeding off of the still standing bones of a twentieth century that will not fall down, not in our life-times. And we may hate the fact that our stone monuments are thin these days and that we can only cover them, and we can’t erect new monuments in the holes we’ve dug, the holes we realize are only shadows. Szeto’s work is about realizing that interpretation, while always dependent on that which is being interpreted, is also about re-interpreting anew. It is about the fallacy of the grand concepts of yesterday (‘originality’), and her work lays groundwork for re-interpreting, and understanding re-interpretation as an on-going and always new process. She confronts the big names of Clement Greenburg and Richard Meier and the Modernist project and breaks it down into so many pieces.
I can’t count the number of times I’ve been struck by the faces on these odd steel-wool sheep. Szeto began working with the steel wool as a way of 3-dimensional-izing drawing and attracted considerable attention by virtue of the incredible level of detail she was able to achieve. The sheep have developed over a number of years and artists’ residencies into a commentary on group-thinking, and Herd Mentality. Due to the delicacy of the material, they remain tentative in their judgment. The message is one that changes with each installation, as do the sheep themselves, (this is the third installation), and it is this uncertainty that shores up the message and further diminishes our instinct to seek out Modernism’s badly stumbling shepherds.
I have no problem reading an individual personality into each or any of these seemingly uniform sheep, though with each installation they’ve become a little distorted. But are they just going along with the crowd? Is each of them thinking the same thing? Is everyone at this show going to smirk that we’ve gotten the clever point the artist intended for us? Cleverness is a trick that not particularly talented artists frequently use as an impediment to deeper thinking. Happily, there are not easy answers here. These sheep are closer to Warhol’s floating "Silver Cloud" Mylar balloons, but without the slant towards the night-life and care-free days of the mid-sixties. Sheep have to take into account a much bigger slice of history and humanity. We have to take into account a symbolism and iconography at least as old the first testament and we have to work out an explanation that uses words like “Judgment” and “interdependence,” because these stoic sheep know that they cannot live without us. They understand the interaction that each of us bring to them, they know that each of us has watched steel-wool fall apart on the back of the kitchen sink. From this commonality, this banality, Szeto pulls apart the fiber of everyday life, of contemporary mundane existence and sets loose a flock that mirrors and antagonizes. Part of the responsibility that comes with tearing modernism apart is the responsibility of understanding our own place in the work. That in this herd, we are each challenged with creating and witnessing beauty and that the absence of it is our own doing, understanding the sheepishness with which we face our situations and that sacrificing our quick definitions will make poetry out of cleaning materials. Understanding our reactions and the intent of the artist are both already part of the completion of the piece.
Modernism is a condition we found ourselves in, and a corner into which we painted ourselves. Artists in particular are guilty of painting an elitist corner that even we can no longer stand to be in. We are the creatures avoiding comfort. Today our corner is decorated almost entirely with the whispery thin veils of pointed un-intelligibility and smug assumptions about post-modernism being whatever we want it to be. When we work our way out of that last trap of modernism, we are going to find ourselves in a room like Cozying Up to Modernism. Szeto’s attempt is to embrace our recent modern history, to make it livable, and to soften the now seemingly silly hard edge of clean mid-century design. This is not an easy task. The fastidious knitting replicates the tedious and time consuming industry that is necessary to get our arms around a movement and an era that remains monolithic and in whose shadow we are still struggling to find light. Cozying up is one good way of doing it. Szeto ridicules, but her touch is painstaking, the result is only slightly ridiculous. The modern remains underneath a web of admittedly feminine and even grandmotherly misgiving. And it is none-the-less Modern. The Florence Knoll chairs and the Eames coffee table remain just on this side of the antique, but we see none of the European longing for purity that was so much of the Modern. No purity, no idealism, no ulitimate, no finality. We are finding out slowly how old-fashioned is the Modern, though all too often we’re unhappy with what we’ve got in its place. The reasoning seems so minor, it is all details and no totality. Cozying up to Modernism is a detail in the post-modern mosaic, and fittingly, it is a mosaic in itself. It is all the trappings of modern domesticity, the ease of living, caught up in a web of thinking.
As the sheep themselves are domesticated, so we find that grand themes of modern living are brought back into the sphere of domestic life. Szeto is concerned with comfort and DIScomfort because it is at this level of personal inquisition that the questions are being asked and, at least partly, temporarily, answered. There are no patterns, the knits are designed and carried out specifically for this furniture alone and, loop upon loop, they do more than decorate an archaic framework of thinking, they provide, in their intimacy and in their industry, a flexible and customized architecture of thought for the future. Tangles are always possible but there is comfort and at some level, there is the discomfort of knowing our domesticated way of being is always subject to change.
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Sunday, October 30, 2005
I spent a good part of the morning looking at art blogs and art websites and artist's websites and websites of art museum and magazines. What is so hideous is of course the level of absolutely isolated elitism. Art people are those who exist in a world where the silly and ugly and experimental are considered fun and cute and worthy of consideration. The idea that non-art people could venture into this isolated bubble, where everything looks like it is for sale, where much of the design (ie; the stuff that is not "art" but which supports the art), all of this stuff is borrowed from retailers. Rebecca Smith is some sort of Judith Miller figure, whose lies are excused because she is in touch with the money. Of course this "worthiness of consideration"is a truly, profoundly lazy excuse for not considering anything.
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Tuesday, October 25, 2005
seems to be a general lack of it there. But Paul Fusco makes a pretty good stab at it. I could write at endless length about this. Plenty of faces I recognize. How to ever believe that country has a future now ? My heart goes out to all of them, but I will never pay another penny to the creators of such misery and sorrow. And the earth there will only grow more gray.
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Sunday, October 23, 2005
Friday, October 21, 2005
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Thursday, October 20, 2005
Here's a super oldie, that turned up in San Francisco lately... yes, oil on canvas... actually I painted over top of some sort of mass produced chinese-style print that had been stretched. Was a long time ago, I was so broke. Was speaking with another friend about this piecec who said the air in this painting was totally choked... those were the days... I guess I was about 26 ?
If you happen to have one of these old style log paintings from the mid nineties, please send me a pic. I don't have digis of any of them. I know of a few on the east coast especially... "hellooooo"
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Monday, October 17, 2005
Sunday, October 16, 2005
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Saturday, October 15, 2005
Wednesday, October 12, 2005
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Here's one of the churches in my new neighborhood. This from my first series of fotos on the amazing Concrete Churches of Mexico City !! Hopefully more to follow, it is sort of difficult to photo these on foot from street level, so there is probly a lot more work to be done.
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Friday, September 30, 2005
Friday, September 16, 2005
So I have left the old country, and this is the space where I will keep posted the events, as they unfold, about my new life, and my new country. It is not so difficult to leave behind anger. I think of what Rhandi Rhodes always says, I just don't hate people. They may hate people, but I don't need to. There is enough of that going on.
Mexico has a long and convoluted history of entanglement in communist ideas, communist architecture (love it), and broad failed government programs as well as terrifically successful government programs.
It is funny though, how much better prepared is Mexico as a result of confronting massive Soviet Style mis-management. The US confronts the same horrible organizations, that have rooted themselves deep into the system, into every corner of federal government and there is probably nothing that US citizens can do now to get them out. I believe they will bring about the end of that once decent country and reduce its citizens to crowds of angry and powerless pot-bangers, like what we saw in Argentina only a few years ago.
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Monday, August 15, 2005
This is the new area for writing. As opposed to the studio which is dedicated to visual work, this area is dedicated to the written word as it relates to the visual work, both my own, and other work that I encounter in the world and on the internet.
I stand by my conviction that the internet is a lousey place to see work. Seeing is hardly the right word at all. The internet is a terrific place to read about work and to glimpse rather poor shadows of it. I don't believe there is any qualitative difference between a Michelangelo on the internet and the most tawdry web-site. It is all just electronic light.
And electronic light is very good for transmitting one narrow experience of perception. This blog is about that experience and the others that art affords us.
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