I have vilified autumn on these pages in a futile attempt to magically preempt the end of summer. I have failed, but that's alright. There is truly nothing like a beautiful early fall day, clean and crisp like the sound fine crystal makes when tapped. An intense clarity so different than that of spring, which comes full of promise. Fall days don't promise anything, they are self-assuredly present. Their warmth mellow like a good wine. Today was a good day to be.
Tuesday, September 29, 2009
sometimes I lie
I have vilified autumn on these pages in a futile attempt to magically preempt the end of summer. I have failed, but that's alright. There is truly nothing like a beautiful early fall day, clean and crisp like the sound fine crystal makes when tapped. An intense clarity so different than that of spring, which comes full of promise. Fall days don't promise anything, they are self-assuredly present. Their warmth mellow like a good wine. Today was a good day to be.
Saturday, September 26, 2009
One of the many reasons I hate America
Wednesday, September 23, 2009
there is just something about this country...
Tuesday, September 22, 2009
a sad day indeed
Monday, September 21, 2009
Tuesday, September 15, 2009
Coda for Raymond's Life
It took Theo so long to find a piece of land for this project because no one wanted a Jewish cemetery situated anywhere near them. When those words came out of the caretaker’s mouth, to my surprise, I actually felt physically pained. Eventually, Theo took his plea to the state, which ceded some of its farmland for the “dirty deed”.
It was here where I found out that all the farmland in
Monday, September 14, 2009
A Pesky Question of Demographics
and then there are the reviews; and in the interest of fairness...
quote of the day
Saturday, September 12, 2009
Another Night of Wild Sex
Monday, September 7, 2009
a slew of really boring criticism but one
Summer is almost over. The Venice Biennial has come and not yet gone. The art season is resuming. And like the fall harvest, art rags are coming off the presses once more containing reviews of
As it does every two years, Art Forum has enlisted contributors to review this latest version of the Grand Damme of biennials. This current slew of sedate and rather boring articles will certainly not engender the venomous, if fun to read from the boonies, exchange between critics of the last V biennial, some of which are art directors and curators with their own agenda, and its director Robert Storr. See original reviews of that biennial in the September 2007 issue and the letters (!) going back and forth between director and critics in the January and February issues of that same year. You’ll need to go to a library; interestingly enough, for a left leaning operation, Art Forum is rather proprietary and yanks their old articles from the net as soon as the month expires. I digress.
The exception to the rule of sedate writings about this year's Venice Biennial seems to be the review by Diedrich Diedrechsen. He actually gives those of us non-visitors who can’t afford to fly to Venice every two years an overview, and what’s more, an over-arching opinion of Making Worlds (a shortened version of the name of this year's extravaganza). In the process, he also evaluates key pieces in order to illustrate his more general points about the exhibit. Ma foi, honest to goodness criticism! Unlike Diedrechsen, most the other reviewers seem to concentrate on describing some of the works without giving us a feel for the whole.
What follows is one of my favorite paragraphs. You can link to some of the other reviews through http://artforum.com/inprint/; however, DD’s is not posted. To read his opinion, one has go to the library once more ...let’s hear it for the physical world of locomotion and of printing presses; maybe keeping us modern is ArtForum’s agenda after all...
Here goes:
Another dominant strategy that art shares with the culture industry is that of pseudoparticipation. This encompasses the so-called prosumer, or professional consumer, and partakes of the permanent animation of audiences on the Internet and in other consumer-culture contexts under the neoliberal regime of unfocused attention. With its remaindered Situationist vocabulary, pseudoparticipation often even considers itself the present-day continuation of radicality. What artists who make this kind of work completely fail to notice is that the apparently permanent collapse of the validity of forms is possibly the most important challenge facing contemporary art—the trick is knowing what doesn’t work anymore because it doesn’t mean the same thing or have the same effect it once did. In “Making Worlds”, the palest vestige of the pseudoparticipatory model is surely Miranda July’s outdoor installation Eleven Heavy Things 2009—nightmare of smirking cuteness; purgatory of putative lightness; apotheosis of harmlessness—which invites the audience to pose and to be photographed on top of pedestals with funny inscriptions. As someone near me astutely said, "Erwin Wurm for the even poorer.” But this same work was extolled by the press, evidentially because it successfully liquidates any difference between an artistic demand and the general program of entertainment. (ArtForum, September 2009, p.243)
God I love this guy!
Thursday, September 3, 2009
part and parcel
Woke up this morning, got on my bike; and for the first time in months, it was cold. Well, most people would call it “lovely”: a dry cool sunny morning. But to me, it is just one of the many harbingers of winter, like the tired green color that the leaves acquire at this time of the year. That dark and leathery green reminiscent of so much tattooed skin one sees these days. I HATE WINTER. There, I’ve said it.
Another thing I hate is when people insist on telling me how nice it is to have season changes. They say it in a moralistic way that implies that those of us who would like nothing better than to live in an eternal summer are somehow lacking in moral fiber. I could give a fuck about season changes. Well, from an ecological point of view, I understand that life on earth would not be possible if there were no season changes, they’re part and parcel of how this planet functions; but that “don’t” mean I have to like it.
same old same old
Tuesday, September 1, 2009
what else? tattoos again
I know I’ve waxed "poetic" about tattoos tw ice already on these “pages”. This time: again tattoos, but no more poetry. I’m sick and tired of looking at way too many, what looks like, green ink smudges on people: ugly people, pretty people, little people, tall people, big ol’ fat fucking people. When something becomes this ubiquitous it starts losing any and all meaning.
I wonder if in the future (assuming there is such an animal) some archeologist, excavating the earth looking for signs of early 21st century Homo (certainly not) Sapiens Westernensis, won't find us by searching for heavy metals in the soil where our bodies were buried. At least all this ugly crap will have a purpose, if only as subject matter for some kid's PHD thesis on soil analysis.