finally went to bymark
pisco sour, half a liter of cowhorn syrah from oregon, glass of maderia.
beet, goatcheese (celebrity), walnut and frisse salad (tiny little beets)
fieldmushrooms
ravolia with pinenuts, and buffalo mozzerlla
apple fritter, apple sauce, popcorn ice cream, caramel corn.
ray had
bison, carrots (the paltonic essence of carrothood), lobsterpountine, johnny walker blue.
im a little drunk
ase
Thursday, March 31, 2011
Sunday, March 27, 2011
Thing is, 1945-65 is very male-dominated and that's the most-settled part of the post-war canon, ergoTyler Coates.
aside from work done by people outside of western europe and the united states, here are 30 cannonical works made by women, between those dates.
- Lee Krasner Kufic, 1965
- Gego Dos Plano, 1961
- Under the El on Broad Way, Bernice Abbot, 1950
- Elaine de Kooning, Portrait of JFK, 1962
- Kahlo Broken Column, 1944
- Grace HArtigan, Sweden, 1950s
- Grandma Moses Maple Bush, 1953
- Agnes Martin Wood 1, 1964
- Diane Arbus, Mrs. T. Charlton Henry, fashion luminary, in her Chestnut Hill home in Philadelphia, Harper’s Bazaar, July 1965
- Louise Borgeous Persiotent Antagonism, 1965
- Barbara Hepworth, Icon, 1957
- Louise Nevelson, Sky Cathedral, 1958
- Anne Truitt, First, 1961
- Margauriete Bourke White, Ghandi, 1946
- Helen Leavitt Chalk Drawings 1948
- Joan Mitchell, City Ladnscape, 1955
- Jo Baer, Junivelle Sex Symbol, 1964
- Helen Frankenthaler, Mountains and Seas, 1952
- Bridge Riley, Pause, 1964
- Yoko Ono Cut Peice, 1964
- Georgia O Keefe, Sky Above Clouds, 1965
Carolee Schneemann Meat Joy, 1964
Alice Neel Frank O Hara 1960
- Lisette Model, Coney Island, Standing, 1947
Marisol,Woman with a Dog, 1964
A Little Night Music. Dorthea Tanning, 1946
Yayoi Kusama, Infinity Nets, 1951
Lee Bontecou, Umtitled, 1951
Maria Montoya Martinez Jar With Feather Motif, 1958
Sister Corrita Kent, Enriched Bread, 1965
excuse the formatting.
Saturday, March 26, 2011
hobo with a shot gun is so close to a lost video nasty from the 70s to the 80s...and the problem with that, is tht the ironic reworking of pop trash since that time meant that the gendered violence would be deconstructed and reconstruction so the woman was clearly the victim, there were several scenes that approached rape, and it was icky. (it was also awesome, and outrageous and funny and bizarre, and featured tentacles for no good reason, and had some amazing lines
)
)
Wednesday, March 23, 2011
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| From Mar 23, 2011 |
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| From Mar 23, 2011 |
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| From Mar 23, 2011 |
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| From Mar 23, 2011 |
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| From Mar 23, 2011 |
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| From Mar 23, 2011 |
Tuesday, March 22, 2011
oh the 70s how i love you.
westwood in the 80s are shockingly ugly--well put together, difficult, but ugly.
Tatania Berg.
DARK TENT
2008.
4ft tall x 3ft wide
enamel on canvas over wooden frame.
Shaped canvas, and post painting, like Pindell in the 70s, but made with enamel, so they look like ceermaic, excellent colours. more work here
gorgeous, almost empty reworking of an a frame in birch as a chapel, in finland.
bridges via google street viewa by clement valla.
transcriptions of actual bird songs compared to Messian's work.
love love Hugh Scott Douglas grids, and lines--abstract, but sort of remind me of found objects, bank envelopes, plaster and lathe, television screens, but painted intsead of printed, quite lovely.
Union Made, from Seeds of Justice Poster.
avid lynch's art historical referents in david lynch's hair.
historical union labels.
50s space suit kitsch for kids
videos and images of marsha hunt--watch walking on gilded splinters!.
Posters and maps nuculear reactors
Stubbs, Zebra, 1763
westwood in the 80s are shockingly ugly--well put together, difficult, but ugly.
 |
| From Mar 22, 2011 |
Tatania Berg.
DARK TENT
2008.
4ft tall x 3ft wide
enamel on canvas over wooden frame.
Shaped canvas, and post painting, like Pindell in the 70s, but made with enamel, so they look like ceermaic, excellent colours. more work here
gorgeous, almost empty reworking of an a frame in birch as a chapel, in finland.
“In fact viewership of al Jazeera is going up in the United States because it’s real news. You may not agree with it, but you feel like you’re getting real news around the clock instead of a million commercials and, you know, arguments between talking heads and the kind of stuff that we do on our news which, you know, is not particularly informative to us, let alone foreigners,” she added.
Hilary Clinton on Al Jerezea.
bridges via google street viewa by clement valla.
transcriptions of actual bird songs compared to Messian's work.
love love Hugh Scott Douglas grids, and lines--abstract, but sort of remind me of found objects, bank envelopes, plaster and lathe, television screens, but painted intsead of printed, quite lovely.
 |
| From Mar 22, 2011 |
Union Made, from Seeds of Justice Poster.
avid lynch's art historical referents in david lynch's hair.
historical union labels.
50s space suit kitsch for kids
videos and images of marsha hunt--watch walking on gilded splinters!.
Posters and maps nuculear reactors
 |
| From Mar 22, 2011 |
Stubbs, Zebra, 1763
Phoebe Palmer diary (1847):
After class, went to see Mrs. Pillow, who has lately returned from the residence (of months I believe) among the “Shakers.” She had become so far deluded, during her residence with them, that she renounced all earthly obligations to her husband and family, and the pursuasions of a kind husband were unavailing, in urging her return. His only alternative was to take out a writ, and demand her person by law.
O, how dangerous is the least departure from the Written Word. A dependence on revelations or anything not fully sanctioned,–who can tell where the evil of such a dependence may end? I urged the authority of the plain Written Word, relative to the duties which she had renounced, and she informed me that the Shaking Quakers had received superior light in reference to these subjects, and revelations in connection with them, which the “Children of this world” (of which she regards me as being one) could not apprehend.
I assured her that if they gained this superior light by adding their revelations to make up the amount of God’s requirements by the testimony of the Scriptures themselves, they were condemned. The volume of revelation being closed, God had now declared, “If any man shall add to the words of this Book, God shall add to him the plagues written in this Book, or, if any man shall take away from the words of this Book, God shall take away his part out of the book of life,” etc. And, no prophecy of the Scripture being of any private interpretation, I conceived it to be impossible that they should have light on the Scriptures which any other disciple of Jesus might not have.
I spent perhaps an hour, with seemingly but little profit, in urging Mrs. P. to the importance of keeping close to the revealed will of God, as recorded in the Bible, with perhaps little other benefit than that of driving her to the conclusion that she must have required something beside Scripture, in bringing her to embrace such a faith. I left, deeply convinced of the danger of stepping aside, in the smallest degree, from the Written Word, assured that such a remove, however small, is getting on Satan’s ground,—just where he claims as his right, the privilege of carrying us away with every wind of doctrine.
After class, went to see Mrs. Pillow, who has lately returned from the residence (of months I believe) among the “Shakers.” She had become so far deluded, during her residence with them, that she renounced all earthly obligations to her husband and family, and the pursuasions of a kind husband were unavailing, in urging her return. His only alternative was to take out a writ, and demand her person by law.
O, how dangerous is the least departure from the Written Word. A dependence on revelations or anything not fully sanctioned,–who can tell where the evil of such a dependence may end? I urged the authority of the plain Written Word, relative to the duties which she had renounced, and she informed me that the Shaking Quakers had received superior light in reference to these subjects, and revelations in connection with them, which the “Children of this world” (of which she regards me as being one) could not apprehend.
I assured her that if they gained this superior light by adding their revelations to make up the amount of God’s requirements by the testimony of the Scriptures themselves, they were condemned. The volume of revelation being closed, God had now declared, “If any man shall add to the words of this Book, God shall add to him the plagues written in this Book, or, if any man shall take away from the words of this Book, God shall take away his part out of the book of life,” etc. And, no prophecy of the Scripture being of any private interpretation, I conceived it to be impossible that they should have light on the Scriptures which any other disciple of Jesus might not have.
I spent perhaps an hour, with seemingly but little profit, in urging Mrs. P. to the importance of keeping close to the revealed will of God, as recorded in the Bible, with perhaps little other benefit than that of driving her to the conclusion that she must have required something beside Scripture, in bringing her to embrace such a faith. I left, deeply convinced of the danger of stepping aside, in the smallest degree, from the Written Word, assured that such a remove, however small, is getting on Satan’s ground,—just where he claims as his right, the privilege of carrying us away with every wind of doctrine.
Sunday, March 13, 2011
saw the big heat, late fritz lang movie---solid movie, tight, well constructed, slightly political, beautifully acted, with lee marvin as a pyschopath who commits an act of violence as fucked up as the cagney/grapefruit one.
but it has this amazing scene, with a woman who has a face half burnt off with coffee, laying on a mink jacket, and a pillow the texture of the correct skin, the burned skin, the mink and the silk is one of the most beautiful things ive seen in movies this year
(last night, big concert, two awful bands, a good band that i knew was good (bombay bicycle club), a band that i had previously dismissed (hollardo), and a decent hip hop guy. also janelle monae, but the mix was bad and i was seizey, so that didnt turn out as well.
had dinner with chris and a walk around lesliville
but it has this amazing scene, with a woman who has a face half burnt off with coffee, laying on a mink jacket, and a pillow the texture of the correct skin, the burned skin, the mink and the silk is one of the most beautiful things ive seen in movies this year
(last night, big concert, two awful bands, a good band that i knew was good (bombay bicycle club), a band that i had previously dismissed (hollardo), and a decent hip hop guy. also janelle monae, but the mix was bad and i was seizey, so that didnt turn out as well.
had dinner with chris and a walk around lesliville
Wednesday, March 09, 2011
Tuesday, March 01, 2011
beautiful architechtual reworking of dutch bunkers
deeply amusing list of things that comic thinks about.
The Coming King, Bronze, Knoxville, 19 feet tall.
Glen Burke queer baseball player who came out at the end of his life, has a documentary made about his life.
Beth Stuart is a Toronto artist who combines ancient methods with post modernist abstracitons, strong use of blacks, greys, and whites.
Julie Christie the morning after the Oscars, when she won for Darling.
rodeo themed fourth of july preaching seires at the cornerstone church nashville.
photo essays on the modernism of oral robert--i want to write an essay about this.
irish bishops were told by Rome not to report abuse.
GEORGE OHR; Sculptural pitcher of marbleized clays; Script signature; 4 1/2"" x 6 1/2""
The liquidity of this peice, and how it folds into itself but does not collapse explicity, and the clairty of both material and funciton, is late Ohr at its very best. PRecedent.
Wantabe's fall collection's use of felt, fair aisle patterns, duck cotton and the like makes intellectually interesting this endless workware trend.
Ikiaqqivik, the inuit word for internet, means travelling through layers.
most of the famous qoutes you thought would be written by men were written by women.
a vest pocket view of brothels in the 19th century.
yves klein made a relquiry of rose, gold, and ykb, in a a lucite container, dedicated it to st rita, and sent it to a seuquestered convent in the hills of northern italy
Larry Gannis whos surfing photos were always a kind of western/caifonrian attempts at utopia, and whose formal issues worked towards the sublime, and because he was useful, was never viewed as an artist, died last month.
sarah eichners prints of common household patterns like octogon tiles and field stones, in singular colours riff on modernist grids as domestic.
anne powers on the new pj harvey album.
del toro makes a stop motion pinocchio film with the henson company. YEAH
http://www.mcsweeneys.net/links/lists/24peck.html">what yr favourite rock band says about you.
fotographer who went throughout the US to take photos of local festivals, eventually bought by national geographic. Beautiful work.
Anne Finis, photos of miserable children at disneyland.
deeply amusing list of things that comic thinks about.
 |
| From Mar 1, 2011 |
The Coming King, Bronze, Knoxville, 19 feet tall.
Glen Burke queer baseball player who came out at the end of his life, has a documentary made about his life.
Beth Stuart is a Toronto artist who combines ancient methods with post modernist abstracitons, strong use of blacks, greys, and whites.
 |
| From Mar 1, 2011 |
Julie Christie the morning after the Oscars, when she won for Darling.
rodeo themed fourth of july preaching seires at the cornerstone church nashville.
photo essays on the modernism of oral robert--i want to write an essay about this.
irish bishops were told by Rome not to report abuse.
 |
| From Mar 1, 2011 |
GEORGE OHR; Sculptural pitcher of marbleized clays; Script signature; 4 1/2"" x 6 1/2""
The liquidity of this peice, and how it folds into itself but does not collapse explicity, and the clairty of both material and funciton, is late Ohr at its very best. PRecedent.
Wantabe's fall collection's use of felt, fair aisle patterns, duck cotton and the like makes intellectually interesting this endless workware trend.
Ikiaqqivik, the inuit word for internet, means travelling through layers.
most of the famous qoutes you thought would be written by men were written by women.
a vest pocket view of brothels in the 19th century.
yves klein made a relquiry of rose, gold, and ykb, in a a lucite container, dedicated it to st rita, and sent it to a seuquestered convent in the hills of northern italy
Larry Gannis whos surfing photos were always a kind of western/caifonrian attempts at utopia, and whose formal issues worked towards the sublime, and because he was useful, was never viewed as an artist, died last month.
sarah eichners prints of common household patterns like octogon tiles and field stones, in singular colours riff on modernist grids as domestic.
anne powers on the new pj harvey album.
del toro makes a stop motion pinocchio film with the henson company. YEAH
http://www.mcsweeneys.net/links/lists/24peck.html">what yr favourite rock band says about you.
fotographer who went throughout the US to take photos of local festivals, eventually bought by national geographic. Beautiful work.
 |
| From Mar 1, 2011 |
Anne Finis, photos of miserable children at disneyland.
Monday, February 28, 2011
qoutes
revised:
6 pages
intro
jens centrality to anabaptist discourse under rated
role as a mother and martyr
repriotze/shuffle the list
mother:
meta/problem of centralizing motherhood (carter)
as a martyr (salvation at stake)
motherhood connecting to her religious role
religious role
a) gendered roles and seperation of religious women as real women (nun anecdote)
b) figure before martyrdom (amy hollywood)
geographic
a) joris, england, dutch (hersey, lit, etc)
b) rise of the dutch state and her son (waite, female anabaptist work)
C) the english question
as writer
a) ausland
b) as opposed to just mother
martyrdom
a) self creation as act of authorship (tait)
b) adult baptism and martyrdom as self fashioning acts (and the irony of the death)
c) martyrs mirror as way of narratizing ,and centralziing discourse, norming gesture (brown)
d) church vs family (roth)
conclusion
a) jens as centralised and then dismissied (women as anabaptist)
6 pages
intro
jens centrality to anabaptist discourse under rated
role as a mother and martyr
repriotze/shuffle the list
mother:
meta/problem of centralizing motherhood (carter)
as a martyr (salvation at stake)
motherhood connecting to her religious role
religious role
a) gendered roles and seperation of religious women as real women (nun anecdote)
b) figure before martyrdom (amy hollywood)
geographic
a) joris, england, dutch (hersey, lit, etc)
b) rise of the dutch state and her son (waite, female anabaptist work)
C) the english question
as writer
a) ausland
b) as opposed to just mother
martyrdom
a) self creation as act of authorship (tait)
b) adult baptism and martyrdom as self fashioning acts (and the irony of the death)
c) martyrs mirror as way of narratizing ,and centralziing discourse, norming gesture (brown)
d) church vs family (roth)
conclusion
a) jens as centralised and then dismissied (women as anabaptist)
Sunday, February 27, 2011
ten points
- History of Dissident Movements (esp. Munster) Waite
- Joris as a conduit Waite
- Jentzen's rship with Joris Waite/Papers
- Jentzen and information transference Luler in Lowenstein, HSIA
- Jentzen as writer Synder
- Jentzen as a wife and mother Carter, Pregnancy, Childbirth and the Female Body in Early Modern GermanyAuthor(s): Ulinka Rublack
- Vernacular Religion, Hersey and Gender Waite, 1
- The cleaned up narrative of the Martyrs mirror and the Ausland Primrary Text, Synder
- continued history of the above. primraries
- what we can continue to learn about. my own
Wednesday, February 23, 2011
Gay icons from the beginning of time were chosen by the community, and those icons spoke to the communities in a kind of nudge nudge wink wink code. It became a place where paratextual understanding of sexual desire was more important than textual desire.
This changed in the 70s, where the emergence of genuine queer narratives, and a suspicion of where the money came from meant that the paratext was slid away for genuine textual interventions.
Madonna did this sort of brilliant and sort of offensive thing, where she explicitly connected the paratextual encoding to the explicit textual emergence, and claimed herself as the last great gay diva. This occured espseically in Vogue, and Justify my Love.
When Beth Ditto, than uses the aesthetic of this era of Madonna, as a lesbian of size, she further deconstructs the problems of class, race and sexuality that Madonna bulldozed over in an ambitious race to get to the top. (& i mean Ditto is still white, and her backup dancers are still black, so there is a bit of reinforcing racial privilege that goads)
Gaga, no matter how much she thinks of her self as an outsider, and no matter how well appreciated her return to the bestial when it comes to sexuality is, steals the hooks from Madonna and the "blonde ambition" but is much more ragged around the edges--and this being ragged around the edges is not an aesthetic choice.
Gaga, then continues to claim strangeness, when she becomes a simualacra of others peoples hard work. The egg thing at the grammy's is pure Matthew Barney, but Barney reinforces masculine physicality, and grand heroic narratives. This text does neither of those things--so why is she quoting Barney, is it on purpose?
In conclusion, the politics are suspect, the lyrics are reactionary (Born this way--from a woman who claims to be a master of the self-fashioning, plus the whole oriental thing), the aesthetic is not only cribbed but cribbed clumisly, and I keep hoping kids these days were as smart as kids who recognized that no matter how genius Vogue was, t here were so many problems with a white girl cribbing so much of Paris is Burning.
This changed in the 70s, where the emergence of genuine queer narratives, and a suspicion of where the money came from meant that the paratext was slid away for genuine textual interventions.
Madonna did this sort of brilliant and sort of offensive thing, where she explicitly connected the paratextual encoding to the explicit textual emergence, and claimed herself as the last great gay diva. This occured espseically in Vogue, and Justify my Love.
When Beth Ditto, than uses the aesthetic of this era of Madonna, as a lesbian of size, she further deconstructs the problems of class, race and sexuality that Madonna bulldozed over in an ambitious race to get to the top. (& i mean Ditto is still white, and her backup dancers are still black, so there is a bit of reinforcing racial privilege that goads)
Gaga, no matter how much she thinks of her self as an outsider, and no matter how well appreciated her return to the bestial when it comes to sexuality is, steals the hooks from Madonna and the "blonde ambition" but is much more ragged around the edges--and this being ragged around the edges is not an aesthetic choice.
Gaga, then continues to claim strangeness, when she becomes a simualacra of others peoples hard work. The egg thing at the grammy's is pure Matthew Barney, but Barney reinforces masculine physicality, and grand heroic narratives. This text does neither of those things--so why is she quoting Barney, is it on purpose?
In conclusion, the politics are suspect, the lyrics are reactionary (Born this way--from a woman who claims to be a master of the self-fashioning, plus the whole oriental thing), the aesthetic is not only cribbed but cribbed clumisly, and I keep hoping kids these days were as smart as kids who recognized that no matter how genius Vogue was, t here were so many problems with a white girl cribbing so much of Paris is Burning.
Saturday, February 19, 2011
broke the sucidal ideation a copy of days ago, and the energy after a week of being in bed--the seeking of objects, of expereinces, of good and taste, is amazing. blueberry panckaes, good choclate, cherry soda, new pj, mark doty poems, and a blojob from a contractor in scarboro, he had rough hands and was sort of exhausted buy kind about the whole thing.
Friday, February 18, 2011
est Picture
The King's Speech
Director
Coen Brothers
Actress
Annette Bening
Actor
Colin Firth
Supporting Actress
Helena Bonham-Carter
Supporting Actor
Geoffrey Rush
Original Screenplay
Inception
Adapted Screenplay
The Social Network
Animated Feature
Toy Story 3
Art Direction
Alice in Wonderland
Cinematography
Black Swan
Costume Design
Alice in Wonderland
Documentary (Feature)
Inside Job
Documentary (Short Subject)
Killing in the Name
Film Editing
Black Swan
Foreign-Language Film
Incendies
Makeup
The Wolfman
Music (Original Score)
Inception
Music (Original Song)
Coming Home
Short Film (Animated)
Let's Pollute
Short Film (Live Action)
The Confession
Sound Editing
Inception
Sound Mixing
Inception
Visual Effects
Harry Potter
The King's Speech
Director
Coen Brothers
Actress
Annette Bening
Actor
Colin Firth
Supporting Actress
Helena Bonham-Carter
Supporting Actor
Geoffrey Rush
Original Screenplay
Inception
Adapted Screenplay
The Social Network
Animated Feature
Toy Story 3
Art Direction
Alice in Wonderland
Cinematography
Black Swan
Costume Design
Alice in Wonderland
Documentary (Feature)
Inside Job
Documentary (Short Subject)
Killing in the Name
Film Editing
Black Swan
Foreign-Language Film
Incendies
Makeup
The Wolfman
Music (Original Score)
Inception
Music (Original Song)
Coming Home
Short Film (Animated)
Let's Pollute
Short Film (Live Action)
The Confession
Sound Editing
Inception
Sound Mixing
Inception
Visual Effects
Harry Potter
Thursday, February 17, 2011
do you know much about flavin
[Sholem Krishtalka]
4:11pm
no, not at all.
[You]
4:12pm
flavin did this set of really camp works v v early in his career
boxes painted off colours
and with light bulbs that could come from theatre marquis or
make up tables
or whore houses
the last one he did
was white formica, with a white flourscent bulb
and so its a way of him putting away the icon work
while still playing with found objects
That last one is also named after a paticualry camp figure
and so its a straight/queer joke
the peice is in the show that Luis curated
as an annex to his main work
and i wonder if it becomes a coded, semi-autobiographcial way for him to mark this midcareer retrospective
away from the sexualised or camp work
and sorry that was way too much work
text
[Sholem Krishtalka]
4:15pm
oh jeez. i think that might be a bit overinterpretive
[Sholem Krishtalka]
4:11pm
no, not at all.
[You]
4:12pm
flavin did this set of really camp works v v early in his career
boxes painted off colours
and with light bulbs that could come from theatre marquis or
make up tables
or whore houses
the last one he did
was white formica, with a white flourscent bulb
and so its a way of him putting away the icon work
while still playing with found objects
That last one is also named after a paticualry camp figure
and so its a straight/queer joke
the peice is in the show that Luis curated
as an annex to his main work
and i wonder if it becomes a coded, semi-autobiographcial way for him to mark this midcareer retrospective
away from the sexualised or camp work
and sorry that was way too much work
text
[Sholem Krishtalka]
4:15pm
oh jeez. i think that might be a bit overinterpretive
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