Thursday, July 31, 2008
found bill bissett, from the prince george cruising listings:
where do all you young hot boys hang out you never go to the dance,s on 3rd ave i know there lots of gay guys out here in pg so get your ass,s out there and have a good time don,t be scared no one will bite you be your self and enjoy you never know you just mite meet someone and fall in love
or:
where do all
you
young hot boys
hang out
you
never go to the dances
on 3rd ave, i k
now there l
ots of gay
guys
out here in
pg, so
get y-
our ass,s
out there and have a g
ood time d
on t be scared; n
oone will
bite y
ou, r self and
enjoy, y
ou nev, er kn
ow, y
ou just mite
meet
so me
on e
a nd f
all
in
love
where do all you young hot boys hang out you never go to the dance,s on 3rd ave i know there lots of gay guys out here in pg so get your ass,s out there and have a good time don,t be scared no one will bite you be your self and enjoy you never know you just mite meet someone and fall in love
or:
where do all
you
young hot boys
hang out
you
never go to the dances
on 3rd ave, i k
now there l
ots of gay
guys
out here in
pg, so
get y-
our ass,s
out there and have a g
ood time d
on t be scared; n
oone will
bite y
ou, r self and
enjoy, y
ou nev, er kn
ow, y
ou just mite
meet
so me
on e
a nd f
all
in
love
Wednesday, July 30, 2008
Tuesday, July 29, 2008
I know that you’re the type of Jew who cherishes certain Jewish traditions that comport with your values, and jettisons other traditions. Which traditions do you keep? Which haven’t you kept?
There are traditions, like homophobia and misogyny, that I categorically reject. There are traditional attitudes about, for instance, intermarriage, that I reject. But I don’t jettison any tradition, in the sense that I’m intrigued by all of them. By most standards of Orthodox Jewish practice I’d be considered a pretty bad Jew. Every once in a while I think there would be something sort of nice about observing the Sabbath, but it just has never worked out, and I guess I never felt a strong enough pull. And I have a difficulty in shul, because I sort of believe, and sort of don’t believe.
Tony Kushner
There are traditions, like homophobia and misogyny, that I categorically reject. There are traditional attitudes about, for instance, intermarriage, that I reject. But I don’t jettison any tradition, in the sense that I’m intrigued by all of them. By most standards of Orthodox Jewish practice I’d be considered a pretty bad Jew. Every once in a while I think there would be something sort of nice about observing the Sabbath, but it just has never worked out, and I guess I never felt a strong enough pull. And I have a difficulty in shul, because I sort of believe, and sort of don’t believe.
Tony Kushner
Monday, July 28, 2008
meditations on an emergency, the o hara book, was used heavily in the second season opener of Mad Men, as a touchstone, as a way of signifying ennui, and homosocial isolation.its the season of o hara, then, the big new collected poems, the nasty take down in the new york times, lyttle shaw's book, and now this.
at first, i thot that, the poem was a camp takedown of the confessional angst of late 50s blurting, and besides, there is no way that an adman could find a copy of it, and the lines they used were too dark and serious, plus the theme of mad men, is isolaltion, the gaps and immpossiblity of communincation, and the consquences of those failures. o hara, has hope, even in his elegies and his poems of meloncholy, he seeks company, he seeks to talk, to constantly and forever communicate, to make family...
but the more i think about it, the poem is very much central to the madmen project, the other theme of the show, was a group of people watching jackie kennedy tour the white house, and of course how the politics of decor, of jackies tour, of dresses, of perfect tan coats and swing skirts, of a white pocket sqaure as tight as a razor slice, of cuff links and pipes and etc...
also, i think, how those years, from the 50s to the 60s, from the post war to the liberation of something stranger...not the hippies, but the urbane, sexualised, elegant and libertine created a new kind of class of city dwellers...so in that way, meditations on an emergency is a perfect key, because o hara provides a key and an alternate route past the highway of woodstock nostalgia.
(coterie does not mention the work at all, in its index)
(the cover they used had a black and grey cover, with the title in a heavy, brutish font, the real first edition was spring green with a sprightly french inspired script)
at first, i thot that, the poem was a camp takedown of the confessional angst of late 50s blurting, and besides, there is no way that an adman could find a copy of it, and the lines they used were too dark and serious, plus the theme of mad men, is isolaltion, the gaps and immpossiblity of communincation, and the consquences of those failures. o hara, has hope, even in his elegies and his poems of meloncholy, he seeks company, he seeks to talk, to constantly and forever communicate, to make family...
but the more i think about it, the poem is very much central to the madmen project, the other theme of the show, was a group of people watching jackie kennedy tour the white house, and of course how the politics of decor, of jackies tour, of dresses, of perfect tan coats and swing skirts, of a white pocket sqaure as tight as a razor slice, of cuff links and pipes and etc...
also, i think, how those years, from the 50s to the 60s, from the post war to the liberation of something stranger...not the hippies, but the urbane, sexualised, elegant and libertine created a new kind of class of city dwellers...so in that way, meditations on an emergency is a perfect key, because o hara provides a key and an alternate route past the highway of woodstock nostalgia.
(coterie does not mention the work at all, in its index)
(the cover they used had a black and grey cover, with the title in a heavy, brutish font, the real first edition was spring green with a sprightly french inspired script)
Sunday, July 27, 2008
Should I get married? Should I be good?
Astound the girl next door with my velvet suit and faustus hood?
corso
lisa and leos wedding...the two who got together not because they mutually loved god or work, but because they were passionite towards each other. the community then celebrating not quite love, but a kind of foundational optimism. there is then, not a desire to be good, to perform unnatural acts in realtion to the state, but in the ancient sense, of introducing the community to the idea that desire can be channelled, and passion can mutate and mantain.
Astound the girl next door with my velvet suit and faustus hood?
corso
lisa and leos wedding...the two who got together not because they mutually loved god or work, but because they were passionite towards each other. the community then celebrating not quite love, but a kind of foundational optimism. there is then, not a desire to be good, to perform unnatural acts in realtion to the state, but in the ancient sense, of introducing the community to the idea that desire can be channelled, and passion can mutate and mantain.
Friday, July 25, 2008
left as a comment on lorna's blog
obama's his trip to berlin is another in a v. long line of ways that he embodies, in a self constructed, historically reflexive, image heavy way, the ideology of kennedy.
the fascinating, and under stated comment in the big new yorker article this week, is how this kennedy mirroring began explicitly with his engagement in chicago politics.
(the new yorker article was useful for a couple of reasons, as a primer on urban american politics, as a gloss on how political obama is, and as a reminder of how that smoothness is not the result of naturalness, but of an extreme and delicately placed artifice, he seems to be a man w/o appetites---Clinton, who has the same charisma, and also Kennedy, who had more of the same charisma, were both men of raeblesian appetites, they ate and they drank and they fucked...obama is not only post-racial, he seems to be post-corperal, in a miraculous act of transubstanation, the body of one man becomes the body politic....which makes him ripe for martyrdom, which has been noted by people has varied as doris lessing ("hes going to get shot") and hilary clinton (who was basically saying, we know the consquences of charisma, hire someone with no charisma (and no body), because to be seduced is to be put in danger)
not that it is quite seduction that is happening here.
obama's his trip to berlin is another in a v. long line of ways that he embodies, in a self constructed, historically reflexive, image heavy way, the ideology of kennedy.
the fascinating, and under stated comment in the big new yorker article this week, is how this kennedy mirroring began explicitly with his engagement in chicago politics.
(the new yorker article was useful for a couple of reasons, as a primer on urban american politics, as a gloss on how political obama is, and as a reminder of how that smoothness is not the result of naturalness, but of an extreme and delicately placed artifice, he seems to be a man w/o appetites---Clinton, who has the same charisma, and also Kennedy, who had more of the same charisma, were both men of raeblesian appetites, they ate and they drank and they fucked...obama is not only post-racial, he seems to be post-corperal, in a miraculous act of transubstanation, the body of one man becomes the body politic....which makes him ripe for martyrdom, which has been noted by people has varied as doris lessing ("hes going to get shot") and hilary clinton (who was basically saying, we know the consquences of charisma, hire someone with no charisma (and no body), because to be seduced is to be put in danger)
not that it is quite seduction that is happening here.
Thursday, July 24, 2008
Caro
It was big, but I am not sure it was monumental. There was nothing really intestesting to look at, except maybe the very visible seams, rising from the surface of the work, the patination of the bronze was too even to be noteworthy, but not even in a way t hat was slick or profound.
It hasn’t stayed with me, as a piece that breaks open modernist sculpture—though I found it interesting that I can never tell Caro apart from Hyde…I think the core though, was that in a room with an Olitski, and a Poons, I could see the narrative, but I have no idea how to talk about them.
I do not know how to read painting whose central goal is texture as opposed to colour or line. I am not even sure that I want to. (It was a really nice Poons though, this dappled grit of black over a lavender/grayish field, lunar but not isolate.) But I could find my way around, and after a few days of looking at those fellows, I think that I could note where a good building up of material and a bad building up of material, begin, intersect, work in concordance or oppositon, and finally end. My love of slickness, of lack of texture, of smoothed of machined surfaces, would give me an entry point, as would my appreciation of the formal building up in proto or early pop works, work that is essentially about formalist surface tension.
I have no idea how to look at sculpture. I do not know what a good sculpture or a bad sculpture is. I know how to look at 3d art that is not sculptural, I can place what I like formally about Judd, Andre, Flavin, Hesse, or Nevelson, to name 6. But I cannot use that formal knowledge to sit back and look at this Caro, and say this is why this piece is interesting. (and there was one in the basement, that was a table top version, that made it even more difficult)
I kept trying, but the thots came out in half sentences, cheap and easy. I like the transparency of medium. I am not sure why this is still a muddy brown instead of shiny or green. Sometimes it made me feel like a philistine, I literally did not have the vocab to talk about the pieces themselves. The table piece was grey, but it wasn’t steel. It featured a circular hole fastened to a base. Coming out from the hole were 5 or 6 large shards, in a similar material. The shards were wide at the base, and long at the ends. The larger pieces, was about as tall as I was, and featured 4 segments. They were constructed in such a way that they looked like a screen. Some of the pieces were oblong, and some were rectanglur.
See, that paragraph was awkard, that the piece was shoved into a window and could not be walked around in, was part of the problem. But I have walked around major Caro’s before. I do not know how to read not only his work, but large abstract sculpture. I think that I have mentioned this, in previous essays, on the fellow, but it would be interesting to know, from the modernist guys. When I am standing in front of a large Caro or Smith (I saw several David Smiths in SF and had the exact same problem. or Hyde work, how do I look at it?
It was big, but I am not sure it was monumental. There was nothing really intestesting to look at, except maybe the very visible seams, rising from the surface of the work, the patination of the bronze was too even to be noteworthy, but not even in a way t hat was slick or profound.
It hasn’t stayed with me, as a piece that breaks open modernist sculpture—though I found it interesting that I can never tell Caro apart from Hyde…I think the core though, was that in a room with an Olitski, and a Poons, I could see the narrative, but I have no idea how to talk about them.
I do not know how to read painting whose central goal is texture as opposed to colour or line. I am not even sure that I want to. (It was a really nice Poons though, this dappled grit of black over a lavender/grayish field, lunar but not isolate.) But I could find my way around, and after a few days of looking at those fellows, I think that I could note where a good building up of material and a bad building up of material, begin, intersect, work in concordance or oppositon, and finally end. My love of slickness, of lack of texture, of smoothed of machined surfaces, would give me an entry point, as would my appreciation of the formal building up in proto or early pop works, work that is essentially about formalist surface tension.
I have no idea how to look at sculpture. I do not know what a good sculpture or a bad sculpture is. I know how to look at 3d art that is not sculptural, I can place what I like formally about Judd, Andre, Flavin, Hesse, or Nevelson, to name 6. But I cannot use that formal knowledge to sit back and look at this Caro, and say this is why this piece is interesting. (and there was one in the basement, that was a table top version, that made it even more difficult)
I kept trying, but the thots came out in half sentences, cheap and easy. I like the transparency of medium. I am not sure why this is still a muddy brown instead of shiny or green. Sometimes it made me feel like a philistine, I literally did not have the vocab to talk about the pieces themselves. The table piece was grey, but it wasn’t steel. It featured a circular hole fastened to a base. Coming out from the hole were 5 or 6 large shards, in a similar material. The shards were wide at the base, and long at the ends. The larger pieces, was about as tall as I was, and featured 4 segments. They were constructed in such a way that they looked like a screen. Some of the pieces were oblong, and some were rectanglur.
See, that paragraph was awkard, that the piece was shoved into a window and could not be walked around in, was part of the problem. But I have walked around major Caro’s before. I do not know how to read not only his work, but large abstract sculpture. I think that I have mentioned this, in previous essays, on the fellow, but it would be interesting to know, from the modernist guys. When I am standing in front of a large Caro or Smith (I saw several David Smiths in SF and had the exact same problem. or Hyde work, how do I look at it?
Tuesday, July 22, 2008
Monday, July 21, 2008
Willem Kalf
Still-Life with a Late Ming Ginger Jar
1669
Oil on canvas, 77 x 65,5 cm
Willem Kalf
Still Life With Natilus
1669
Oil on Canvas 79x67 cm
Willem Kalf
Still-Life with Lemon, Oranges and Glass of Wine
1663-64
Oil on canvas, 36,5 x 30,8 cm
Willem Kalf
Still-Life with Chinese Porcelain Bowl
1662
Oil on canvas, 64 x 53 cm
Dutch Baroque, collected and had a realtionship with England, do not know much if anything else.
los angeles art dealer and real estate maverick makes the arguement that this is the worst hes seen the American economy since post WWII. moire info on the offical schism. (the meeting is basically the vatican telling the orthodox anglicans that they can return to the fold. there were anglo-catholics in the 19th century oxford movement, including Chesterton and Newman, who maintained that the anglicans were never schismatic, but originally catholic, they may have been doing the groundwork for this)
victor martin an incarted writer from virgina, who was having fairly serious results from h is novels, has been banned from writing in the future, because of beurocratic rules on the amount of paper allowed in his room. another datapoint to suggest that the goal of american prisons are never rehabilition and job training.
last week in york vatican officals meet high level anglican bishops secretly, talking about the homosexuals. not the kind of ecunmenicsm we were looking for, benedict.
‘Passive Aggressive Anger Release Machine, Yarisal and KAbitz, 2008
Patti Smith sings You Light Up My Life on Kids are People Too.
Update to Wajnarcowiz, Portland Maine, 2008
the sexy missionary calendary creator is being threatened with excommuinincation.
10 photos of new blimps. there has been a recent reniassance og them, because of oil costs. notice number 10, which looks like a whale.
the LA Times on McCains first wife, and his fracturing with the Reagons.
Katie Price (aka Jordan) promotes her new book
ronnie wood has left his wife and family for an 18 yr old Russian Cocktail waitress.
California Wild Fire, artist unknown.
Bo Burnham, is a 17 yr old Boston Rapper, he amuses me.
Tracey Emin on her desire for Children.
Glancey from the gaurdian, exonaurates Zaha Hadid's over runs for the 2012 olympic's aquatic center.
New cover for Benjamins ARt in the Age of MEchincal Reproduction.
california methodist's arre performing gay marriages, against national guidelines.
advertising age runs a 30 poage segment on Mad MEn, using the 60s style.
updates on atget via leo.
40 per cent of abortions performed in Minnesoate last year were peformed for economic reasons.
Lolpope
Roche has stopped research on their HIV vacine, because none of their current drugs are making any more progress.
kd lang feature, with some amusing discussion of madonna and britny
12 pages from I want to be a Coal Miner, a children's press book from 1956.
long frightening list of things that McCain has publically admitted to being confused by.
from this discussion between Hilla Bechner and a german magazine.
Matt Rabel, why won't you love me?
on lohan, ronson, fame, and the sexual implicaitons of outing
a couple of dozen maps of england, and their poltical/social implications.
these restraints from Coco De Mar, are gorgeous.
victor martin an incarted writer from virgina, who was having fairly serious results from h is novels, has been banned from writing in the future, because of beurocratic rules on the amount of paper allowed in his room. another datapoint to suggest that the goal of american prisons are never rehabilition and job training.
last week in york vatican officals meet high level anglican bishops secretly, talking about the homosexuals. not the kind of ecunmenicsm we were looking for, benedict.
‘Passive Aggressive Anger Release Machine, Yarisal and KAbitz, 2008
Patti Smith sings You Light Up My Life on Kids are People Too.
Update to Wajnarcowiz, Portland Maine, 2008
the sexy missionary calendary creator is being threatened with excommuinincation.
10 photos of new blimps. there has been a recent reniassance og them, because of oil costs. notice number 10, which looks like a whale.
the LA Times on McCains first wife, and his fracturing with the Reagons.
Katie Price (aka Jordan) promotes her new book
ronnie wood has left his wife and family for an 18 yr old Russian Cocktail waitress.
California Wild Fire, artist unknown.
Bo Burnham, is a 17 yr old Boston Rapper, he amuses me.
Tracey Emin on her desire for Children.
Glancey from the gaurdian, exonaurates Zaha Hadid's over runs for the 2012 olympic's aquatic center.
New cover for Benjamins ARt in the Age of MEchincal Reproduction.
california methodist's arre performing gay marriages, against national guidelines.
advertising age runs a 30 poage segment on Mad MEn, using the 60s style.
updates on atget via leo.
40 per cent of abortions performed in Minnesoate last year were peformed for economic reasons.
Lolpope
Roche has stopped research on their HIV vacine, because none of their current drugs are making any more progress.
kd lang feature, with some amusing discussion of madonna and britny
12 pages from I want to be a Coal Miner, a children's press book from 1956.
long frightening list of things that McCain has publically admitted to being confused by.
Q: Why was your husband not interested in such photos?
A: He rejected them because he was not interested in taking them. Actually, he was never interested in photography.
Q: That is an unusual statement about a man who spent his whole life on it.
A: Originally, Bernd did sketches. In the beginning, he sketched industrial landscapes. But he never managed to finish his work, because he was so precise. Often the object was demolished right in front of his eyes [...] The demolishing, the decay happened faster than he could sketch it.
Q: So then he took photos?
A: Right. He borrowed a 35mm camera and took photos, to use them for his sketches. That's how it started, photography as the means to an end.
from this discussion between Hilla Bechner and a german magazine.
Matt Rabel, why won't you love me?
a couple of dozen maps of england, and their poltical/social implications.
these restraints from Coco De Mar, are gorgeous.
Friday, July 18, 2008
Thursday, July 17, 2008
Wednesday, July 16, 2008
From the Headmaster
It is with great regret that I inform our parents, students, alumni and supporters that Saint John's is suspending academic operations for the 2008 / 2009 school year. This decision was reached at the end of June by the Board of Directors that oversees the school.
In recent years, it has been increasingly difficult to find staff to work in a boarding school that operates twenty-four hours a day and seven days a week throughout the school year. It has been a challenge finding those who are ready to teach, supervise students in a residential setting, and be involved in an outdoor adventure program.
At the same time, there has been a decline in student enrollment that has affected our bottom line. It became apparent that there would be a substantial cash loss in operations for 2008 / 2009. Administration and the Board of Directors were hopeful that there would be more positive signs by the end of June, but this has not occurred. While it is possible that enough students might be found over July and August, it was considered ill-advised by the Board to keep present parents in a state of flux over the summer.
Although the school will not be operating with students in the coming year, a skeleton staff will be on site reviewing a variety of alternatives for the school and its resources, with a decision to be reached by December 2008.
The Saint John's community has been blessed by generous donors, parents, alumni and all the great people that we have met along our journey that have enriched the lives of many students and staff. This is not the end, but perhaps the beginning of something quite different, but even more rewarding than what so many of us have experienced. I am full of hope as I enter discussions with others on "The Next Step".
Peter Jackson
Interim Headmaster
It is with great regret that I inform our parents, students, alumni and supporters that Saint John's is suspending academic operations for the 2008 / 2009 school year. This decision was reached at the end of June by the Board of Directors that oversees the school.
In recent years, it has been increasingly difficult to find staff to work in a boarding school that operates twenty-four hours a day and seven days a week throughout the school year. It has been a challenge finding those who are ready to teach, supervise students in a residential setting, and be involved in an outdoor adventure program.
At the same time, there has been a decline in student enrollment that has affected our bottom line. It became apparent that there would be a substantial cash loss in operations for 2008 / 2009. Administration and the Board of Directors were hopeful that there would be more positive signs by the end of June, but this has not occurred. While it is possible that enough students might be found over July and August, it was considered ill-advised by the Board to keep present parents in a state of flux over the summer.
Although the school will not be operating with students in the coming year, a skeleton staff will be on site reviewing a variety of alternatives for the school and its resources, with a decision to be reached by December 2008.
The Saint John's community has been blessed by generous donors, parents, alumni and all the great people that we have met along our journey that have enriched the lives of many students and staff. This is not the end, but perhaps the beginning of something quite different, but even more rewarding than what so many of us have experienced. I am full of hope as I enter discussions with others on "The Next Step".
Peter Jackson
Interim Headmaster
Sunday, July 13, 2008
Friday, July 11, 2008
Thursday, July 10, 2008
Wednesday, July 09, 2008
The next Kino Fist will be on the theme of RED SPACE, and will be held at 2pm, 20th July, in the E:vent Gallery, 96 Teesdale Street, Bethnal Green, London E2 6PU. The films we will be showing are: as the cartoon, Khodataev & Kollektiv's 1924 short Interplanetary Revolution, as the main feature, Iakov Protazanov's Martian Constructivist-Trotskyist blockbuster Aelita, from the same year; and as our B-Movie, Harry Horner's magnificently ludicrous McCarthyite farrago Red Planet Mars.
Anyone who wants to contribute anything from 500 to 6000 words on the general themes of science fiction, cinema and socialism is encouraged to fling it in our direction to infinitethought[at]hotmail.co.uk, no later than 13th July. To get you started, here's China Mieville's 50 Fantasy and SF works every socialist should read.
Anyone who wants to contribute anything from 500 to 6000 words on the general themes of science fiction, cinema and socialism is encouraged to fling it in our direction to infinitethought[at]hotmail.co.uk, no later than 13th July. To get you started, here's China Mieville's 50 Fantasy and SF works every socialist should read.
Monday, July 07, 2008
Friday, July 04, 2008
Thursday, July 03, 2008
poetry
geoffery hill--canaan
i think that he is the best poet writing in england right now, but that might be because we share an interest in theology and mysticism. his works are gnarled, historical, and prone to word usage that is both exact and rare. he is also a profound believer in traditonal forms, tweaked--this becomes an intertextual series of interventions--into the bible, into blake, and into spencer/auden. best on the short poems mysticism and democracy, which is in many ways, is about the effects of transparency, and dajavascript:void(0)rk lines, a poem dedicated to WEsley, which has some amazing words, that fit together with an elegance and a encumbered tenacity. (20) (its a prayer in prase of the wesleys, because they made england less boring)
richard vaughn
about his affair with his shrink, more deseperate then sexy, and with the inclusion of texts about the affair, to make us know that he is not lying, the obsession with versmillitude, with the containment and construction of clinical selves, becomes almost foccualdian, would have been mawkishly sentimental and piteous, if it was not for the camp wit, the alluded to, but never stated details, and his talent for the perfect descriptive sentence, (19)
geoffery hill--canaan
i think that he is the best poet writing in england right now, but that might be because we share an interest in theology and mysticism. his works are gnarled, historical, and prone to word usage that is both exact and rare. he is also a profound believer in traditonal forms, tweaked--this becomes an intertextual series of interventions--into the bible, into blake, and into spencer/auden. best on the short poems mysticism and democracy, which is in many ways, is about the effects of transparency, and dajavascript:void(0)rk lines, a poem dedicated to WEsley, which has some amazing words, that fit together with an elegance and a encumbered tenacity. (20) (its a prayer in prase of the wesleys, because they made england less boring)
richard vaughn
about his affair with his shrink, more deseperate then sexy, and with the inclusion of texts about the affair, to make us know that he is not lying, the obsession with versmillitude, with the containment and construction of clinical selves, becomes almost foccualdian, would have been mawkishly sentimental and piteous, if it was not for the camp wit, the alluded to, but never stated details, and his talent for the perfect descriptive sentence, (19)
August Sander, Student, ca 1913
wall e as copy wright criminal,(the film was really clever about how info tech is used, and was gorgeous, if hypocritical)
apolyptic images of lightening hititng an active (as in errupting) volcano in chile
asger carlson is a witty danish photog with an excellent sense of composition and colour.
still from stones new movie on bush (via bag mews notes) it is strange, how paternal this is, and how stone, who is one of the great directors of masculine power, makes a movie not about men about boys, esp boys behaving badly
sweet story about 2 young sons and their obsession with the nyc subway, drawn by their father.
Cocacello photo of Kissenger and Warhol. story from a few years ago about a rising xian musician, katy hudson, who is recording under katy perry
zadie smith humanizes, and demythologises kafka, with a distinct, but subtle deconstruction of max brod's role as an impersio.
we may have a schism before lambreth (Depending on yr use of the word schism, we might have one now)
i know only the basics of this, but there is a community of ethnic japanese hutterites in owa.
Ariel photo of Travolota's manse, w. 747
want
7 new photos of bowie, inlcuding a couple of mapplethorpesque ones in black leather.
australias top tresury official is a nevillist
Mr Dobs, Murakami, in situ at Brooklyn Musuem, courtsey Chris Bucherun declares rape a tactic of war
this subprime crisis looks even more of a complete disaster, with the fbi arresting fraudlent lenders in chicago, Atlanta, Miami, and suburban Maryland, to make it look like isolated incidents and not an endemic problem
a history of vanishing leather and msm bdsm bars in nyc
alex ross on a history of music as an instrument of torture.
Lagerfield and Ms Bunnya couple of dozen stills from this years broadway bares
the sexiest garden shed you have ever seen
the wolfs lair is a masterpeice of la straight boy raunch.
nasa has released thousands of photos on their website, i have no idea what is happening here, but the dude is cute and it sort of seductively whispers astronauts playing oral botto
m
Wednesday, July 02, 2008
From Hand Painted Pop: American Art in TRansition 1955-1962
Famous Paintings seen and not looked at, not examined:
... Frank O'Hara, a poet on the musuems curatorial staff, worte in response to Barr's query (Barr being the director of MoMA, the query was about aquiring works from Johns from his first solo show) "Inceidentally, I was intrigued by the flag on orange field, which along with the all grey painting with drawer, seems to do sucha drastic reinterpeation of the Albers convention" (127)
...most critics have continued to see John's early paintings as a reaction against Abstract expesionisms;s subjectivity. These early critics defined Johns work as objectively literal, as well as decidely nono-metaphorical. In doing so so, they were connecting his work to their narrow formally biased reading of Piollocks, whioch was seen as the apothoesis of art for art;s sake. This patiociaul reading of J ohn;s wotrk, the one that has playtedthe most central role in subsquent r eadings of his wotrk, as well as art in gneral, feels narrow-minded in its focus, and ngeneous, not to say unvernursome, in its apprasia. It makes jkohsn as an artist who is more concenrnd with art histyory dan the right thing to do than with making art. It makes him intoa a figure who is concisous of the verigying process of art historians and critics t, rathern than an artisth was has always gone his own way. Finally, it makes Johns int a self concious artist who had the ciritics in mind when he painted his first flag. By establishing this realtopnmship, the cirtics were able to mainating a certain power, they were the audioence othe artist had in maind the please whe he or she began to paint. And it through this realtinonship, one that hs prevailed inthe art world in fone for or nother...for more then for ducedes, that citritcs and historicans were able to formulate a central or academic tradition which other insitutionsin the art world would help refine and maintain. (132)
ALthough Johns exists in various adhjacent and overlapping realms, it is not clear to him what connects him to them or them to each other. To discouver these links, Johns decided that his materials...should dictate how they were to be synthised, the final form they would take. Johns practive is one of theintervention, he connects one thing to another because he has discoved an inextricalb link between them, This internvention shows hm something about what he is. More than a regfuation of subjectivity, Johns definiton of art refects both subjectivty and objectivity, both interior, personal impulses and exterior, predtermined, objective standards, For him, personal impulses are a false sign of freedom, while a piori objective standards are concerned wtih conformity and consesus opinon rather then truth...
140
From Not Nessc. Pop: Cy Twombly and Americ Linda Norden
As the story of the decades (50s) art gets told, in reivisopn after recision, the route from abstract expressisons to Pop seems to remain fixed. Even as the focus shifts from the contrubtyions of indivdiaul artists to the contet of media, publicity, process. and reception, the concusion always seems foregone,:betwetten the early fifiteis and early sixities, American art--or the prevailing notion of what consituted American art--moved from the excluding, high art domain of expressive gesture, to the popular arena of commerical imagtery and icons. Buy any stoy that ends only by equating American culture with mass cultureis itself an excluding story, and one that ironically fails to account for the messiness of the masses. (148)
From Modes of Disclosure: The construction of Gay IDentity and the Rise of Pop Art
...Painting with Two Balls both embracevs and betrays Abstract Expressionsim: the hatched brushstroke, brilliant of hue, contes the pleasure that Johns takes in the painterly abandon of ACtion Painters like Pollock, de Kooning, and Clufford STill, the tripartite horizaontal division recalls the reclinarty that ordered the free play of plaint in the work of artists like Mark Rothko and Barneyy Newman. But of coursei n an early owrk by JKohns, even the semmingly most spontaneous handling is a feint, these are not traces of impetousity, but its represenation--the stokes are always smaller, shorter and more controlled than those of his predecssors, and the various colouristic campigns are more venly distirubuted over the canvas. The use of encaustic here and in so many other works of this persoid serves to mimmiy what had been signs for vitiality in wthat we sense oruslves disntancef forom both the work as a record of activity, and one might add, from the artists whose activity is recorded...(148)
(obv not spellechecked)
Famous Paintings seen and not looked at, not examined:
... Frank O'Hara, a poet on the musuems curatorial staff, worte in response to Barr's query (Barr being the director of MoMA, the query was about aquiring works from Johns from his first solo show) "Inceidentally, I was intrigued by the flag on orange field, which along with the all grey painting with drawer, seems to do sucha drastic reinterpeation of the Albers convention" (127)
...most critics have continued to see John's early paintings as a reaction against Abstract expesionisms;s subjectivity. These early critics defined Johns work as objectively literal, as well as decidely nono-metaphorical. In doing so so, they were connecting his work to their narrow formally biased reading of Piollocks, whioch was seen as the apothoesis of art for art;s sake. This patiociaul reading of J ohn;s wotrk, the one that has playtedthe most central role in subsquent r eadings of his wotrk, as well as art in gneral, feels narrow-minded in its focus, and ngeneous, not to say unvernursome, in its apprasia. It makes jkohsn as an artist who is more concenrnd with art histyory dan the right thing to do than with making art. It makes him intoa a figure who is concisous of the verigying process of art historians and critics t, rathern than an artisth was has always gone his own way. Finally, it makes Johns int a self concious artist who had the ciritics in mind when he painted his first flag. By establishing this realtopnmship, the cirtics were able to mainating a certain power, they were the audioence othe artist had in maind the please whe he or she began to paint. And it through this realtinonship, one that hs prevailed inthe art world in fone for or nother...for more then for ducedes, that citritcs and historicans were able to formulate a central or academic tradition which other insitutionsin the art world would help refine and maintain. (132)
ALthough Johns exists in various adhjacent and overlapping realms, it is not clear to him what connects him to them or them to each other. To discouver these links, Johns decided that his materials...should dictate how they were to be synthised, the final form they would take. Johns practive is one of theintervention, he connects one thing to another because he has discoved an inextricalb link between them, This internvention shows hm something about what he is. More than a regfuation of subjectivity, Johns definiton of art refects both subjectivty and objectivity, both interior, personal impulses and exterior, predtermined, objective standards, For him, personal impulses are a false sign of freedom, while a piori objective standards are concerned wtih conformity and consesus opinon rather then truth...
140
From Not Nessc. Pop: Cy Twombly and Americ Linda Norden
As the story of the decades (50s) art gets told, in reivisopn after recision, the route from abstract expressisons to Pop seems to remain fixed. Even as the focus shifts from the contrubtyions of indivdiaul artists to the contet of media, publicity, process. and reception, the concusion always seems foregone,:betwetten the early fifiteis and early sixities, American art--or the prevailing notion of what consituted American art--moved from the excluding, high art domain of expressive gesture, to the popular arena of commerical imagtery and icons. Buy any stoy that ends only by equating American culture with mass cultureis itself an excluding story, and one that ironically fails to account for the messiness of the masses. (148)
From Modes of Disclosure: The construction of Gay IDentity and the Rise of Pop Art
...Painting with Two Balls both embracevs and betrays Abstract Expressionsim: the hatched brushstroke, brilliant of hue, contes the pleasure that Johns takes in the painterly abandon of ACtion Painters like Pollock, de Kooning, and Clufford STill, the tripartite horizaontal division recalls the reclinarty that ordered the free play of plaint in the work of artists like Mark Rothko and Barneyy Newman. But of coursei n an early owrk by JKohns, even the semmingly most spontaneous handling is a feint, these are not traces of impetousity, but its represenation--the stokes are always smaller, shorter and more controlled than those of his predecssors, and the various colouristic campigns are more venly distirubuted over the canvas. The use of encaustic here and in so many other works of this persoid serves to mimmiy what had been signs for vitiality in wthat we sense oruslves disntancef forom both the work as a record of activity, and one might add, from the artists whose activity is recorded...(148)
(obv not spellechecked)
Tuesday, July 01, 2008
Christmas
so i leave work (ptp, midnite to eight, working on tech support and csr work for cruiseline and squirt (i am basically controlling info, mending fences, making sure all of the tubes are unclogged and the lines are free) and i see harwood, on the tail end of an excessive night at central spa, and we talk for half an hour or so, kibbitz about things, and i go home.
i sleep for 8 hours, deal with a meeting tomorrow with laura and rachel, about a possible show at toronto free, come to work, with a note from raf, about possibly playing fourth edition d and d.
the ebb and flow, the old people and the new people, the growing a social life, is rewarding.
i still need a husband though
i sleep for 8 hours, deal with a meeting tomorrow with laura and rachel, about a possible show at toronto free, come to work, with a note from raf, about possibly playing fourth edition d and d.
the ebb and flow, the old people and the new people, the growing a social life, is rewarding.
i still need a husband though
Subscribe to:
Posts (Atom)
