twelve things i am thinking about post emp:

a) ccm, mumford, larry norman, xian hipness (thanks Jewly Hight and Josh Langhoff) (thinking maybe a 33.3 on Amy Grant---ever since Rae Spoon I have thot an enourmous amount of Amy Grant as a pop music gateway drug)
b) the mutability of class (thanks well everyone)
c) reutning western to country and western, and who exactly is working class anymore (Thanks Ann Powers, Alfred Soto Tom Smucker)
d) the intersections of rezhop and noretona country (thanks Josh Langhoff and the entire regional panel)
e) Faure's Requiem (Thank Carl Wilson) and whether religious xtc is a useful critical category in pop)
f) What50s style sophistication means as an aesthetic and paedological category (Thanks Barry Shank)
g) The radical potential(s) of pleasure (well everyone)
h) How digital media functions versus analog media vis a vis preservation (ThanksAndy Zax)
h) bro country Jody Rosen, Thomas Inskeep Alfred, Ann, Carl, Josh, and well anyone)
i) How I don't understand straight negotions of adultery (the song Me and Mrs Jones)
j) intersectionality as an aesthetic of overlapping filigrees (Me'Shell at the keynote)
k) boarding schools and failures to form masculinity Dub Dob Dee

also seattle is a paradise of ciders, i had cider like three times a day--a smoked cider, a chery cider, a pear cider, dry ciders, sweet ciders, oh thank you jesus

op ten things i saw at the Seattle art museum

1) Al Held's Last Series from 1964-1966, maybe two dozen, small and medium size paintings, with bright house painted colours, over paintings, awkard shapes, attempting to soften hard edge, and harden lyricism, with its size, and its slight attiude of instiability or formal offness, prefigures heliman and silliman.
2) Remington Bronzes (they swerve and swagger)
3) dozens of objects of messian, and of chinese white ware, the chinese white ware made to look like messian, the messian made to look like work from china, 18th century global trade routes, and the role of the exotic in counissuership, placed together in an incredibly cloer gesture
4) This medium sized persian painting, of interlocking rooms, with a figure in each room, the spaces are at oblique angles, and a dual line of black and gold between them, negotiates the schematics of how to map place in a rigious composition.
5) Noland's Relic from 1969. a painting maybe a meter by two meters, tiny by noland's standars, the top 30 cm and the bottom 30 cms stripes, in jewel tones--gold, cobalt, hot pink, orange, citron, and the middle a dusty apricot. the control of pictoral space seems new. also, in the top 30 cm a line of dunnish brown that i thought was natural canvas, but was actually painted, in an inside baseball guesture of intimate trompe d'oilel.
6) Frankenthaler Hold, 1974. most of this canvas is empty, a large scrabbled line near the middle, and a floatinng rectangle, shading an interior sqaure. underneath all of this, is a unsteady curve. The colours are weird and sort of ugly, but the true genius of Frankenthaler is how to layer paint thru a set of negotions between the oblique and the transparent..this is a paticualrlly good example of this.
7) a coast salish cedar blanket which was just a grid, within a larger grid.
8) two haida skull masks.
9) The white scarf of Leon Delafosse in their only Sergent on view.
10) that much of their (large) african masks were displayed in ritual garments.

three things i liked at the seattle sculpture park
a) tony smith's stinger--large, but lying low on the ground, nestled in a grove, it has this weird, monolithic energy, in a kitsch sf sense, managing to be unnerving and v. much of its time and place.
b) sol lewitts large wall drawings
c) a nevelson that was of welded steal, not the usual assembelege