Edwin, who stood near at this rite of generous enthusiasm, softly whispered to Wallace as he turned towards his troops; "But amongst all these brothers, cease not to remember that Edwin was your first. Ah, my beloved general, what Jonathan was to David I would be to thee!"

Wallace looked on him with penetrating tenderness, his heart was suddenly wrung by a recollection which the words of Edwin had recalled. "But thy love, Edwin! passes not the love of woman!"--"But it equals it," replied he; "what has been done for thee, I would do; only love me as David did Jonathan, and I shall be the happiest of the happy." "Be happy then, my dear boy," answered Wallace, "for all that ever beat in human heart for friend or brother, lives in my heart for thee." Janet Porter, The Scottish Cheifs, 1810, pg 186, qouted by The Little Professor

i love you all

in the last 16 hours the consumerist and yahoo!answers both chose different photos of mine as illustrations to stories, the garage and walmart. flickr had a huge jump in traffic.

on grindhouse:

i keep thinking about the second one, tarintinos, and remember seeing vanishing point and celluiod closet about the same time, and i dont remember which one i saw first, but vanishing point, i could never apperciate because of the explicit violence towards queers, and one of the problems i have w. the grindhouse genres is that one of the things they grind is women.

so having four women being killed in the usual way, and then having a similar set of women, refuse to be killed, and to have both sets be african american, or hispanic as well--i think that it was a corrective to the genres that tarintino has been playing w. all of his career--& i think his half of this, plus kill bill are essays about the history of culture, i dont think they nessc. work as cinema as much as deconstructions of cinema, or of the aesthetics of the real, so when you have people genuinely frightened, when the danger seems real (ie when they are going over the overpass, and they keep, almost praying no dead end no dead end no dead end, or when one has to be coaxed into playing sailors mast, etc) it seems to me that he is, well not refuting, but reworking what he thot about film in works like pulp fiction.

so i didnt think it worked as a double feature, i thot rodiguez(sp) work was subpar, and the best bits of it were v. close to tarintino anyways, but i think that death car, was fascinating, in its construction.

(or as my friend ashley said as he walked out of the theater--who knew that godards weekend and the duke of hazzards went so well together)

(and i saw maybe 20/5 people leaving after the first half, so they missed the second movie, but i cant imagine an interest in grindhouse as a genre is that large)

Proving again that Joe Esterhauz is a prophet.

more proof that the millons spent on airport secuirty is theater.

joe keeps claiming anglican bishops work againt queer folx is about other things, the bishop of york denying for resurection comes immediately to mind as an example, i figuring not hiring people b/c they are queer (as the bishop of herfortshidire is accused of) counts pretty clearly in the hatintg fags camp.

shayne ehamns seires of photos of mushrooms have a directness and a clairty that reaches somewhere past point and click documentation and into the alice adams kind of scientific processing.

the college lefT continues to treat the 60s as a courting zombie, and i dont think it is taken seriously b/c the tactics, etc have changed, they want SDS, but they dont want the weatherman, for example. i like the port huron statement, my parents were members, i understand the seductive appeal, and i understand the need to find ones own history, but come on guys, push harder.


Funny and Hip anti AIDS, pro condom ads


hip visuals from 70s OUI magazines. make sure to look thru the slideshow.

Sometimes i want to be initated into the dark cult of the machine, this is one of those times: the bugatti veyron at its top speed of 253 mph.

vintage photos from boston radical events in the mid 70s. man did those middle class hippies know how to dress.

i feel about julie christie, the way i feel about rampling or denuve, except rampling found orzon, and denuve, has worked steadily. please give the woman more work, as this gaurdian interview suggests she can handle it.

Dusan Sitak who has found every way of devolping photography in the last 150 years, and is trying to persever and catalog them, mantains the vitality of both regualr snapshots, and "art", his refusal to split the difference makes his sisphyian quest heroic. (
i was also shocked, with photogs history of bathroom chemists, how few perocesses there were.



some yalies burnt the american flag, one of those yalies was a member of skull and bones.


speaking of skull and bones, i think both Cheney and Bush have completely lost the plot.


from an ilxor, i forgot who, but its a great photo.


British Sqauddies enjoy the work of Electric 6.

fantastic doc of the gun markets in pakistan.


From the NY Easter Parade.

great colelction of qoutes and links about 18th century British Highwaymen.

Model for Opened, Incomplete Cube, Sol Lewitt, 1928-2007.

*Th eology and Social Theory (2nd ed.), John Milbank. Oxford: Blackwell, 2006 - (ISBN 1-4051-3684-7)
* After Writing, Catherine Pickstock. Oxford: Blackwell, 1997 - (ISBN 0-631-20672-8)
* The Word Made Strange, John Milbank. Oxford: Blackwell, 1997 - (ISBN 0-631-20336-2)
* Radical Orthodoxy: A New Theology,Milbank, Pickstock, Ward (eds). London: Routledge, 1999 - (ISBN 0-415-19699-X)
* Truth in Aquinas, John Milbank and Catherine Pickstock. London: Routledge, 2000 - (ISBN 0-415-23335-6)
* Being Reconciled, John Milbank. London: Routledge, 2003 - (ISBN 0-415-30525-X)

[edit]

things i want to write about:

Tim McGraw's Latest

1) aware of the genres history
2) sometimes the vocals fail, or arent nearly as swinging as they need to be
3) his work w. faith hill, aesthetic direction, but also how its kind of played out
4) how he tells stories
5) the gorgeousness of his voice
6) the moral ambiguity, and the willingness to be (at least) slightly edgy w. the lyrics
7)how it drags, and how its an obv singles album.
8) country as a singles medium? (and how hooky some of the work is, esp the supercheesy/super effective flyway)

Amy Winehouse Back to Black
1) Apple, Amos, Phair, Power, and that history (ie image vs work, maturing)
2) Anglo History (ie jagger/diddley)
3) how she really isnt that bluesy
4) the awareness, the wry wit
5) anihlating self in a completely unsexy way, but how that destruction of self is supposed to be sexy
6) how critics, esp. indie oriented male critics, emphasize a kind of wounded girlhood.
7) the album as an effective aesthetic object.
8) the album as a femminist working thru
9) how those three things are concurrent but against each other, how they work together and apart.
10) the awesome way she says fuckery.

Spring Awakening
1) Kander/Ebb
2) The Future Belongs to Me Scene as erotic locus, in the film
3) Teen Pop
4) how the absence of desire becomes overwhelmingly sexual, the cult of abseince.
5) how this album manages to work all of these things using clever aural pastiches
6) History of the Story, Young Wether, and The Weimar
7) How it works as a pop album, because the staging is impossible to see really (except maybe in youtube?)
8) intellectual excercise of great amusement
9) religious context, and attempts to prevent decadence
10) oblique queerness.

Tracey Lawerence
1) For such a bad boy, its a really soppy album
2) cheap production
3) kenny/tim doesnt really save the album
4) no real singles.

there, outlines

'A person's identity is not to be found in behaviour, nor - important though this is - in the reactions of others, but in the capacity to keep a particular narrative going. The individual's biography, if she is to maintain regular interaction with others in the day-to-day world, cannot be wholly fictive. It must continually integrate events which occur in the external world, and sort them into the ongoing 'story' about the self.' (Giddens 1991: 54).

A Rabbit, Two Thrushes and Some Straw on a Stone Table, Chardin

pictures like this convince you that our ms clara could have fucked the entire ucla football team at the same time:

talking w. darcy, about faith and the like, and i am not going into the specs of the fight, but thinking about the nature of faith, and the like--how ambigious and strange i feel around people who are assured in their faith enough to share it, and how comfortable i am with people who are unsure.

I felt a clearing in my mind

I felt a clearing in my mind
As if my brain had split;
I tried to match it, seam by seam,
But could not make them fit.

The thought behind I strove to join
Unto the thought before,
But sequence ravelled out of reach
Like balls upon the floor.

(i dont know why i said frigate, thats the dickinson i was talking about)

Candida Hofer, The Standard I, 2000

estimated at the 2/24 Christies Auction for 20/30k
47x47 inches.


Anthony Easton, Blue Tile, 2007
will sell for 120
when printed 8x11.

i think i need to start printing my photos bigger, and start having something identafaible in the frame.

Talking to dr mills today, he basically said that they didn’t have a diagnosis, and that they were just treating symptoms, I didn’t bother asking symptoms of what, I keep thinking that im too fucked up to fix, or at least the fixing that could be done, has been done, for aspies, etc.

so im stuck with where im at, and ive known this for a while, but coded, or personal discoursing fleeing into unofficial discourse is impt. And it was kind of freaking me out, making me sad what ever, I got really upset about ity, but im slowly realizing its almost as if I have defeated the medical model, I have conquered the pysch system…I should get a badge with uncle michaels fist on it.

my status in groups has been in jeopardy, b/c I have been having more fall down and go booms, chair flying, etc, and they are worried about the safety of the group, and I have destablised too quickly, the thing is that I am never stable, I keep being asked my thereputic goals, and I don’t know what they are (except maybe to get one straight answer from one of my therapists, and not have them pawn me off on another nurse or another doctor or whatever), and I wonder if this lack of therputic goals, and then spending a month picking on every scab extant was really the best way of going about things.

thats maybe the other thing, being too fucked up to fix can be compared to the radical decentering, the post bear or post queer discourses that surround my sexuality or the sort of catholic sort of anglican linguistic/power games w. jesus that I am settling around my head, in the sense that my personhood, for the last few years has been radical fractured, and that fracturing has become a fecund, thing…maybe this is the last step in my mental health, if I can view my sex, my gender, my god, my family as ambigious and detached to personhood, maybe there is nothing wrong w. who I am as a person, that the depression or the anxiety or the sucidial ideation will come, or it will go, like dickinsons poem about frigates, and to expect their arrival is futile…maybe going onto another program will be futile

& so the best thing about group then, is figuring out other people, hearing other peoples stories, finding sympathy and love for the other (because everyone has an other) and having that fracturing be able to anchor others. That dialectic is the hard part, or not dialectic, but the negation b/w the constant fracturing of self and keeping everyone together.

Brad Paisley
Ticks

He was interviewed in EW this week, and Paisley talked about how important this song was, because Country talked about being outdoors. Now, this song is about the eternal joys of having sex outside (and it has some real naughty lines, esp. for someone who proclaims his class and from someone whose last great hit was about Mama and Jesus.)

The problem is that country rarely talks about the outdoors anymore, except as a playground, and ideas of nature have become a playground for the suburban. The song then, is kind of creepy--he wants to take a woman from the bar, and bring her to a secluded "moonlit" meadow, where he will strip her, and "crawl all over her". The checking for ticks sounds like a cute cover for something sinister.

I never really got Paisley, his realtionship to women has been courtly in that suburban megachurch kind of way, and this is the first time that he has ever sung something explicit in its eroticism, and done another way, it could have destabilised the outdoors/suburban;bar/moonlight dialectic that infuses much country.

But the way he sings it, it has a serial killer vibe.

rev joe was talking to his steel sculpture friends, and he said they said that 3D art was mostly eclipsed in the 20th century by 2D, esp. print work, and i thot about that for a while...the problem is that it wasnt a 2D vs 3D thing, just that the most impt or interesting 3D objects in the 20th century were something else:

ie

readymade:

r mutt, fountain, urinal, 1913, remade 1967


man ray, Cadeau (Gift), c. 1958 (replica of lost 1921 original)
painted flat iron with row of tacks, heads glued to bottom


Picasso, Bullhead, i dont remember the date


Giovanni Anselmo, Untitled, 1968, Lettuce, Copper Wire, Granite
(when the lettuce rots, the granite block falls)


Carl Andre, Suculus, Western Red Cedar, 1980 (this was a bit of a cheat, because he cut and compiled these)


Koons, New Hoover Convertibles, 1987


Hirst, The Physical Impossibility of Death in the Mind of Someone Living
1991
Tiger shark, glass, steel, 5% formaldehyde solution

assemblage:


Meret Oppenhiem, 1936, My Nursemaid


Cornell, Hotel Eden, Assemblage, 1945


Jasper Johns, Target with Plaster Casts, 1955
(same year as Rbergs infamous goat)


Louise Nevelson, Dawns Wedding I, Painted Found Wood, 1959


R Rberg, Pilgrim, Combine, 1960


Ed Kienholz, Portable War Memorial, 1968
(this might be my favourite material list ever:
Edward Kienholz. 1968. The portable war memorial. Plaster casts, tombstone, blackboard, flag poster, restaurant furniture, photographs, working Coca-Cola vending machine, stuffed dog, wood, metal, fiberglass)


Sarah Lucas, Au Nauteral, 1994

reclamation:

Warhol, Silkscreened, assembled plywood, 1969 (also see piles)(is this a goof on minimalism?)


Koons, Jackson and Bubbles, 1989 (which is a reclamation of craft, kitsch, the baroque, pop, and gild/guilt, and which cannot work as a single entry, Robert Rosenblausm essay about Koons and his mirror work, has a lesser impact, b/c RR is unwilling to engage the formal implications of the 3rd form) (also, the moral severity of the made in heaven sieres would be lessened if it didnt recall/reclaim catholic polychromed sts as ikons of new protestant morality)


My Lonesome Cowboy, Murakami, 1998
From the Walker: "Dave Hickey, writing for Artforum in December 1998, compared the baroque extravagance of My Lonesome Cowboy to Gian Lorenzo Bernini's Ecstasy of Saint Theresa." (hes talking about how bernini uses space, how he commans the centrality of a large architechtual overwhelming, and returns it to one ecstatic figure, whos' vertical movement suggests xtc, its also obv a referent to anime, and western exoticism of oreintalism


Michael Graves, Team Disney Building Burbank, 1991

4 of 8, Dwarf Head, Sillicon, 2003, Paul McCarthy

Phillip Stark, gnome stools


Rachel Whiteread, Untitled, 16 Spaces (again, a reclaiming of minimalism, and also extending a neuman idea, these are sillicone, nauman was plaster)

Pile:

Eva Hesse, Right After,” 1969
more floating then piling, but like fred sandblack, the implication of falling and then piling is vital (and that the 3rd dimension is implied via the absence of object, the presence of space, light, etc, that its hinted at)


Richard Serra, 1968, Untitled, Rubber

Andre, Equivalent VIII 1966, Firebrick
(this one is interesting, b/c it is the same as his copper/steel floor peices, but the 3d means something, i just cant quite figure it out) (and placing it w. the serra, it has a really interesting discusion of the movement of the late 60s avant, because serra went from humble, almost impercetiple peices on the floor or as drippings, etc, performance/installation works to something else)


Felix Gonzales Torres, Public Opinon, Untitled (Public Opinion), 1991.
Black rod licorice candy, individually
wrapped in cellophane (endless supply), ideal weight, 700 pounds,
dimensions variable. (i want to talk about this peice a bit more on easter)

others:


John McCraken, Painted Planks, conintuing (the postioning of the planks are the only thing that maek the work 3d, hung on the wall, traditionally as paintings, they would be minimalist releifs)


Thisi nstallation shot, of three colourfields, with Ann Truitts Summerfiled, in the foregrond makes my point for me, her realtionship to the washington colourfield school, her work moreo n painting then sculpting, even her banal shapes, make her a painter, or an anthologist of colour'sfunction rather then smoeone who caresabout shape in a space (perhaps?)

judd
there could be a million i could qoute here, if you read this blog, you should know what a judd looks like, that judd refused to call his work sclupture, that he placed them on walls, or made the sides the same, that he sabotoged and constructed his 3 dimensionality at the same time, suggests the radical displacement most 3d work had in the history of the 20th century

notes:
i know i cherry picked here, and i could have made as much of a 20th century list, of people who sculptued in more traditional ways, and surrived (ie but not limited to jacob epstein, hans jean arp, hepworth, moore, caro, smith, etc) but i think the point is, that it wasnt that 3d was eclipsed by 2d but 3d refused the label of sculpture, or at elast bucked under it

The Ukranian Eurovision entry for this year, is a master genius of hicamp. i love her, and want all 10000 of her babies.

dinner w. john/joe after the palm sunday service was excellent. i want to post more about it, and about a few other things, relating to the anglicans and such, but im going to think about it for a while.