I was blue mouldy for the want of that pint. Declare to God I could hear it hit the pit of my stomach with a click
happy bloomsday
Saturday, June 16, 2012
Thursday, June 14, 2012
Monday, June 11, 2012
qoutes from the book of dead philosophers, simon critchley:
sexuality is part of our behaviour. It's part of our world freedom. Sexuality is something that we ourselves create. it is our own creation, and much more than the dsicovery of a secret side of our desire. We have to understand that with our desires go new forms of realtionships, new forms of love, new forms of creation. Sex is not a fatlity, it's a possibility for creative life...
mf
"The feeling of being attacked as a reactionary at least has a suprising note"
adorno to beckett.
We learn what it is to anticpate our own deaths from those others whose anticipations of their deaths we have in some significant way shared.
alasidair reynolds on edith stein
Gryogry Luckacs was not a great admirer of the work of Franz Kafka, whome he declared to be 'idealist' and a bad example of decadent aesthetic modernism. Lukacs advocated an aesthetic realism that rejected the Kafkaesque world of Angst and allienation where isolated individuals were arrsted for unkwon crime,s submitted to absurd trials and condenmed without reason. After the Societ tanks moved into Budapest to crush the Hungarian uprising...Lukacks was arrested in the middle of the night and thwon into a miliary lorry along wiht other givernment officals. The lorry that disapparered into the obscurity of the countryside for an unkonw but proably unsavoury fate. Lukacs was taken to a vast castle in TRanslvania and was told whether he was going ot be freed to prrmantley detained. So the story goes, Lukacs turned to one of the detainnd ministers and said, 'So, Kafka was a realist after all
We begin in the madness of carnal desire and the transport of volputousness, we end in the dissoulation of all our parts and the musty stench of corpses. Schopenhauer.
By understanding many things, I have accomplished nothing.
Groot
I suffer great disaster because I have a body. When I have no body; what disaster can their be. Lao Tzu.
sexuality is part of our behaviour. It's part of our world freedom. Sexuality is something that we ourselves create. it is our own creation, and much more than the dsicovery of a secret side of our desire. We have to understand that with our desires go new forms of realtionships, new forms of love, new forms of creation. Sex is not a fatlity, it's a possibility for creative life...
mf
"The feeling of being attacked as a reactionary at least has a suprising note"
adorno to beckett.
We learn what it is to anticpate our own deaths from those others whose anticipations of their deaths we have in some significant way shared.
alasidair reynolds on edith stein
Gryogry Luckacs was not a great admirer of the work of Franz Kafka, whome he declared to be 'idealist' and a bad example of decadent aesthetic modernism. Lukacs advocated an aesthetic realism that rejected the Kafkaesque world of Angst and allienation where isolated individuals were arrsted for unkwon crime,s submitted to absurd trials and condenmed without reason. After the Societ tanks moved into Budapest to crush the Hungarian uprising...Lukacks was arrested in the middle of the night and thwon into a miliary lorry along wiht other givernment officals. The lorry that disapparered into the obscurity of the countryside for an unkonw but proably unsavoury fate. Lukacs was taken to a vast castle in TRanslvania and was told whether he was going ot be freed to prrmantley detained. So the story goes, Lukacs turned to one of the detainnd ministers and said, 'So, Kafka was a realist after all
We begin in the madness of carnal desire and the transport of volputousness, we end in the dissoulation of all our parts and the musty stench of corpses. Schopenhauer.
By understanding many things, I have accomplished nothing.
Groot
I suffer great disaster because I have a body. When I have no body; what disaster can their be. Lao Tzu.
Sunday, June 10, 2012
Friday, June 08, 2012
Wednesday, June 06, 2012
five notes on ryman from 80 to 89
a) a few return returns to the black or red fields of his younger work, so it's white on white on black or white on white on red--but he uses enamelc or latex so the colour is only visible on the edges. in a similar way, some of the later work rebels against flatness--so he has a flat surface of some transparency (say wax paper) and then a flat shiny surface (say latex) and then a set of visible, off white paint strokes, that have an explicit texture--and this texture is set on the edges.
b) some of it uses the colour of armature (the black of bolts, the tan or beige of frames, the silver of screws, the yellow/grey of fiberglass) in terribly promient ways--so they become a formal way of completely working against what he had done for the previours 30 years. sometimes they even have holes drilled straight in them.
c) some work is literally split in two--where the armature is visible as a straight line, or like the visble, slightly smaller space between two sperate fields,. and in one work credential from 1985, not only is the middle section smaller then the lower and upper fields, it is a different colour, and it is slightly recessed. (which reminds me of late 60s jack bush paintings--where much of the work is floating lines or colour on a overpainted field, but the field is painted until a few cm from the edge, so the raw canvas shows thru, there is something incredibly powerful about the absence there)
d) which reminds of how much i like the gaps in his painting--the places where work is not painted, the middle absences, the edges of some kind of rawness.
e) much of them are really glossy--what is it with tight, theoritical, often conceptual painters getting weirdly brassy or glossy in the 80s--was it a market thing?
Friday, June 01, 2012
I worry that I like Lisa Gidley's work mostly due to Vanity, but it's gorgeous.
The birther and arch conserative Ken Bennett 's son has an odd realtionship to younger members of a camp he belonged to, including some severe sexual violence.
The London design firm Pymlico, and the designer Roy McCarthy were upset at how rigid the laws and guidelines about London Olympics were, so they found an open source solution, that works both practically (now pubs can tell their audience they are showing the games, for example) and political (it becomes a critique of of the intersection between corpration and government). Plus, it's lovely and heavily adaptable.
Dana Schutz has a new show of paintings, i really am confused about how i feel here--they are less violent, less angry, with the compositon opened up, and the colours brighter---but the article suspects that politics are a bit more leached.
a few dozen photos by Russell Lee of the 40s, the colours are unreal.
Holy Modal Rounders, 1962, interesting how the edges of art music and the edges of folk music bleed into each other here, also quite other worldly.
16 photos of early 70s gay rights strugle
fascinating article on how Richter's work changed explicitly due to the concerns of the market. More discussion
Speaking of Richter, these Denzler paintings from frozen VHS Stills are Richteresque.
smart little peice on how models have become ugly
Biola College, evangelical and conserative, has a radical queer underground emerging, of students and facility
Photos and Blueprints, with some explanation of the Morris Mechanic Theater, a brutalist masterpeice in Baltimore.
Rooney Doppleganger, one clothed and one half naked, gorgeously shot, plus you know, hottie Ronnie.
The best exceprt about this is the eucharistic potential of inuit shamanic walrus consumption
When Dolan was in Milwauke, he gave up to 20k to some paedophile priests to have them go away.
Chantal Herbert on the rise of the NDP and Conserative EI
Chronichle of Higher Education Article on the problems of money and univeristiy presses, and why moving to digital presses might not be a solution.
Peanuts Tarot.
Col. Sanders on Swaggart's PTL Club, notable for any number of reasons, including but not limited to the set.
The birther and arch conserative Ken Bennett 's son has an odd realtionship to younger members of a camp he belonged to, including some severe sexual violence.
The London design firm Pymlico, and the designer Roy McCarthy were upset at how rigid the laws and guidelines about London Olympics were, so they found an open source solution, that works both practically (now pubs can tell their audience they are showing the games, for example) and political (it becomes a critique of of the intersection between corpration and government). Plus, it's lovely and heavily adaptable.
Dana Schutz has a new show of paintings, i really am confused about how i feel here--they are less violent, less angry, with the compositon opened up, and the colours brighter---but the article suspects that politics are a bit more leached.
a few dozen photos by Russell Lee of the 40s, the colours are unreal.
Holy Modal Rounders, 1962, interesting how the edges of art music and the edges of folk music bleed into each other here, also quite other worldly.
16 photos of early 70s gay rights strugle
fascinating article on how Richter's work changed explicitly due to the concerns of the market. More discussion
Speaking of Richter, these Denzler paintings from frozen VHS Stills are Richteresque.
smart little peice on how models have become ugly
Biola College, evangelical and conserative, has a radical queer underground emerging, of students and facility
Photos and Blueprints, with some explanation of the Morris Mechanic Theater, a brutalist masterpeice in Baltimore.
Rooney Doppleganger, one clothed and one half naked, gorgeously shot, plus you know, hottie Ronnie.
The best exceprt about this is the eucharistic potential of inuit shamanic walrus consumption
When Dolan was in Milwauke, he gave up to 20k to some paedophile priests to have them go away.
Chantal Herbert on the rise of the NDP and Conserative EI
Chronichle of Higher Education Article on the problems of money and univeristiy presses, and why moving to digital presses might not be a solution.
Peanuts Tarot.
Col. Sanders on Swaggart's PTL Club, notable for any number of reasons, including but not limited to the set.
Wednesday, May 30, 2012
Tuesday, May 22, 2012
aldean, flyover state
Since Country is about story telling, let's get the narrative correct before we note anything else. Aldean, is sitting next to two wealthy passengers, in first class. They are all flying from New York to Los Angeles, and somewhere in the air, over what may be Oklahoma, the two men do not understand how anyone can live there. Aldean responds with a litany of what is great about America.
In that narrative--let us think about the contradicitons.
a) Aldean refuses to acknowledge the class components that allow him to sit in first class.
b) Aldean thinks that he is closer to the ground, then the air, though he is actually sitting in first class.
Those are the two big ones, and the ones that I can say without editorializing. It seems to mean something--that the farther away that he gets from the land--and i mean this physically, not metaphorically, the farthesr he gets away from the land, the farther he gets away from the narrative details that enlivened his early work. But this is not only an Aldean problem.
One of the things that I have been worried about---is the idea that the land has no connection what so ever to ideas of class--that the observation of cliches so generic that they cannot be disagreed with, is enough of a political statement that country music can no longer juxtapose the implications of small, detailed studies of people, with small detailed studies of the psycho-geographic spaces they occupy. This juxtaposition is one of the gifts of the genre, and to lose it, for the refusal of self, and to think that refusal of safe will make you both rich and common, is an act of such naiveté that it's deliberateness seems political--it is a refusal of a whole range of work, from How Can the Poor Stand Such Times and Live, to Hazel Dickens' Coal Mining songs, to Dolly Parton's string of Appalachian Ballads, to Johnny Cash and Prison, to Merle Haggard in the 70s, to Alabama's 40 Hour Week, and so forth, and so on.
Aldean had this potential, this working class boy made good, who never forgot where he came from, but his ideas become more general, and the work becomes more banal--and the diminishing returns of his singles outputs is clearly visible. It has become a way for him to play cowboy and get access to those first class seats.
(The 3 is because I still very much like his voice.)
Since Country is about story telling, let's get the narrative correct before we note anything else. Aldean, is sitting next to two wealthy passengers, in first class. They are all flying from New York to Los Angeles, and somewhere in the air, over what may be Oklahoma, the two men do not understand how anyone can live there. Aldean responds with a litany of what is great about America.
In that narrative--let us think about the contradicitons.
a) Aldean refuses to acknowledge the class components that allow him to sit in first class.
b) Aldean thinks that he is closer to the ground, then the air, though he is actually sitting in first class.
Those are the two big ones, and the ones that I can say without editorializing. It seems to mean something--that the farther away that he gets from the land--and i mean this physically, not metaphorically, the farthesr he gets away from the land, the farther he gets away from the narrative details that enlivened his early work. But this is not only an Aldean problem.
One of the things that I have been worried about---is the idea that the land has no connection what so ever to ideas of class--that the observation of cliches so generic that they cannot be disagreed with, is enough of a political statement that country music can no longer juxtapose the implications of small, detailed studies of people, with small detailed studies of the psycho-geographic spaces they occupy. This juxtaposition is one of the gifts of the genre, and to lose it, for the refusal of self, and to think that refusal of safe will make you both rich and common, is an act of such naiveté that it's deliberateness seems political--it is a refusal of a whole range of work, from How Can the Poor Stand Such Times and Live, to Hazel Dickens' Coal Mining songs, to Dolly Parton's string of Appalachian Ballads, to Johnny Cash and Prison, to Merle Haggard in the 70s, to Alabama's 40 Hour Week, and so forth, and so on.
Aldean had this potential, this working class boy made good, who never forgot where he came from, but his ideas become more general, and the work becomes more banal--and the diminishing returns of his singles outputs is clearly visible. It has become a way for him to play cowboy and get access to those first class seats.
(The 3 is because I still very much like his voice.)
Monday, May 21, 2012
- Anthony Easton what are the implications of silence as a kind of parataxis?53 minutes ago ·
Lucas Crawfordhave you read Madness and Civilization, where he speaks differently (I think) about silence? It's been years since I looked at it, but he writes that the silence of modern internment is "absolute" -- "the inveterate silence of madness," as ...he put it. I feel like he backs off of that in HoS, and people love HoS because quite against his intent (if I can infer one) it lets people feel radical for campaigning against "silence" and associating silence with repression. Anyways, I am probably too tired to be writing this stuff! Oh, also, I just saw the most amazing needlepoint portrait of you! (Megan Morman and I are both at the Banff Centre right now.)See More
Anthony EastonSilence is obv. not enough, that Morman portrait is fantastic, though i have never seen it live, i have been thinking alot about both M&C and HOS, because I am thinking of how the discourses of radical pyschiatry in the mid 70s kind of bifu...rcated, b/w the mad pride, anti-ect, anti-medical construction kind of stuff, and the use the system against itself, client instead of patient model--and both Michel and those Anti-Pysch models rest on pysch work further retrenching a kind of originating trauma (you can never get away from freud)--but i keep thinking that so much of the pysch milieu is not dramatically traumatic--it is quiet, banal, boring, it reinforces explicit routines; so this is my question--in this kind of milieu, silence reinforces the authority of the clinic (and other liminal spaces that resemble or are camoflauged as the clinic--the waiting rooms in doctor's offices, in job placement centers, in government offices, etc look the same)See More- Anthony Easton so where do we go, and how do we talk about the banality or boredom of the clinical space reinforcing the clinical authority--and to mirror this, how can you talk about, when everyone treats you politely, is genuinely seeking to help, is kind, and generous--is filled with hospitality (cf derrida), yr displacement or recognizing of authority problematizes that space.
- Anthony Easton also, if yr desires are for a quiet order, and quiet order reinforces the authority of the place that may or may not succeed in treating you--how do you process out of that juxtaposition
- Anthony Easton (and this is where i will get mocked for being ultra pretentious on facebook)
- Anthony Easton also, also--can we fit Audre Lorde's slogan here, does our silence not protect us because those in authoirty know how to use silence--and if yr silence does not protect you, and the noise does not protect you what's left (I am putting my money on chic cocktail party chatter)
"silence itself—the things one declines to say, or is forbidden to name, the discretion that is required between different speakers—is less the absolute limit of discourse, the other side from which it is separated by a strict boundary, than an element that functions alongside the things said, with them and in relation to them within over-all strategies. there is no binary division to be made between what one says and what one does not say; we must try to determine the different ways of not saying such things, how those who can and those who cannot speak of them are distributed, which type of discourse is authorized, or which form of discretion is required in either case. there is not one but many silences, and they are an integral part of the strategies that underlie and permeate discourses."
michel foucault, the history of sexuality, an introduction: volume I
Sunday, May 20, 2012
Saturday, May 19, 2012
Thursday, May 17, 2012
His early work was noted for it's use of found and industrial materials. He became famous for the quote "I only do what it is necessary to do. There is no reason to use color, to polish, to bend, to weld, if it is not necessary to do so" This led to work made of cyclone fence, rope, or rubber pipe.
His 1969 Graphite Piece, where one half of a room is filled with powdered graphite, and the other half of the room is empty, becomes a discussion of materiality, physical presence, and human impact on built space.
He was part of two art shows that defined what this new post-material sculptures would look like. The 1968 9, at the Warehouse space of landmark dealer, Leo who represented among others, Johns, Rauschenberg, Lichtenstein, and Warhol. 9 was named after the number of artists in the show, and those artists included Giovanni Anselmo whose most famous sculpture makes you wait for lettuce to rot so a marble block can fall, Eva Hesse, who was known for early and innovative use of fiberglass, latex, and other forms of plastic; Stephen Kaltenbachwho moved between linguistic conceptualism and more industrial pieces ; Bruce Nauman, the early video, audio and neon innovator; Alan Saret, and his tenuous pieces in wire Richard Serra whose early work (pdf) shared the industrial materials with his later work but was on a much smaller scale, Keith Sonnier who was known for abstracted neon, and Gilberto Zorio fellow Artist Povera with Anselmo. He was also part of the famous exhibition Live in Your Head at the Kunsthalle Bern. A show that had 34 artists, which became a canon of process, conceptual, post-industrial, minimalist, language, and installation artists.
In 1972--Bollinger departed from his more installation and found work to make a series of cast iron work, that shared an interest in abstraction. sharing some material and scale choices with Serra. Eventually he worked with a set of sculptures about water, that were expensive, and hard to sell. As the glitz of the 1980s replaced the slightly scruffy 1970s, his work became more and more difficult to sell and he was ignored. As interest in the 9 show developed including Marcia Garcia Torres' pamphlet on the 9 show, interest in Bollinger slowly increased. The first major step of Bollinger's critical reception was Wade Saunder's poetic and critical investigation of his work, published in the March, 1st issue of Art in America. Saunder's article begins with the heart breaking epigraph: "Richard Serra: There were a lot of good people in that show ("9 at Leo Castelli," December 1968). Nauman was in that show, there were a few interesting Italians in that show--
Chuck Close: Eva Hesse was in that show.
Richard Serra: Eva Hesse was ill the show. There was a really talented guy--1 don't know what happened to him--Bill Bollinger.
Chuck Close: Bollinger was very interesting. There were some beautiful Sonniers in that show, the best he ever did, I think.
--New York City, Oct. 2, 1995, from The Portraits Speak: Chuck Close in Conversation with 27 of his Subjects (New York, A.R.T. Press, 1997)
It took almost a decade, but that 2000 article has now resulted in a set of major career retrospectives, 40 years after Bollinger's death. The first, in February 2011, was at the Kunstmuseum Lichtenstein. (youtube video of the show, in German, but good images. This show moved to the Fruitmarket Gallery in Edinburgh, in November. The curator of that show Christiane Meyer-Stoll had a conversation with the curator of the Fruitmarket, Fiona Bradley. They also produced a major catalog. Here is the Scotsman's review of the show. Here is The Glasgow's Journal. Here is the visual Art Blog Distorted's review.
That show is now at the Sculpture Center of Long Island. Here is the notice of the Sculpture Center. Here is an Art Info review.
This retrospective might rework his reputation.
His 1969 Graphite Piece, where one half of a room is filled with powdered graphite, and the other half of the room is empty, becomes a discussion of materiality, physical presence, and human impact on built space.
He was part of two art shows that defined what this new post-material sculptures would look like. The 1968 9, at the Warehouse space of landmark dealer, Leo who represented among others, Johns, Rauschenberg, Lichtenstein, and Warhol. 9 was named after the number of artists in the show, and those artists included Giovanni Anselmo whose most famous sculpture makes you wait for lettuce to rot so a marble block can fall, Eva Hesse, who was known for early and innovative use of fiberglass, latex, and other forms of plastic; Stephen Kaltenbachwho moved between linguistic conceptualism and more industrial pieces ; Bruce Nauman, the early video, audio and neon innovator; Alan Saret, and his tenuous pieces in wire Richard Serra whose early work (pdf) shared the industrial materials with his later work but was on a much smaller scale, Keith Sonnier who was known for abstracted neon, and Gilberto Zorio fellow Artist Povera with Anselmo. He was also part of the famous exhibition Live in Your Head at the Kunsthalle Bern. A show that had 34 artists, which became a canon of process, conceptual, post-industrial, minimalist, language, and installation artists.
In 1972--Bollinger departed from his more installation and found work to make a series of cast iron work, that shared an interest in abstraction. sharing some material and scale choices with Serra. Eventually he worked with a set of sculptures about water, that were expensive, and hard to sell. As the glitz of the 1980s replaced the slightly scruffy 1970s, his work became more and more difficult to sell and he was ignored. As interest in the 9 show developed including Marcia Garcia Torres' pamphlet on the 9 show, interest in Bollinger slowly increased. The first major step of Bollinger's critical reception was Wade Saunder's poetic and critical investigation of his work, published in the March, 1st issue of Art in America. Saunder's article begins with the heart breaking epigraph: "Richard Serra: There were a lot of good people in that show ("9 at Leo Castelli," December 1968). Nauman was in that show, there were a few interesting Italians in that show--
Chuck Close: Eva Hesse was in that show.
Richard Serra: Eva Hesse was ill the show. There was a really talented guy--1 don't know what happened to him--Bill Bollinger.
Chuck Close: Bollinger was very interesting. There were some beautiful Sonniers in that show, the best he ever did, I think.
--New York City, Oct. 2, 1995, from The Portraits Speak: Chuck Close in Conversation with 27 of his Subjects (New York, A.R.T. Press, 1997)
It took almost a decade, but that 2000 article has now resulted in a set of major career retrospectives, 40 years after Bollinger's death. The first, in February 2011, was at the Kunstmuseum Lichtenstein. (youtube video of the show, in German, but good images. This show moved to the Fruitmarket Gallery in Edinburgh, in November. The curator of that show Christiane Meyer-Stoll had a conversation with the curator of the Fruitmarket, Fiona Bradley. They also produced a major catalog. Here is the Scotsman's review of the show. Here is The Glasgow's Journal. Here is the visual Art Blog Distorted's review.
That show is now at the Sculpture Center of Long Island. Here is the notice of the Sculpture Center. Here is an Art Info review.
This retrospective might rework his reputation.
Wednesday, May 16, 2012
victorian anti-masturbation ring
official report of the G20 suggests police may have over stepped their bounds
Alexis Tsipras, the greek leftist leader's, refusual to acknowledge austerity as legitmate, and his noting that the continuing of the austerity policy as leading to the possible destruction of the Euro, seems that Greece and France are working on a new politics of refusal. Fascinating.
and to just completely depress you, an article about the rise of the far right equally in europe.
The demographic shift of Methodists from European and North American to Africa, is similar to Anglican and Catholic trends, and to Presbyterians in Korea.
Garage Doors Painted in a mid century style.
Quincy Jones Solarioum, from his LA home, ca 1974. This photo will prove you will never be as hip as Quincy Jones in Los Angeles in the mid 70s.
Hundreds of Camel Photos.
Speaking of LA in the 70s new documentay about the Source, one of the new religious movements there, kind of interesting for a few reasons: their pyschdelic music career, their communal living, that they eventually moved to Hawaii like so many other hippies, and the ritualiised robes.
Dante's 9 circles of Hell, in Lego
The slow death of Montanna's traditional cowboy culture and move to bikers and red necks, is symbolically depicted in a set of (perhaps too archtypal) photos of one family's last horse drive, by Jim Urqaht,
LAurie Penny's complete decimation of class and British indepdent education is brilliant
Sometimes I would like to be suprised at the level of corruption in the Bush Admin, instead of having my worst assumptions assumed.
Derrida.
Federal House in the states cuts the census in a way that seems to be a delibrate way to disenfranchise the poor.
BFI's top 100 lost films
Euphues is a tumblr for all your favourite brutalist, vernacular, and other modernist treats.
Wayne Thorn's photographs of the 70s, esp. of new architechture, have the charm of a faded utopia made even more so by their utility, and unpopulated novelty. esp. look at the work from Denver.
Leigh Alexander is apparently a video game journalist, but this article about Game of Thrones sort of changes my mind about it.
Balderessi, 1972--i want to have a show about portrait grids, esp. will munro and suzy lake.
huge collection of archived Neil Young bootlegs
MCA Graditude mural in Brooklyn
Jewly Hit's article on the gender divide in current country is masterful, and will make you sangry.
Brendon Kiley on the Drive By Truckers and the problems of working class capital
and Hayes Carll on the same theme
knowing exactly how much courtney love is putting us on, will make it easier to find this grubstreet profile as hilarious as it is.
25 worst wwe matches
super hot spicy english mustard
one of the things i learnt about reading the history of the catholic church is t hat you don't fuck with the nuns .
Julie Deply, I know you are married, but I love you anways, and you are french, they always work things out.
official report of the G20 suggests police may have over stepped their bounds
Alexis Tsipras, the greek leftist leader's, refusual to acknowledge austerity as legitmate, and his noting that the continuing of the austerity policy as leading to the possible destruction of the Euro, seems that Greece and France are working on a new politics of refusal. Fascinating.
and to just completely depress you, an article about the rise of the far right equally in europe.
The demographic shift of Methodists from European and North American to Africa, is similar to Anglican and Catholic trends, and to Presbyterians in Korea.
Garage Doors Painted in a mid century style.
Hundreds of Camel Photos.
Speaking of LA in the 70s new documentay about the Source, one of the new religious movements there, kind of interesting for a few reasons: their pyschdelic music career, their communal living, that they eventually moved to Hawaii like so many other hippies, and the ritualiised robes.
Dante's 9 circles of Hell, in Lego
The slow death of Montanna's traditional cowboy culture and move to bikers and red necks, is symbolically depicted in a set of (perhaps too archtypal) photos of one family's last horse drive, by Jim Urqaht,
LAurie Penny's complete decimation of class and British indepdent education is brilliant
Sometimes I would like to be suprised at the level of corruption in the Bush Admin, instead of having my worst assumptions assumed.
Federal House in the states cuts the census in a way that seems to be a delibrate way to disenfranchise the poor.
BFI's top 100 lost films
Euphues is a tumblr for all your favourite brutalist, vernacular, and other modernist treats.
Wayne Thorn's photographs of the 70s, esp. of new architechture, have the charm of a faded utopia made even more so by their utility, and unpopulated novelty. esp. look at the work from Denver.
Leigh Alexander is apparently a video game journalist, but this article about Game of Thrones sort of changes my mind about it.
huge collection of archived Neil Young bootlegs
MCA Graditude mural in Brooklyn
Jewly Hit's article on the gender divide in current country is masterful, and will make you sangry.
Brendon Kiley on the Drive By Truckers and the problems of working class capital
and Hayes Carll on the same theme
knowing exactly how much courtney love is putting us on, will make it easier to find this grubstreet profile as hilarious as it is.
25 worst wwe matches
super hot spicy english mustard
one of the things i learnt about reading the history of the catholic church is t hat you don't fuck with the nuns .
Julie Deply, I know you are married, but I love you anways, and you are french, they always work things out.
Tuesday, May 15, 2012
Sunday, May 13, 2012
Friday, May 11, 2012
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