all shall be well all shall be well and all manner of things shall be well julian of norwich

Saturday, July 28, 2012


I can do the standard liberal version of this passage, in my sleep, and I am sure that you have heard the gospel interpeted this way, in class or in yr reading, or on the pulpit. It is the one that talks about how through the inspiration of Christ,  people who thought they had only enough for themselves, learned that they had enough to share with their neighbours—that the magnaminous nature of this miracle comes from a willingness to engender community.
I can also talk about more traditional views of this passage—ones that are slightly more alien—ones that talk about how the feeding of the five thousand, becomes a larger metaphor for God’s realtionship to humanity. In this metaphor, that Christ took so little and created so much, means that through our belief in Him, will result in blessings—not only the small blessings of a return to the original, of barely being satited, but of excess.
Both of  these messages fit seamlessly into the idea of the passage as one of Eucharistic power. That to have Eucharist requires the gathering of a community—that the Lord’s supper is one of like minded people, working for a common good—and a common good related to being feed, and feeding each other. It is also about the constantly renewing commitment to the Lord—the excess nature of love, that She has for us, the knowledge that we will be provided and protected because we eat together.
I have been thinking about the passage, about the gospel—and these two readings came to me in the first few hours, but settling on them seemed unsatisfying. They need to be said, and the two working together and not in opposition was the beginning of a wider understanding, but there was one passage that I stumbled on, and that I kept returning to.
It is a passage in the middle of the Gospel. So they gathered them up, and from the fragments of the five barley loaves, left by those who had eaten, they filled twelve basket (John 6:13). This whole gospel passage is filled with places of ambiguity, of portent and sign, but these passages—this seems to have something to tell us. I was talking to Maggie about this passage, and going through what I was thinking, and she said that it was Trinity, so they were a bit more patient about the intellectual, and allowed the preacher to be a bit more abstract.  So this sermon will be a bit about taking a dog out for a walk—but I am going to try to make it as practical as I can towards the end, though I am not sure there will be moral exhortations.
The gathering of the fragments is one of the problems of our age—we live in an age that is good at sorting out what the edges mean, where the fabrics tear, where the gaps are, what is absent, and what has never been filled. This is called deconstruction—it is good and useful work, it is moral work, and if we can add a small social justice edge, it is work that allows us to know how to feed each other—to analyze who has not been feed, and how best to do the feeding.
In this sense, we are kind of doing the work of Derrida, and that name, you know—you kind of don’t need to read him, to know that we are working through the project that he elucidated, even as Christians, and Derrida, got closest to defining the term: “But is what we call deconsturction, not above all a taking into account of f orces of dissaaction, dislocation, unbinding forces, in a world of difference and heterogenity…” And that has been the project—if we can be narracissitic, if we can think that, these people in this room, are the usual set of people, which is obviously not true—but this has been a project—a way of noting the forces, and the power of the forces, this taking into account, and perhaps not working past that, perhaps only thinking about the fragment.
If we keep deconstructing,  if we keep thinking of readings of scripture that foreground the fragmented, allow for the fragmented to remain, think about holes, tears, collapses, do we refuse to actually think about what the implications are when we gather up the fragments,
The fragment here, is the fracturing of bread, the fracturing of the bread, becomes the fracturing of the body of Christ—and so this fracture to fragment, this fragment of bodily desire, that leads with hope to the restoring, to the unbroken bones and complete spirit of the crucified Lord, but there are details in this passage—fragments that we could gather like the 12 disciples.
We should notice that Christ does not gather the fragments. Christ worked with the twelve, and with others around him. There are many miracles and more prosiac spaces where he eats with his neighbours, and there are rarely details about who gathers and who cleans—there is the assumption that the tussle of give and take, the dishes get done and the fragments get picked up, the detail does not need to be spoken, but here, in this space he sends the disciples to do his work, to find the food, and to collect the food after he has taught. He sets Himself apart. In this sense, he is telling the disciples that the gathering up the fragments is gathering up the body.
I mentioned  that before—this is foreshadowing, and the foreshadowing rests on one of the centeral tensions of the church. The fragments are not restored to wholeness. You know, there is more then the disciples could hope for—five little barley loaves—the loaves of the poor, rough loaves, cheap loaves, made of the chaff of substandard grain, and a few small fishes—and what results from that is overflowing baskets, but it is not overflowing baskets filled with better bread, or more luxiorious fishes, it is not even baskets filled with whole loaves and whole fishes—there is enough to feed here, but they are still fragments.
In this sense—when we are called to gather the fragments as a community of God, we are not called to restore the fragments here. In a few minutes here, Maggie will fracture a piece of whole bread, in order to feed us, and in this fragmentation and feedng, she gathers us together. The broken, the falling apart, the difference, dislocation, and hetergenity, bind themselves into a miracle of communal action.

For the Anglican communion—a communion that rests on as much about what they are not, as much as what they are—who were founded on not being communal, and not being Roman, and not being Calvinist, of the fragments of refusal and working of a solution which honours otherness and fragmentation, but a fragmentation that has been gathered, has a form and an order. We are a church that is whole in our fragmentation, because of our fragmentation—our baskets are overflowing because we gather the fragmentation together as a whole, so that the act of gathering, is marked by this delightful, cosmic irony. There is a magnaminty of the humble, an excess that can only be found via the gathering, but an excess that becomes the symbol of a Christian figure, the texture of that irony, the gestural nature of those desires for wholeness returned as a kind of fragmentation, returns itself to the message of the divine—it is the same irony of the beaatuides, where the first will be last, and the last will be first, to name a smaller example. 
The question then, becomes—how do we gather with respect, how do we respect fragmentation without the fear of schism, how do we note which gaps or tensions need to be repaired, and which can be left as an intergral part of who we are—and how do we convince ourselves of the magnamity of a restored Gospel.
I think these questions can be answered with much caution, with a humility, and with a belief in the centrality of the idea of gathering, as both a noun and a verb. We have to recognize the fragmentation, and the collection—and we have to be wary of the desire to restore into wholeness, for that restoration is the work of God, we cannot create one body, but we gather, in this room, a dozen bodies, and attempt to work, through our own fragmentaiton, to a muddled middle ground, that muddling—the small, localized, and intimate work of daily gathering, will be enough for t he magnamity of the divine to bless us. 

Friday, July 27, 2012

took a walk with the palm trees as the daylight fell
Sangria in a canteen
Talking to myself
This tattoo on my left hand
Is turning purple-ish blue
Daydreams of the romance
Daydreams of you
My pretty woman in a ballgown
I'm Richard Gere in a tux
Getting married in a courthouse
Writing vows in a rush
Making out before the judge
With my teenage wife
Got a wedding band done
That I just might die with

It's an American wedding
They don't mean too much
But we were so in love
We had an American wedding
Now what's mine is yours
That's American law

M-r-s dot Kennedy
She signed her name in pen
In a fancy fancy cursive
Then turned her term papers in
A thesis on Islamic virgin brides and arranged marriage
Hijabs and polygamist husbands
Those poor un-American girls
Afterschool she ran to me
Jumped in my 5.0
This is the home of the brave, 
Land of the free
But your parents still didn't know
She said "I've had a hell of a summer
So baby
Don't take this hard
But maybe we should get an annulment
Before this goes way too far"
[ Lyrics from: http://www.lyricsmode.com/lyrics/f/frank_ocean/american_wedding.html ]
It's just an American wedding
They don't mean too much
They don't last enough
We had an American wedding
Now what's mine is yours
American divorce

Well, you can have my Mustang
That's all I've got in my name
But Jesus Christ, don't break my heart
This wedding ring won't ever wipe off
But if you stay
Girl if you stay
You'll probably leave later anyway
It's love made in the U.S.A.

Don't let em front you
To saying you can't move without em
Fuck em I tell em this ain't new
We been some hustlers since it began dude
Ain't gon' be trippin over some bitch ass dude
They so vain I tell em this ain't you
You kick it sensitive but this ain't true
These niggas can't do nothing that I can't do
That she can't do
That he can't do
That you can't do
That we can't do
Man I had a dream and then that shit came true
And nigga if I did it I think you can too
These niggas can't do nothing that I can't do
That she can't do
That he can't do
That you can't do
That we can't do
Man I had a dream and then that shit came true
These niggas can't do nothing that I can't do
That she can't do
That he can't do
That you can't do

Sunday, July 22, 2012

BILL: I know this is a ridiculous question before I ask, but you by any chance haven't kept up with your swordplay?


BUDD: Hell, I pawned that years ago.



BILL: You pawned a Hattori Hanzo sword?



BUDD: Yep.



BILL: It was priceless.



BUDD: Not in El Paso it ain't. In El Pso I got me 250 Dollars for it.

email to spencer about church with david:

i hung out with meghan, david robinson, and the kids today--heard a sermon and had brunch. it was uniquely pleasent. though, as from my txt this morning, the understanding of the praise and worship music was less so (though we did encounter a lovely version of what a friend we have in jesus, a song that continues to move me, despite my better instincts)




the sermon was great, though the whole thing gave me a few questions---



there does not seem to be much of a structure, i don't know when the music ends, the passing of the peace seems to be to early, there is no real congreational singing, there was no narrative pull that allowed for the sermon to the be apex, and the sermon should have been the apex because there was no lord's supper--i fundamentally don't understand how you can have a sunday service without having the eucharist, and much of the songs were about the strength of god, and you know, i am convinced that god knows her own strength, i never understood the obsession with praise hymns, or with the idea of a god that is better then other gods, that is bigger--one of the (few?) appeals of xianity for me is the idea that god is weak, that is he is an empty vessell, that his body is broken for us, and the idea that he was only cruicifed/humilated in order to make him stronger i find isolating and kind of off putting.



it was interesting (and i am not sure if you know this) david r's church is thinking about merging with another church, and david r's other church is evangelical but non-demonational, and the baptist church does not seem to have strong ties to it's history--and this is the interesting/confusing thing for me; the liberal anglicans are often criticized for being too wishy-washy, too ambigious, and too willing to jettison it's history or tradition for the convience of its politics or its aesthetics, but isn't that fundamentally what non demontional evangelicals do, and you know it becomes a porridge of realtional aesthetics unrelated to its roots, creeds, or historical texts--David is a brilliant exegete, and the sermon was much more sophisticated then most, but perhaps even the Bible?



(also, side note, for all my supposed moral ambguity, mock shock, and via negativa/refusal to engage with the church--when i sing what i a friend i have in jesus, or when david talks about being part of the adopted family of god, or when i spend time in evangelical circles, fundamentally i feel made alive and beloved in the name of a lord--you know the old joke, where an evangelical christian is bugging the child of a secular jew, that he is not saved, and he is going to hell, and eventually the secular jew goes to his father, and asks about what they believe, and the father says we worship YHWH, who doesn't exist. i've always head that close to my heart, but you know sitting in the back of an evangelical worship house, i think to myself, what the implications would be, if the answer was, I worship Jesus, who does exist?)



I am tired and thirsty, so this is prime time to solidly evangelize me.

Tuesday, July 17, 2012

200 pages of McCain's Oppo on Romney, the tax stuff starts at 46

Chris Molanphy's epic discussion of recent trends in R and B, including Usher and Lionel Richie, transitions to a discussion of  a history of the charts, and then the problems of qualifcation.

These 13 photos of Qunicerna's in NY, aside form having a delightful eye on colour, remind me of the ddiscussion of class and liturgical sameness found in Susan Orlean's essay in Saturday Night.

Small essay and digital infrared photo of Rberg's Erased de Kooning.

http://www.wovenonline.com Gorgeous Vintage Rugs.


Obama's Attack Ad on Romney mostly centers on policy, but it's angry.

http://onlinelibrary.wiley.com/doi/10.1002/hast.38/pdf Tough first person article on being paralyzed
and the ethical implications of personalised health care.

32 photos of Detroit from 1982.

Cedar Rapids Brokerage CEO  commits a 200m fraud. The Libor scandal, in Europe, the US and Canada, i don't understand, but might result in trillions lost. Also, Sheldon Aldeson gambling magnate and Vegas Impersio, who promised Romney 100s of millions, is tightly connected to the Chinese mob.

Melinda Gates commitment to birth control, despite of her Catholic education, is one of the more interesting theological stories of the last few years.


Kenny Omega wrestles a 9 year old in Japan, mostly worth watching for the elegance of the coregraphy.




Saturday, July 07, 2012

One of the recent  trends in working new buildings into older contexts, is a kind of camaflaouge
instead of something starker. The small, all glass, extensions on the edge of 19th century rustic cottages in Belgium, like a Mies tumour, makes interesting comments about the  formal nature of transparency--about what glass and steel mean, in a historical context.

50+photos of Rhodesian Military Vehicles.

NY cops manipulate crime stats.

Lakota immersion daycare starts

This story about Spiro Agnew's son is not even code, but the first ppgh is a masterful example of the smear and the wink.


Sharon Stone Last Week in Paris.

Jim Prentice, now working for CIBC, has some interesting things to say about enviromental protection, the Haida Gawaii, resource economies, and Stephen Harper:


To begin, however, the constitutional obligation to consult with first nations is not a corporate obligation. It is the federal government's responsibility.
Second, the obligation to define an ocean management regime for terminals and shipping on the west coast is not a corporate responsibility. It is the federal government's responsibility.
Finally, these issues cannot be resolved by regulatory fiat—they require negotiation. The real risk is not regulatory rejection but regulatory approval, undermined by subsequent legal challenges and the absence of 'social licence' to operate.


New Yorker on the history of including the word Fuck, in their magazine.

Lana Polansky writes about the implications of diluting what censorship means, just a really brilliant article.

PRI, who won the election in Mexico, last week  gave out thousands of gift cards, in order to buy votes. Gift Cards because they were only valid for two days after the election.

This was the best thing i have read on Frank Ocean.


Mural, Sundre Alberta.


One of the best things  about this long ranging, well constructed interview with Bechtle, is how sweet and genial is--he talks about a lot of things, about Johns, the light in Maine, the changing geography of SF, how he is painting Toyotas and Suburus now because that's what there is. Includes a discussion of a recent drawing of a wrapped car, and the narrative hinted at but not spoken.

The economist on the disasters of Harpers.


On the racism of Rangers and Celtics,  and the implicaitons of a multi-cultural scotland.



Friday, July 06, 2012

hot july day, and reading whitman in an ice cold bath, in the late afternoon, between social calls, came from lunch, and going out for dinner.

is there anything nicer?


Wednesday, July 04, 2012


There is a scene in Magic Mike, the Soderbergh male stripper opus, where a new dancer named the Kid performs his first real dance—after an emergency amateur one, and some training by both a older brother figure and a semi-skeezy Matthew McConaughey. The dance is to Big and Rich's "Save a Horse, Ride a Cowboy." That song began a trend of straight boys stealing from Rock and Hip-Hop to construct a kind of peacocking masculinity. That a straight man directed a cowboy scene between two men, about straight men teaching each other about male eroticism, but not homosexuality, using this soundtrack seemed to an interesting bookend to a recent trend in country music. That the movie is mostly about the economic and social context of Tampa reflects another layer to this trend. Between the release of "Save A Horse..." and Magic Mike, there have been a number of songs by young male country artists that talk about pleasure, masculinity, and the psychogeography of the semi-rural South, including but not limited to Justin Moore's "Back that Thing Up" and "Back Woods,"  Kip Moore's "Something about A Truck," Luke Bryan's "Country Girl (Shake It For Me)," Jason Aldean's "Hicktown," and Brantley Gilbert's "Kick it in the Sticks." There is an emergence of a new kind of country masculinity—aggressive, proud, less courtly, and more about their own pleasure, and their own sexuality. In the context of homosocial tensions, and within the context of Soderbergh's film—this new kind of country masculinity seems to indicate that what is viewed as traditional masculinity is unstable, and perhaps unable to be grounded. I want to write about this instability, and also a little bit about how fuckable all these boys are.


Pitch I just submitted to the Atlantic. 

 Alexander:  written about it on tumblr/ilm/etc already
i wish the headlines everywhere were less focused on the fact that he's gay
and more on....
the substance?
it's not a standard coming out
it's not PR
 me:  well r and b constructed around masculine/masculine narratives is actually really quite new
and that's interesting
 Alexander:  it's just an honest and open statement of self-discovery
oh, well yes
i just meant
have you read his letter?
oh
you're jsut reading the gossip
he posted on his tumblr a letter that is/was supposed to be the thank yous in the liner notes of his new album
and it's like
just intensely beautiful
and while i understand why a lot of the story is OMG hip hop + queer --> what will the impact be on his career prospects etc.
or charitably, 'it doesn't matter if he's gay, the music is good'
when it's just a radical moment of honesty.
and frankly
hip hop needs more of those
thats whats interesting
 Alexander:  well, gay people need more of those
even compare this to anderson's a few days ago
which was all "this is who i am and i value my privacy but it's important to be out."
 me:  fuck anderson, you know, the public private access bubble
 Alexander:  it all feels so managed
just the most recent example
whoever
anderson, quinto, nph, whatever
i like them all
but
NPH aside maybe
it's all very "ok. i have commented. let us move on."
 me:  there are no texts
the coming out isnt the beginning of a construction of self
it's the end o
and so it continues the idea of censoring
of closing off
 Sent at 2:57 AM on Wednesday
 Alexander:  mm
 me:  mm?
 Alexander:  mulling over your statement
i'm not sure if i can have clear thoughts about it yet
i'm still re-reading individual sentences
" 4 summers ago, I met somebody. I was 19 years old. He was too. We spent that summer, and the summer after, together. Everyday almost. And on the days we were together, time would glide. Most of the day I’d see him, and his smile. I’d hear his conversation and his silence … until it was time to sleep. Sleep I would often share with him. By the time I realized I was in love, it was malignant. It was hopeless. There was no escaping, no negotiation with the feeling. No choice. It was my first love, it changed my life"
 me:  its terribly beautiful
but you know, he;s still doing strip club anthems...
 Alexander:  um.
not really?
i mean, i'm sure he might have one or two
but this was the lead single
 Alexander:  http://www.youtube.com/watch?v=F15IjgyHd60
Frank Ocean - Thinking About You [Official Music Video]
 me:  but Pyramids...?
 Alexander:  sure.
but i don't see the issue with that?
i mean. he hasn't said if he's gay or bi. there are three or four songs supposedly about dudes
 me:  does the linear notes work in context of the songs
 Alexander:  and a bunch that are addressed to "you"
one or two songs about women don't de-queer him
 me:  true, and we have to stop thinking of monosexuality
thats the other thing
has there been a construction of male sexual fluidity post 1970s?
 Alexander:  i'm busy basking in the falsetto on thinkin bout you
and just offhand, not to parse lyrics but
2:20 of thinkin bout you
is totally about getting with a guy for the first time
 me:  i need the album
 Alexander:  anyway
it is 3 am
and i should probably try to sleep
 me:  sleep well
can i blog this, btw
 Alexander:  empty bed. not used to it
the conversation?
 me:  yep
 Alexander:  sure
 Sent at 3:06 AM on Wednesday

Monday, June 25, 2012

i have problems with shary boyle's work, and i think it attaches itself to a kind of irony laced, not as clever as it could be, kitsch reclaiming without much political heft, that marks some of toronto's landmines, but it's important enough and au courant enough, and she is young enough, that her as the VB artist makes sense and you know, it's not another man. (It would have been nice to have Faye Heavyshield or Brian Jungen though)

Friday, June 22, 2012

Fabric made from the Glitch patterns of a broken digitial camera

that working class as fashion style, is usually boring, but this one was shot at a llama farm, and well llamas!

not much new in this wsj  profile about John Waters, though a couple of good qoutes about Wall STreet, New Bad Taste, and a couple of fantastic portraits by Adam Gofler.

173 Photos of the Braun Pavillion, mid 60s

it's still the met, so nothing completely radical, but this history of the photographic nude, from the 1840s to the last year sends some interesting messages against the narrative of photographs reclaimed by high art, into the muddle/refusal of the same. One of the more interesting things, is its inclusion of anonomoyous studio shots into the canon (Brassai by Phyisque Pictorials, Muybridge next to 19th century french shots. I also wonder if naked/nude is still an unstated distinction, and if this unsettles it a bit.


The best thing about this live performance of Beck's E-Pro, Live, is Becks little kid dancing off to the side

Nunavat Food Price Blog

Actor, Model, and Pioneering Trasngender activist April Ashley, gets an MBE and Mexican transgender activist, found tortured and killed in Pueblo.

Linda Holmes on the class implications of foodies and the bacon sundae at Burger King

Paul Rudolph House for Sale in Sarasota.

dozens of examples of visual coding



A Spiritual Baptist Annointing, Brooklyn New York.

The Lancet calls out Canadian aborginal health policy, including the cutting of community resources.





Jared Poris, member of the senate for Colarado, makes mincemeat out of the DEAs  hypocrisy on Marijuana.

Kelly Hofer is a Hutterite, whose work as a photographer, caused him as to leave the colony. I don't quite understand the culture of photography here, I thought that (esp. post the Alberta decision in 2004) that there was a doubling down on the idea of taking pictures as graven images, and his leaving would suggest that was a problem, but the shots of people with small, consumer grade digital cameras, suggest that there might have been a loosening--the Hutterite ambiguity about technology as it relates to use function seems realvenet here.

9 drawings of Turtle Anatomy by Erenst Haeckel.

thousands of documents from Marcel Bruer's career have been digitzed and put online by the Univeristy of Syracuse 

eleven photos of cathedral cellings by David Stephenson

Jack Kirby's place in the art historical medium of Collage






Wednesday, June 20, 2012


i am Anderson's intended audience
Why doubt that there could be a coincidence between his and your cultural/aesthetic lodestones?
i am intellectually interested in the creation of taste as an identifying categories
and that this is v. much not a condience
also, he can spell better than i am
(not making a value judgement)
No marketer or demographer in his/her right mind would come up with Anderson's referents as a strategy. That's what seems to identify them as more reliably individual than anything focus-grouped. Love 'em or hate 'em, they're Anderson's. I think too much cynical marketing and manipulation has made us all suspicious of every kind of cultural product as something designed and targeted. It could just be that Hunsecker thought the fellow was funny, so he gave him a plug.
Jack Spade
Best Made Co
Glenn O Brian
Simon Doonan
there is an aesthetic of that kind of work
i dont know how accidental or delibrate it is
but you know
the question of why exactly someone decides to love francois hardy
and if that love is nostalgia, or hipster kitsch
or about the design of the record label
or if the love of the records preceded the love of the artist, or vice versa
is an interesting question
and if i love Francois Hardy as an aspritational gesture
as a signifer of taste and class (double meaning intended) or if i love Francois Hardy because she is a genuinly interesting musician
or because of her eroticism
Francois Hardy here is a metonomy
(or that the hank williams tone chosen is one that is mostly known as a 80s reclaimed kitsch classic?)


(it's also something i am concerned with re:madmen)

Saturday, June 16, 2012

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

Thursday, June 14, 2012

provisional acceptance for concordia this sept.

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.


Sunday, June 10, 2012

shostachovich 11th, AMAZING.

Friday, June 08, 2012

chris d is getting married and has asked me to be a groomssperson, im chuffed

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.






Wednesday, May 30, 2012

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i am a sixteen foot sasquatch.