Monday, January 31, 2011
I am slowly perusing my Christmas book acquisitions. This was the exhibition I wanted to see at MOMA badly but was unable to go to NYC at the time to view it. Here are some images that I am interested in (scale and a beheaded perspective, an unusual Marcel Duchamp photograph and a photograph of his artwork displayed in a way that I had not seen before and the Bruce Nauman I could recreate in my house right now).
Alois Locherer, Transporting the Bavaria Statue to Theresienwiese, 7 August 1850
Marcel Duchamp, Cigarette Covers, 1936
John D. Schiff, The Large Glass Installed Before a Window Overlooking the Garden at Katherine S. Dreier’s Home, Milford, Connecticut, c. 1948
Bruce Nauman, Composite Photo of Two Messes on the Studio Floor, 1967
Sunday, January 30, 2011
Each year I receive an email from HCP advertising their next auction, I will admit to checking out the inventory to see if I can purchase a Ruth Thorne-Thomsen print like the one I no longer have (Dot Lady, WI, 1983).
No Thorne-Thomsen this year but had I all the money in the world, I would walk away with William Lamson's Horizon, 2009.
What all this really amounts to is that I'm procrastinating making my print for the Society for Photographic Education raffle that I was asked to donate to this year. What image you ask? Surely a cake but which one? Someday I hope to get over my fear of auctions (i.e. rejection) and not endlessly sweat over whether or not I will be giving away something that someone else deems desirable.
Saturday, January 29, 2011
"He first became known for works in which, like an environmentally inclined Marcel Duchamp, using engineers’ stakes and photographs, he simply designated parts of the urban landscape as artworks. Then, in step with artists like Robert Smithson, Walter De Maria and Lawrence Weiner, he began making temporary outdoor sculptures, soon to be known as land art or earthworks. “Landslide,” from 1968, for example, was an immense bank of loose dirt near Exit 52 of the Long Island Expressway in central Long Island that he punctuated with rows of steplike right angles made of painted wood. In other earthworks he cut abstract configurations in fields of wheat; traced the rings of a tree’s growth, much enlarged, in snow; and created a sprawling white square (one of Modernism’s basic motifs) with salt in downtown Manhattan."
I have been thinking about Oppenheim's Annual Rings seen recently in a previous post. While perusing his website I found One Hour Run also featuring snow. Like much of his earlier work, it is a duration piece. I've always been drawn to his ephemeral approach to earthworks and body art.
One Hour Run, 1968 (six mile continuous track)
Here are four of my favorite Oppenheim works of art:
Rocked Hand, 1970
Parallel Stress, 1970
Reading Position for Second Degree Burn, 1970
Annual Rings, 1968 (a better version)
Friday, January 28, 2011
"I got up at 2:45 and set up my camera and watched carefully from 2:57 to 3:06 AM but your name did not come up. I took photos of several of those that did come up then, but alas, the time must have been wrong. Back to bed now."
This was the one Russell that did appear in that time period but it wasn't me. No fireworks either. I quadruple checked the time difference too. Thanks for trying, Mom!
Thursday, January 27, 2011
Wednesday, January 26, 2011
Excerpt from Adam's website:
"...one night in a dream that even by my standards was pretty unusual and worthy of professional analysis. In it, a young and hipsterish homeless guy asked if he could live with me. Without a pause I replied- sorry, I have no room. He then countered by explaining that he was like a cat and I would never even notice him. Somehow, this extremely week rebuttal must have convinced me because I let him stay. I attribute my doppelgangers inability to stick to his guns to the prior conditioning that took place in real life over my summer stint in Spain. Sure enough, within minutes of becoming my roommate, the guy started crawling around on all fours, meowing, and spent the majority of his days living under my bed. We got a long for what seemed like a long time under the conditions of this arrangement, but all that changed one day when he started barking like a dog. I promptly told him that our roommate situation was not working any longer, that I could handle living with a cat but not a dog. I told him that he had to go, but before doing so, would need to make a public announcement as to what was going on in my house. Apparently, I lived a life in the public eye and was very concerned about the damaging potential of false rumors that might begin floating around regarding our living arrangement. He kindly agreed and later that day announced to the Associated Press that although we lived together, our relationship was a strictly platonic roommate arrangement that came to an end simply because he could no longer live as a cat when he knew that deep down, he was really a dog."
Tuesday, January 25, 2011
I thought this would be a good idea at the time since John Baldessari's artwork might as well be my theme song for the semester. For the Sydney Art Festival, he is creating a piece entitled Your Name in Lights. From the website:
"Your Name in Lights reflects the changing cult of celebrity in modern society and recalls Andy Warhol's prediction that in the future everyone will have their 15 minutes of fame. Drawing on imagery from Broadway theatre displays and Hollywood films, this ambitious new work will involve more than 100,000 participants."
Alas, my scheduled time for 15 seconds of fame is way too early to view on the webcam in Indiana - it is Friday 28th January 2011 at 5:04:40 AM Eastern time. It will be 9:04 PM in Sydney so at least it will be dark when it is viewed. Perhaps it will look something like this minus the fireworks.
Register here if you are interested.
Sunday, January 23, 2011
Francis Bacon's Studio, 1992
Robert Rauschenberg in his studio, 1953
Donald Judd's Studio, Chinati Foundation, Marfa, Texas
Nick Cave's Studio with Assistants
Willem de Kooning in his studio, 1989
Allan McCollum, 1989
Bruce Nauman, On Mapping the Studio, 2001
James Luckett's studio #3N, 2010
Although this video makes me ill with the handheld camera movement, here's Alec Soth's studio.
The studio where I grew up that encompasses most things I think of when I dream of my own space: scale, light, the couch and chair, drafting table, sink, and oddly enough, the pencil sharpener (which i now own). Thinking heavily about the feasibility of getting my own studio outside the spare bedroom these days.
Saturday, January 22, 2011
Portlandia: Portland Dream of the '90s - Portlandia - Series - On Air - IFC.com
Thanks to my friend Renee, I am now hooked on Portlandia. All stereotypes are officially covered in my former home of Stumptown where "the tattoo ink never runs dry." As a lover of most things birds, the clip from the above photograph is particularly humorous.
The recent review in the New York Times indicated that this show might have a limited audience which might be true. I'll enjoy the six episodes while I can trying hard not to envision Fred Armisen as Barack Obama and Carrie Brownstein in Sleater-Kinney's very last show at the Crystal Ballroom in August 2006.
Thursday, January 20, 2011
Hmmm... new snow accumulation, no school Friday, Kool-Aid in the cupboard.... snow cakes tomorrow?
Karen Laval, Untitled #1 (Norway), 2003-2004
Scott Peterman, Papoose, 2003
Thomas Flechtner, Passes #51, 2001
Amy Blakemore, Dog in Snow, 2003
David Hockney, Gregory Watching the Snow Fall, Kyoto, 1983
Alexis Pike, Snow Pile from Claimed: Landscape
Olafur Eliasson, Your Waste of Time, 2006
"Several blocks of ice from Vatnajökull, the largest glacier in Iceland, were removed from the glacial lake Jökulsarion ... Part of the ice is thought to have been formed around AD 1200. Weighing 6 tons in all, the blocks were transported to a Berlin gallery where they were exhibited in a refrigerated space." Via.
Dennis Oppenheim, Annual Rings, 1968
Joseph O. Holmes, The Urban Wilderness
Wilson "Snowflake Bentley: "Fascinated by the snow crystals and their composition this man was the first person to successfully produce a photograph of snow or ice crystals. He did this by magnifying the crystals he gathered at 69 to 3,000 times on glass plates...He attached bellows to the microscope, along with wood splints, turkey feathers and a black board. Through the images he captured he discovered that every ice crystal is unique and grows symmetrically in a 6-sided hexagon around a tiny nucleus." Via.
Bruce Davidson, Winter in Paris
Paula McCartney encore
Robert Smithson's Spiral Jetty by Greg Lindquist
James Turrell, Roden Crater with Snow, nd