...more recent posts
Factory speedfreak Brigid Berlin gets her own documentary, now playing at the Film Forum. It must be included in the films press release because both the NYT and VV pointed out how early on she developed and created art aplications for tape recorder and Polaroid camera (concepts Warhol would pick up and run away with).
Wilson A. Bently [1865 - 1931] Vermont farmer
photographed snowflakes in the field on pieces of velvet
Old friend Laura Nash is in a photography show. Let's see if I've got it straight: the show is through one gallery, but actually at another one; it's already up, but the opening is this Friday 4/27. The gallery page displays poorly on my system, but if you work at it, you can see some nice images from the intersection of nature and culture.
section : aRTiFaX
subseciton : PoRnAdO
I'm realy hoping pornado takes off. Maybe Samoa would guest dj.
I find this perverted little mag by young canadian junkies for free @ OM. vice
1/14 - 5/6 2001
"Contemporary Japanese art often makes graphics, sculptures, and even pornographic animation look 2-D. 19 artists-including Hitoshi Tomizawa, whose Milk Closet animates flat squares into girl's faces - reveal that flat doesn't mean dull."
Los Angeles Museum of Contemporary Art
In local news, Steve Parrino opens at Team Gallery on Thursday 4/19, and Lisa Beck is in a group show currently at Feature (no link yet).
Steve DiBenedetto makes splendidly gnarly, infernally incandescent paintings. The six medium- size, semiabstract canvases in this excellent show may be appreciated purely as rich essays in painterly improvisation.
Brushing, troweling, scraping, scumbling and gouging, the artist creates topographies of nonstop tactile and chromatic intrigue. Areas of thick, striated impasto border on sections of translucent color; patterns of woven or braided lines incised into the paint are irradiated by crepuscular light. In places, fine doodling looks like the work of an obsessive madman, while other areas suggest a formalist experimentalism like that of Terry Winters or Thomas Nozkowski.
Emerging to varying degrees of visibility are Ferris wheels, helicopters and octopuses. A Jungian analyst might view these round, spoked images as mandala-form archetypes of wholeness and unity. The first two, however, are manmade, mechanical objects — emblems of rational, Apollonian order wrested from the Dionysian depths where the octopus lives. The last, a sinuous, luxuriantly painted beast, clings to a web of brown lines against a background like hot, yellow sunlight in "Psychoptor." In "The Greedy Hippie," mudslides of murky doodling engulf from above and below a luminous, rainbow- hued Ferris wheel.
The id and the intellect, then: the octopus gives Mr. DiBenedetto's painting its sensuous, instinctual flow; the Ferris wheel its playful formal wit.
Our friend Ruth Root has a show opening tonight at Andrew Kreps gallery 518 West 20th Street.
La revue art-language
Art & Language Press a été fondé à Coventry en Angleterre, en novembre 1968 par Terry Atkinson, David Bainbridge, Michael Baldwin et Harold Hurrell. Le premier numéro de la revue est auto publié en mai
1969. Il comprend la participation de Sol Lewitt, Dan Graham et Lawrence Weiner.
De 1969 à 1985 : la revue est composée de cinq volumes chacun de 4 numéros sauf pour le dernier (trois) . Une nouvelle série d'art-language est publiée depuis 1994.
La revue fonde l'identité d'Art & language par de là les conflits individuels.
Elle rend compte d'un principe initial et initié pendant environ 25 ans, l'autocritique. Il en découle rétrospectivement une logique de déploiement.
Le champ référentiel est la philosophie analytique.
La relation entre l'art et la théorie. Qu'est ce qu'un objet théorique ? qu'est ce qu'une méta théorie ? Qu'est ce qu'une pratique de second type ?.
Zap Splitz Story
Hey, isn't someone supposed to be keeping track? This has been going on for a month, but I had to see it listed in the New Yorker. It's a Paul Laffoley mini-retrospective, and it's up until April 21st. A must for all independent visionaries.
"I photographed every door or drawer knob, handle, or latch I touched from the time I awoke on Thursday, June 3rd. until I went to bed on Friday, June 4th"