Schwarz
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"What to put where? Sherrie Levine would put seventy-five pairs of small shoes, sized for a child but styled for a man, on sale at the Three Mercer Street Store. That she had found them at a California job-lot sale hardly mattered. Artists could work through any economy, the thrift economy too. The money economy proved more difficult. Levine made a series of silhouettes taken from the penny, the quarter, and the new half-dollar coins, painting the presidents so that they faced each other flatly fluorescent on small sheets of graph paper. Happily parodying D.H. Lawrence, she called them Sons and Lovers. Douglas Crimp included them in the group show he curated at Artists Space in the fall of 1977. He called it "Pictures." "Pictures" also announced a twenty-six-second film loop by Jack Goldstein called The Jump, in which he had altered some stock footage so that one saw only a human silhouette filled with a light effect repeatedly run, jump, and dive, piking stylishly off the end of an unseen board into perfect d arkness that, like a psychedelic reflex, swallowed it whole. Crimp highlighted it in his catalogue essay. In hindsight The Jump looks like a pure description of a professional situation."
. . . a resident six year old required to know why I spent so many consecutive evenings at the bench with a film that was not my own. Because I don't understand it, I said, and he answered: 'You're not supposed to *understand* films, you're only supposed to *make* them.' It is as remedy for some such jejune superstition, I suspect, and as prophylaxis against the syndrome of manipulated, insentient valorization which it masks and sustains, that these speculations have been written during the intervening decade.' [1]
Perhaps he is being a bit hard on the boy. But were the superstition in question confined to six-year-olds (a class of individuals known, if nothing else, for their uncanny ability to revise their own blunders) there would be little need for any remedy. Unfortunately, the better part of contemporary discourse on film continues to be afflicted by the unfortunate supposition that those who make films and those who understand them are by nature distinct groups.
--Matt Teichman / Prelude to the Philosophy of Hollis Frampton
its not easy being concrete
"Architecture, being a sensory experience, must be interpreted through a sensory medium."
rip ezra stoller
a selection of images
light impressions
"Don't get me wrong. As a holes-in-the-pockets modernist myself I'm not looking for corks round the brim here. It's just there are things we're not seeing - not because we're stuck in some elsewhere history, but because we refuse to learn from it."
thacher house morongo valley