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the boxing mirror
john zorn: genius grant
its in alphabetical order so youll have to scroll (but you knew that). the summer of the first year i moved to new york city (82?) i saw zorn perform several times. he was using (playing) various duck-calls blown in to a shallow bowl of water seated at a card table. GENIUS!! seriously.
the next year we started an east village gallery at 104 e10th st. i comissioned a show called "works in concrete" that was devoted to visual writing or concrete poetry work on paper. it included a whole bunch of people related to the local avant garde film scene. some nyu film students we knew took classes with abigail child whos extended crowd included word and concrete poets henry hill, chas burnstein, etc. also zorn, who was a fave for film soundtrack purposes. we included a bunch of his xerox street advert show flyers done in the ransom note cut and paste stye. Genius!
1) didnt we determine mr hirst intentionally botched the pickling process to make it rot on purpose a la' "bad boy"?
2) did we know about saatchis skinning and stuff job?
3) hirst the richest man in the uk?
But as a result of inadequate preservation efforts, time was not kind to the original, which slowly decomposed until its form changed, its skin grew deeply wrinkled, and the solution in the tank turned murky. (It didn’t help that the Saatchi Gallery added bleach to the solution, hastening the decay, staff members at Mr. Hirst’s studio said.) In 1993 Mr. Saatchi’s curators finally had the shark skinned and stretched the skin over a fiberglass mold.
“It didn’t look as frightening,’’ Mr. Hirst recalled. “You could tell it wasn’t real. It had no weight.’’
[...]
Mr. Hirst acknowledges that once the shark is replaced, art historians will argue that the piece cannot be considered the same artwork. “It’s a big dilemma,’’ he said. “Artists and conservators have different opinions about what’s important: the original artwork or the original intention. I come from a Conceptual art background, so I think it should be the intention. It’s the same piece. But the jury will be out for a long time to come.’’
teenage bob dylan tape surfaces with three songs
screwed in jersey city
After an arduous 21-month journey, the Mars rover Opportunity edged close enough to the rim of a large crater yesterday to send back its first photos of the bottom and rocky sides of the dramatic site. What they showed left researchers increasingly confident that their robotic explorer had reached a scientific gold mine that will dramatically increase their understanding of the planet's history.
NASA scientists said the rover came within about 15 feet of Victoria Crater's rim and was scheduled to climb over a small sand dune last night and stop right at the crater's edge.
pushpullbar2
is where i found this container house thread and this yellowstone river cabin thread.
Designer Ross Stevens needed a place to stay when he was working in the city, and came up with a site backed up to a sheer rock face that seemed impossible to build on. He stacked a couple of old shipping containers against the rock and his vision began to take shape. Now he has a stunning modern home featuring a designer look complete with a 40-foot waterfall, all on a shoestring budget.
from the fab prefab container bay message board
hows your bird?
did not reach minimum on this group of neptune crossing images
under-sink dishwasher
At the beginning of the 20th century, Black Tom was an island converted into a mile-long pier built on landfill that connected the area with the rest of Jersey City.
Its position, and the design of the courtyard itself, emerged from several days that Mr. Ando and Mr. Serra spent working together on a model of the building. But their accounts of that experience differ. Mr. Ando recalls that “we discussed the design of the architecture thoroughly together, without any compromising.”
Mr. Serra said: “I was able to tell Ando and prevail in terms of the kind of site that I needed, the kind of wall, the height of the wall I wanted, the design of the wall, the space I wanted, the kind of ground I wanted, where I wanted the windows, the length of the windows and the height of the elevation of the steps.” He added, “It was a real give and take.”
Whatever the case, Mr. Sugimoto was captivated, and he photographed the sculpture at dawn and at dusk for five days. “It was amazing,” he said. “Even though it was a small structure, if I moved just a few inches, the composition changed. I could come up with a hundred different compositions easily.”
Mr. Sugimoto gave the photographs serial numbers from his architecture series, and glimpses of Mr. Ando’s building are sometimes visible in the background. “But for some reason the sculpture dominated,” Mr. Sugimoto said. “In this case I think Ando lost and Serra wins. The sculpture looks more architectural to me than the architecture, so what’s the difference?”
Mr. Serra first saw the photographs of his work in the winter of 2004, at a private viewing at Mr. Sugimoto’s studio arranged by the Pulitzer Foundation. Mrs. Pulitzer and Matthias Waschek, the foundation’s director, had begun to plan a book of Mr. Sugimoto’s photographs and wanted Mr. Serra’s blessing if not his collaboration.
Accompanied by his wife, Clara, Mr. Serra began selecting photographs that he found “of interest” and arranged them in different sequences. But, Mr. Waschek recalled, he just as quickly backed off.
Mr. Serra said: “It’s his work, it’s not my work. It’s his idea of how to translate my sculpture into his work, it’s not my idea of how to translate my sculpture into his work, or how to translate my sculpture into photography, which I don’t do anyway.”
Mr. Serra did suggest a writer for the text to accompany the photographs in the book: Susan Sontag. “I wanted her to look at the photographs and look at the sculpture, and write something in relationship to the idea of photography in relation to sculpture in relation to architecture in relation to photography,” he said.
Mr. Sugimoto and Ms. Sontag were also friends, and she visited the Pulitzer Foundation. Because of her declining health, however, she was unable to write anything. She died in December 2004.
Mr. Sugimoto meanwhile had already asked Mr. Foer, whom he had met years earlier, to write the text. On his first visit to Mr. Sugimoto’s studio, Mr. Foer brought a copy of the book “A Convergence of Birds,” which he had edited, an anthology of original poetry and fiction inspired by the small dioramas of Joseph Cornell, and they had talked for hours.
“That was a major problem for me,” Mr. Sugimoto said, “Serra’s side pushing me to kick Jonathan out, and asking Susan Sontag to step in.”
Mr. Foer — who said that Mr. Sugimoto’s photography “makes me want to write a novel” — was eager to avoid any acrimony. “I would have chosen her over me,” he said.
Mrs. Pulitzer preferred not to have a critical text. “Our building has been described as a gesamtkunstwerk, and that’s what we hoped to create with the book: a kind of parallel creation, where the book itself, the photographs and the text were all works of art that reinforced each other.”
Later in 2004, Takaaki Matsumoto, a graphic designer in New York who specializes in fine art books and who has designed nearly all of Mr. Sugimoto’s books since the early 1990’s, began creating a sequence of the photographs. Mr. Foer began writing his prose poem, which loosely follows a man named Joe through his life, including falling in love with his wife, the birth of his child and his old age. The text corresponds to specific photographs, although the connections can be elusive, and the chronology is elliptical.
By contrast to the style of his novels, Mr. Foer’s language is spare, in response to the abstraction and minimalism of the photographs. “I wouldn’t have written that on my own, and I wouldn’t have written that for somebody else’s photographs or for other photographs of Hiroshi’s,” he explained.
Mr. Sugimoto traces that spareness to the lack of any human presence in his photographs, pointing especially to the appearance in the poem of a dog whose owner was mute, and who “never heard its name, so it didn’t have a name.” Many of the photographs were taken from a very low angle — a dog’s eye view, he said.
But Mr. Serra was less pleased with the text. He takes umbrage at the character’s being called Joe.
“Even though it’s supposed to be fictional, the guy is called Joe, and the sculpture is called Joe,” he said. “And the sculpture evolves out of the personal relationship over a 30-year period with somebody who is a close friend. And then we’re supposed to glean some understanding of who the man was or what the sculpture was? It evaded me.”
Mr. Foer never met Mr. Pulitzer, and he deliberately avoided going to St. Louis to see Mr. Serra’s sculpture. The journey “would have been belittling to the photographs,” he said. “The idea of having to see something in the flesh is in a way to demean them. The photographs are the flesh. They are the real thing.”
Mr. Serra disagrees, in a way. “I always think that photography in its essence robs something from sculpture,” he said. Sometimes, he allows, the interaction can be fruitful, but only if the artworks are seen as a series of responses rather than collaboration, a one-way conversation.
Based on the concept of a sponge, Holl’s brainchild attempts to reproduce the “porosity” of the marine body on a grand scale. Accordingly, his design includes five imposing openings that serve as main entrances, view corridors, and outdoor activity terraces. Other openings act as the building’s “lungs,” “bringing natural light in and moving air up.” These lungs include spacious common lounges that are specifically designed to encourage human interaction and, according to author Yehuda Safran, transform the building into “a social condenser in the true sense of the term.” The building’s surface is also saturated with windows, which accentuate the sponge motif.
The CCA’s exhibit is unique in its representation of Holl’s structure. Though glossy photographs of the building are printed on the museum walls, the CCA does not replicate the pompous, technical depictions presented in architecture magazines, which lavish Holl’s award-winning project with praise.
Instead, “Inside the Sponge” presents the residence from an insider’s perspective, provoking a somewhat anomalous response: laughter. A slew of student films and folders filled with accounts of pranks, comic strips from MIT’s student newspaper The Tech, and pictures of students’ favourite hide-outs show visitors that the avant-garde building remains, after all, an undergraduate dorm. And while the materials exposed in the solitary exhibition room – a baffling hodgepodge of binders and Simmons memorabilia – are limited in scope, the CCA offers an accessible gaze at the expensive building of an elite institution: a commendable exercise in demythification.
While critics questioned the conceptual unity of the building, “Inside the Sponge” reveals that students were busy shooting film clips, which ended with tongue-in-cheek equations such as “number of windows in Simmons Hall = 5.538 x 103 = a lot of little curtains.” Reflecting on the porosity of the building, a student in a lab coat who presents himself as Prof. Dan says, “Everywhere they can see outside, they can hear outside, but they can’t get outside…except through this door.” As a commentary on the project’s price tag, (a hefty $120-million, making it the most expensive residence hall ever built in the United States), Prof. Dan directs the viewer’s attention to “this amorphous blob of building’s ceilings,” telling us to observe them carefully as we are, after all, witnessing “several million dollars of ceiling.”
The description of student pranks is probably the most entertaining feature of the exhibit. The story of the “hack” who hung a banner onto the roof “adorned with [Simmon Hall’s] affectionate nickname ‘Waffle House’” is particularly amusing – as is the anecdote about a fleet of yellow rubber duckies’ sporadic nocturnal invasion of Dan Graham’s Yin Yang art installation pavilion.
is art a cat, dog or gym coach?
Art is often political when it doesn't seem political and not political when that's all it seems to be. Neither Andy Warhol nor Donald Judd made overtly political art. Yet both changed the way the world looks and the way we look at the world. That's because art creates new thought structures. Imagine all the thought structures that either would have never existed or gone undiscovered had all of Shakespeare been lost. Art does far more than only meet the eye. It is part of the biota of the world. It exists within a holistic system.
Those neo-Cartesians are aholistic. They are art world fundamentalists who fervently believe in their one theory and quote the same 17 texts by the same 17 authors (almost all of whom they have only read in translation) to repeatedly prove the same points. It's time for them to turn the page, clear out or concede that all art is a theory about the way art should look and that every painting ever made comments on and is a theory about all the paintings ever made. As Darwin said, "It's not the survival of the strongest or the most intelligent; it's the ones most adaptable to change."
The closest I've come to getting a handle on all this is something painter Eric Fischl has talked about. Imagine calling two pets, one a dog, the other a cat. Asking a dog to do something is an amazing experience. You say, "Come here, Fido," and Fido looks up, pads over, puts his head in your lap and wags his tail. You've had a direct communication with another species; you and Fido are sharing a common, fairly literal language. Now imagine saying, "Come here, Snowflake" to the cat. Snowflake might glance over, walk to a nearby table, rub it, lie down and look at you. There's nothing direct about this. Yet something gigantic and very much like art has happened. The cat has placed a third object between you and itself. In order to understand the cat you have to be able to grasp this nonlinear, indirect, holistic, circuitous communication. In short, art is a cat.
petit barn / i resisted but the inverted 18th-c empty gin bottle transom finally got me.
Steven McDonald of Redd Kross will stop by The Cherry Blossom Clinic (91.1 wfmu) this Saturday at 3 PM to spin some records and share some tales from his band's long and storied career. He'll be town with the rest of the famed psych/power-pop/glam/punk/bubblegum group's "Neurotica"-era lineup for some live dates. Sure to be a blast!
ric burns andy warhol / tonight and tomorrow night on 13 - doesnt promise to be the ultimate take on AW ~ but we will give it a try
t moody
'Real estate is being marketed like fashion," an excitable young bedroom broker to the rich and famous told me in the back of his stretch limo. "Architects are the new couturiers." New New Yorkers—bankers, fund managers, moneyed elite—don't just want the right geographic address. They want the social comforts and personal confirmation that they're on Style Street. "Your home should say something about you." Loudly and in a foreign accent, presumably.
DESIGNHabitat is an on-going partnership between Auburn University's School of Architecture and the Alabama Association of Habitat Affiliates (AAHA) focused on developing innovative design strategies for Habitat homes grounded in an understanding of the culture and climate of Alabama.
With Palm Harbor Homes as a building partner, the project explores alternative approaches to the design and construction of Habitat homes to include factory-based, modular construction technologies. The program also seeks to broaden the dialogue within Habitat regarding energy performance and resource conservation.
The project commenced in the fall of 2005 as students were instructed to design an 1100 square foot, 3 bedroom, 1.5 bathroom home using modular construction techniques. A team of industry professionals selected one design for the build phase of the project. In the spring semester of 2006, the students built the selected home to be sold to an area family through Habitat for Humanity.
The selected design pairs two factory built modules set parallel to one another and joined by a single site-constructed space. The 3 bedroom, 1 bathroom design makes excellent use of its 1040 square feet of living space. The site built center section creates an open plan with cross ventilation from the west to the east, reducing energy costs for the homeowner.
Palm Harbor's ability to deliver a nearly finished home is very attractive in rural environments where Habitat's volunteer pool is small. Manufactured homes are built to 80% completion in a protected building center by professional homebuilders. As a result, manufactured housing increases the quality of Habitat's finished product. Volunteers help in the set up and finishing of the home at the home site. Using manufactured housing also allows Habitat to build more homes in less time.
Palm Harbor Homes also partnered with Habitat for Humanity for their HomeBuilder's Blitz.2006 project.
Rogue's Gallery: Pirate Ballads, Sea Songs, and Chanteys
"Lower East Side is labeled 'Ghetto'." Christ, how did we miss that?
reengineering the mississippis exit strategy
won this group of race drinking images
out bid on these 9 drinking ladies images
10 stupidest utopias
lenny kaye says good-bye to cbgb omfug
"I'll keep this board up for a while, but I'm locking it for new posts. "wfmu is a listener sponsored (and i would contend the best anywhere) fm and internet freeform radio station. that means that 100% of their operating budget comes from listeners. either by direct pledges durring their annual fundraising drive or in the form of support of their special events including their annual record fair. seven years ago they launched a message board in connection to the website. it served as an interface between some of the staff who contributed with postings and comments and the listeners postings and comments. some of the threads went into hundreds of comments providing interesting discussions of station, music and non station related subjects. many enlightning topics were worked through in this fashion. it was an incredible resource. it did however reveal in various ways a top heavy tendency to over steer and over control. seemingly innocuous posts and comments were wiped. large sections of archived threads were lost. an unmistakable aura of managerial contempt ensued. links to the message board on the stations main web-page were mysteriously removed at the same time their beware of the blog was launched soon participation on the board would dwindle to a couple of dozen. that handful persevered through an onslaught of spam. management refused to delegate to any non-administrative weekend spam monitor. pages of spam would stack up. still a few hung in there. these decisions all came from station manager ken who recently gave us some hope that he would begin to make an attempt to get the situation on track. today the board was sunk (posts and comments frozen) by ken who appears to believe that the blog and board cannot coexist. as with most blogs they pull in a few comments but not the serious interactive listener participation that is more natural on message boards. so fuck you back to ken for tanking an awesome board wether for the reason given or otherwise. fuck you back because you and your control issues are a slap in the face of the listenership of this listener sponsored station. fuck you very much. a few of us wont forget the dis!
sending out a personal message of respect for the fdny today
“They could have gotten Larry out,” Mr. Betts said. It would have meant writing a check, Mr. Zuccotti said, but it could have been done. Robert D. Yaro, president of the Regional Plan Association, said the mayor and the governor “could have gotten in a room with Larry Silverstein and said, ‘You’re out of here.’ ”
But Mr. Yaro said the Port Authority had multiple motivations for retaining the Silverstein lease. “They saw it as their key to hanging on to the site,” he said. “They were afraid of losing control to the city or the state.”
Further, the Port Authority was counting on Mr. Silverstein’s aggressive pursuit of insurance proceeds as well as the more than $100 million a year in rent that the Port Authority depended on to keep its overall operation flush.
“I don’t think that should shock anybody,” Mr. Ringler said. “The World Trade Center was a moneymaker for this agency so that this agency, who pools its resources, can do all the other things we have to do.”
The World Trade Center site has been an even better moneymaker since Sept. 11, however, primarily because the attack coincided with the sale of the lease to Mr. Silverstein. While the Port Authority reported an average annual net income of $22 million on the complex in the five years before Sept. 11, it reported an average annual net income of $106 million on the empty site in the five years after.
“When you look at how much more profit we made,” Anthony R. Coscia, the authority’s chairman, said, “all it represents is monetizing an asset we sold before Sept. 11,” that is, turning the buildings into cash.
Being offered in this auction are 7 early 1900's photographs of an Initiation Ceremony held on board a U.S. Navy Ship by "KING NEPTUNE AND HIS COURT'" as they crossed the International Dateline (the Equator). King Neptune's Initiation Ceremony has long been a tradition in the U.S. and British Navy's. This ceremony was done to initiate first timers crossing the equator and involved many different forms of harassment some rather humiliating. King Neptune's Court consisted of King Neptune, his First Assistant, Davy Jones, Amphitrite, Shellbacks and Pollywogs (sailors who being initiated.) The photographs are all mounted on boards resembling cabinet cards but the photographs are all amateur. The contrast is good and for the most part they are very sharp. The photographs are not identified in anyway, the names of the sailors , the name of the ship or dates that the initiation took place are shown. However the photographs do graphically illustrate and ceremony I have often heard about but had never seen actual photos of which I assume is the same for most people. For any photograph collectors these would be extremely interesting and a valuable addition to their collection. PHOTO 1 King Newptune, Davy Jones, Amphitrite and other assistants all in costumes symbolizing their positions in the court. Photo 2 Shows two of the shellbacks pouring a drink down the throat of a Pollywog. Photo 3. Shows Amphitrite and a Shellback applying some sort of substance to a Pollywogs head. Photo 4 Large group of sailors looking on as King Neptune's helpers dump Pollywogs into a pool of water formed by a canvass spread over a hatch. Photo 5 King Neptune and his Assistants are shown dumping a Pollywog who is sitting on a barrel into the pool of water. Photo 6 Shows group of Pollywogs jumping around in the pool of water. Photo 7 Shows what appears to be the Pollywogs grabbing the members of King Neptune's Court and dunking them in the pool with them. Not shown but if you wish to see a scan of it please email us.
untitled work gets no respect.
at auction: 3 vondutch striped Semie Mosely custom guitars built for, owned by and used by the strawberry alarmclock
zars
from a set of 22 photo pieces i sent out for documentation by artist and photographer tom waren. shot with a digital (canon eos 20d with a zoom lens) camera at 240 dpi bumped to 300 for printing and to be reduced to 72 dpi for thumbnails. soon to be loaded into my art page for virtual studio.
Kristen Breitweiser, A Letter to Ann Coulter 09.06.2006
Nonconspiracy theorist David Ray Griffin takes aim at the official 9/11 story
hat tip mark
"Absolutely not," Connally said. "I do not, for one second, believe the conclusions of the Warren Commission."
"So why not speak out?" Thompson asked.
"I will never speak out publicly about what I believe," Connally replied, "because I love this country and we needed closure at the time."
Now here we are more than 40 years after that devastating perpetration and we have to wonder, how well did "closure" serve us? As we see daily the fruits of self-serving secrecy and unchecked power, it might be time for some disclosure instead.
some more wtc building plans unveiled : this is what its supposed to look like
the american institute of architects new york chapter - eOculus - 09.06.06 SPECIAL ISSUE: One Year Since Hurricane Katrina—Gulf Coast Issue
at galapagos 9/10, 17, 24 (all sunday evenings)
Counter Cultural provocateur Genesis POrridge and her reactivated Psychic TV aka “PTV3” will be releasing Hell Is Invisible, Heaven is Her/e, executive produced by Edward ODowd, Baba Larraji and P-Orridge. It's the first new studio album from PTV3/Psychic TV since 1995’s Trip Reset, Hell Is Invisible. PTV3 comprises of Markus “Fabulous” Persson on keyboards, drummer Morrison Edley aka Edward ODowd (also of Toilet Boys), guitarist David Maxxx (developing from The Tadpoles), Alice Genese on bass guitar and vocals (formally of Pretty Boys), Retinal Stimulation Video programming for live "gigs" and other elements of the PTV3 project is by Nicolas Jenkins (Sterile Cowboys Productions) in association with Genesis (for Porridge With Everything Inc.), Lady Jaye Breyer P-Orridge on sampling keyboards (also of Thee Majesty) and Genesis Breyer P-Orridge - lead voices, noise bass guitar, electric violin (also of Throbbing Gristle and Thee Majesty). While Hell Is Invisible, Heaven is Her/e is the first recording by PTV3. Special guests were invited to add finishing flourishes: the Yeah Yeah Yeahs’ Nick Zinner contributes his distinctive guitar playing to “In Thee Body” and G 1 H “Maximum Swing,” the Butthole Surfers’ Gibby Haynes adds vocals to “Maximum Swing” and "I Don’t Think So," and renowned author Douglas Rushkoff -- the original keyboardist of PTV3 -- plays on “Lies And Then.”listening to his interview live on wfmu 91.1 w/ fabio right now. (s)he advises that one night gibby will guest on a request cover song. gibby requested a thirteenth floor elevators song, didnt say which one. ill post a link to the archive when its over. there are other guests w/ other request cover songs.
Pandrogeny is the core philosophical system of PTV3, deeply coloring the lyrics, CD packaging graphics and live video projections. The aim of Pandrogeny is to celebrate
similarities in humans rather than be at the mercy of fear of differences as the only viable path to a unified evolution of the human species. From human to humane, where the “E” stands for evolution. Change is in and of itself always preferable to inertia. To that end s/he and her other half Lady Jaye have simultaneously got identical breast implants on Valentines Day 2003 and subsequently Lady Jaye has got a chin implant, eye surgery, silicon in lips, nose surgery, coloured contact lenses to match Genesis' color. Genesis has had cheek implants, silicon in lips, facial tattoos match Lady Jaye’s beauty marks, larger breast implants (38 "D"), various facial surgeries, liposuction at the waist. Their end is to create a hermaphroditic entity called Breyer P-Orridge.
modern times - not just a 70 year old chaplin flic
new this year / texas state fair food: fried coca-cola on a stick
43-man squamish
The People of the State of New York v. Lenny Bruce was the case that killed him — that, and the heroin. It was prosecuted by Frank Hogan, who also went after members of the Jewish Mob. Bruce was convicted, or so it seems, for not being funny enough, because the judge didn't "get" his act. The decision called his routine "chaotic, haphazard, and inartful." It's a comedian's worst nightmare: sentenced to prison because he bombed. On appeal, he did his routine for a panel that included future Supreme Court Justice Thurgood Marshall.
The satire boom was ultimately devoured by the forces it helped bring into power: Camelot and the New Frontier. "In terms of its political outlook, certainly," Kercher notes, "most of the satire celebrated throughout American popular culture during the 1950s and early 1960s dovetailed with the cold war liberalism of Adlai Stevenson and John F. Kennedy. Once they began to see themselves as part of the liberal establishment, American satirists yielded their positions as critical outsiders for the sake of becoming court jesters."
Still, Arad and Walker’s design remains at least partially intact. The cultural buildings—a museum by the Norwegian firm Snohetta and a performing-arts building by Frank Gehry—have fared far worse, and may never get built at all. Their nemesis hasn’t been cost or security but the ability of a highly vocal group of victims’ families to force political decisions. The group objected to the fact that the cultural component of Ground Zero was to include the Drawing Center, a respected arts institution that had occasionally shown works that some felt were less than patriotic, and the International Freedom Center, a new venture that planned to tell the story of struggles for liberty in other cultures and other periods, an idea that some objected would dilute the message of the Ground Zero memorial. They urged the Governor to send the Freedom Center and the Drawing Center packing, and the Governor, oblivious of the irony of censoring cultural institutions on a site intended as a monument to freedom, agreed. The Drawing Center has had to look for other quarters, and the Freedom Center has decided to go out of business altogether. Meanwhile, security experts determined that the Freedom Tower should be set atop a base of solid concrete nearly two hundred feet high. It may, sadly, be a necessary precaution, but nineteen nearly windowless stories in a building called the Freedom Tower is hardly a good advertisement for the virtues of an open society.
The turn to abstract painting in order to loosen architectural representation from its restrictive conventions was a brilliant opening, but it produced a problem of its own, for rendering architecture so pictorial, even diagrammatic, also makes it weightless, almost immaterial. Hadid points to this tendency in her own descriptions of the early projects, where she writes, for example, of "floating pieces" of architecture "suspended like planets." (9) How, then, to reground structures that have become so unmoored? This is where her engagement with Constructivism comes into play; in effect Hadid deployed it as a materialist counterweight to the airborne idealism of Malevich and his followers. "The opposition between Malevich's Red Square and [Vladimir] Tatlin's Corner Relief" governed her work from her designs for Koolhaas and Zenghelis in the late '70s (in their fledgling Office for Metropolitan Architecture), designs that strive to hybridize the different languages of Suprematism and Constructivism. (10) Hadid pursued this synthesis in her own office after 1979, especially in The Peak of 1982–83, her winning entry in a Hong Kong competition that first brought her recognition in the architectural community. She describes this cliff-top resort (which was not built) as "a Suprematist geology," a paradoxical phrase that points to the tension between the principles represented by Malevich and Tatlin. (11) Yet it was her very ability to make this opposition generative in architectural terms that advanced Hadid—that positioned her, first, to be included in the landmark "Deconstructivist Architecture" show curated by Mark Wigley and Philip Johnson at the Museum of Modern Art in 1988 and, then, to be tapped as the designer of "The Great Utopia" exhibition at the Guggenheim in 1992–93 (which restaged the old rivalry between Malevich and Tatlin).
mary wells lawrence does braniff
pop artist bulletin: the who sell out
Warhol had a subject so vast that art space is incidental to it. His “Empire” is a masterpiece because it drew a hard line between past and future roles of art, and because this conceptual service is attended—when you witness, if not actively watch, the film—by steady sensations of self-evidence, beauty, and fathomless humor. Modern art had busied itself with adapting traditional creative mediums to unprecedented conditions. Like the minimalists, but with a vision hospitable to all manner of meaning, Warhol collapsed the contemplation of art into the self-conscious experience of existing, moment to moment, in a world where Rembrandts, say, and skyscrapers are just different objects of interest and distraction. What Warhol accomplished remains radical in ways that nothing in “Out of Time” transcends. He inaugurated the apparently incurable syndrome of the “contemporary” as one damned or blessed thing after another.
The best later works in the show completely assimilate Warhol’s lessons to independent ends. These may be modest in character, like Cady Noland’s “The American Trip” (1988), a sculptural installation that somehow evokes a dire moral emergency with steel pipe, American and pirate flags, a blind person’s cane, an oven rack, and metal and leather whatnots. What this has to do with time is unclear, but it feels indelibly timely.
not so secret nyc secret places: a couple of sva guys i know got some summer work in the late '70's doing construction on this studio space for stella. up until recently you could get a glimpse of his latest work in process through the second story window. on 13th street in the ghost shadow of the demolished academy of music aka palladium of 14th st. now nyu dorms.
armleder works on paper '65-'07. note that $150.00 catalog!
i will take this laptop in for repair before the extended warranty expires next month,
i will take this laptop in for repair before the extended warranty expires next month,
i will take this laptop in for repair before the extended warranty expires next month,
i will take this laptop in for repair before the extended warranty expires next month...
that said i bought some time with an external replacement mouse and its almost like new again - clickin like a MFer
working cats
zars again
from the foam desk :
"Bread is a foam, meringues and cappuccinos are also made from foam and seawater produces it continually; so foam is sea sponge and even cork. Sooner or later someone will obviously try and produce foam chairs, leavened like bread and modelled to one’s liking. Why doesn’t Tokujin Yoshioka explain how it’s done?via zars
flw kaufmann house in half life 2
digitalurban blog
via mr bc
pearlescent paint
via zars