Schwarz
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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
photoshopping around katie
blank generation
what kind of pickle are you?
giant dinosaur bone and zombie garden sculpture
via zars
supertherm ceramic insulating paint
eat flaming death fascist media pigs!
>>pop<<
"If You Push Somethinig Hard Enough, It Will Fall Over."
from the new york times
Even before the storm, New Orleans’s economic ship was powered not by a couple of whales, but by a school of minnows. The city estimates that 95 percent of the 22,000 businesses here before Hurricane Katrina employed fewer than 100 workers (fewer than 25, in most cases). These included not just shops, but also the artists and manufacturers and wholesalers that supplied them, and the accountants and lawyers and cleaning companies that served them.
About 60 percent of the businesses within the city limits have probably not reopened, according to a recent study by Louisiana State University, which tried to call about 8,500 of the 10,000 businesses registered with the state. At about 5,000 of the businesses, the phone had been disconnected or was not answered after five calls.
Long term, more than 40 percent of those businesses are likely to disappear, said Timothy P. Ryan, an economist who is chancellor of the University of New Orleans. As residents return and the city rebuilds, new businesses will eventually open, but Dr. Ryan predicted that they would not be the same kind of businesses as their predecessors. “Many of them may be in Sheetrocking,” he said.
walker evans approximately
A PHOTOGRAPHER snaps a picture. If it’s a camera with film, a negative is made; if it’s a digital camera, a file is produced. A printer, in a dark room using chemicals, or at a computer screen, can tinker with the image, crop it, enlarge it, make it lighter or darker, highlight one part or obscure another.
In other words, the image produced by the camera, whether it’s a negative or a digital file, is only the matrix for the work of art. It is not the work itself, although if the photographer is a journalist, any hanky-panky in the printing process comes at the potential cost of the picture’s integrity. Digital technology has not introduced manipulation into this universe; it has only multiplied the opportunities for mischief.
I dawdle over this familiar ground because the digitally produced prints of classic Walker Evans photographs, now at the UBS Art Gallery, are so seductive and luxurious — velvety, full of rich detail, poster-size in a few cases and generally cinematic — that they raise some basic issues about the nature of photography.
Curators Bob Bailey and Peter McMahon have put together a sleek, handsome show that follows the rise and fall of the functional geometries of modernist houses in Provincetown, Truro, and Wellfleet. Photos in color and black-and-white and models made by Ben Stracco portray simply built summer homes with broad planes, angular outlines, and modest materials that echo and update the Cape's vernacular saltbox houses. Squatting low among the scrubby pines or projecting like an extended balcony over the dunes, these buildings harmonize with the landscape, providing still focal points around which the constant shift and swing of nature pivot.
Jack Phillips , a Bostonian and follower of Walter Gropius who owned a lot of acreage in Truro and Wellfleet, invited intellectuals from MIT and Harvard to come and make use of the land in the early 1940s. Architects such as Marcel Breuer , Serge Chermayeff, and Paul Weidlinger took their cues from Bauhaus design, Frank Lloyd Wright, and Le Corbusier.