tom moody

tom moody's weblog
(2001 - 2007) (2004 - )

2001-2007 archive

main site


digital media tree (or "home" below)

RSS / validator

BLOG in gallery / AFC / artCal / furtherfield on BLOG

room sized animated GIFs / pics

geeks in the gallery / 2 / 3

fuzzy logic

and/or gallery / pics / 2

rhizome interview / illustrated

ny arts interview / illustrated

visit my cubicle

blogging & the arts panel

my dorkbot talk / notes

infinite fill show




coalition casualties

civilian casualties

iraq today / older

mccain defends bush's iraq strategy

eyebeam reBlog


tyndall report

aron namenwirth

bloggy / artCal

james wagner

what really happened


cory arcangel / at

juan cole

a a attanasio

three rivers online

unknown news



edward b. rackley

travelers diagram at

atomic cinema


cpb::softinfo :: blog


paper rad / info

nastynets now

the memory hole

de palma a la mod

aaron in japan


chris ashley




9/11 timeline

tedg on film

art is for the people


jim woodring

stephen hendee

steve gilliard

mellon writes again


adrien75 / 757


WFMU's Beware of the Blog

travis hallenbeck

paul slocum

guthrie lonergan / at

tom moody

View current page
...more recent posts

I like the gallery Foxy Production but it bugs me that they're giving the members of the collective Paper Rad solo shows. It's like saying "Collectives are cool! OK, now let's get back to the valorization of individual geniuses which is what we know and can sell."

The Paper Rad installation at Pace was amazing. They really rose to the occasion. It's better and stronger than anything we've seen from them individually. Their triangular box installation was minimal but the exterior "painted mural" image with Bart Simpson, and the wall-to-wall video projected on the inside of the box were maximal--it was a perfect balance, very thought out.

Jacob Ciocci's recent solo was good, but on the whole I'm more interested in his (and Paper Rad's) video than the physical work. The video *is* radical, but the objects strike me as standard outsider moves (dolls, thrift store items, accumulations of more detail than the eye can take in...)

Which is not to say I didn't find a lot of compelling things to look at in Ciocci's show. I guess the problem is you want so-called cutting edge work to show you things you haven't seen. The "boy's bedroom" with chock-a-block tchotchkes on the walls we've seen. It's a more psychedelic version of a piece like Ed Kienholz's The Beanery--a claustrophobic enclosed room full of "stuff." The video in Ciocci's bedroom was great; I wanted to move all the stuff out of the way so I could see it.

The video murals in the Pace show were something new. Imagine a giant Rauschenberg or Polke painting with all the layered elements *moving*, each independently of the other. The subject isn't some rarified art substance but the worst and silliest pop culture trash--cheesy animated GIFs downloaded off the internet merging and morphing with abstract Flash patterns and found photographs in a constantly changing allover field: dozens of moving and overlapping Hannah Hoch style collages bubbling in and outside your field of vision. Similar things are going on in Ciocci's physical work, but there's something about forcing it onto a rectangular, pixeled 2-D field that tightens it up, makes the familiar strategies seem unfamiliar. With the objects you are weighted down with all the history of those objects.

Also, it's possible that this collective actually works a collective.

- tom moody 2-13-2006 6:54 am [link] [5 comments]