Art Talk, Earth View: studio mid-feb.

Tuesday, February 10, 2009

studio mid-feb.

Here are some images from my studio right now.

"SWLABR (She walks like a bearded rainbow)"

the great inhaler, Michael Phelps: "I thought I saw an eagle, but it might have been a vulture, I never could decide" (this painting as taken on new significance in the past week +-. in the words of a co-worker's homemade protest shirt, "Leave Michael Phelps Alone!"

Canadian Goose, bird said to have caused the strike of the Laguardia plane headed for Charlotte that went down in the Hudson; part of diptych.

And the sad little plane, part ii, soggy in the river.

I am working on this painting of blinged-out late '80s Tour de Francers Greg Le Monde, et al. for Watts, owner of Friendly Bike.

1 comment:

Anonymous said...: Really into all this. Great concepts.; February 12, 2009 at 5:57 AM

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Notes

"The artistic form, for some, sidesteps this inevitability, for it is publicised by a work. Our persuasion, conversely, is that form only assumes its texture (and only acquires a real existence) when it introduces human interactions. The form of an artwork issues from a negotiation with the intelligible, which is bequeathed to us. Through it, the artist embarks upon a dialogue. The artistic practice thus resides in the invention of relations between consciousness. Each particular artwork is a proposal to live in a shared world, and the work of every artist is a bundle of relations with the world, giving rise to other relations." Bourriaud, Relational Aesthetics
"It is no longer possible to regard the contemporary work as a space to be walked through (the 'owner's tour' is akin to the collector's). It is henceforth presented as a period of time to be lived through, like an opening to unlimited discussion." Bourriaud, Relational Aesthetics
"Learning to inhabit the world in a better way, instead of trying to construct it based on a preconceived idea of historical evolution. Otherwise put, the role of artworks is no longer to form imaginary and utopian realties, but to actually be ways of living and models of action within the existing real, whatever the scale chosen by the artist." Nicholas Bourriaud, Relational Aesthetics
peace, love, calm, friendship, resonance, humming
can my work be meditative and a meditation?
poetry.....................................................utility; are they really two poles? NO!
"You really have to form your own opinions. See what it does for you. I always like the way that there was no subject matter. I always liked it without subject matter because any time you go to look at these amazing things, they never seem to be the same. I once saw a painting in Chicago by de Kooning called excavation, which is sort of brownish. The color isn't too hot, but so much is going on in it, and when I saw it, I swear, I thought it was like the whole universe." John Chamberlin in conversation with Klaus Kertes
continuing to use the materials i have (necessity, utility) until they run out (or are replenished inexpensively). working with foraged materials.
idea of all my work being in one space together. how would i organize it?
texas 2-step diagram
suspension of disbelief
"Each of us has some area of competence no matter how small in which we feel confident--poetry is a way of treating with the rest about which we are unsure--hence the great body of the poetry of love." Andre, "poems, 1958-1972"
Carl Andre: Sylvia
Judd and utopia
Magic 8-Ball: Where is it happening? How will you know? Can you know before it's over?

Art Talk, Earth View

Tuesday, February 10, 2009

studio mid-feb.

1 comment:

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