Art Talk, Earth View: marfa, tx

Tuesday, March 3, 2009

marfa, tx

These photos were taken outside Marfa, TX while Travis and I were on our trip from L.A. to NC. Part of No Country for Old Men was filmed here. I will be living in Marfa for three months this summer as an intern at the Chinati Foundation, a museum exhibiting work by Donald Judd and others including Claes Oldenburg and Coosje Van Bruggen, Dan Flavin and Richard Long. This will be the longest I have ever been away from Greensboro and away from Tommy but I am in need of this new experience. Also, it's the wild, wild west i lust over.

2 comments:

Anonymous said...: the longest you've ever been away from tommy is like 24hrs; March 9, 2009 at 9:55 AM
cLAmZ said...: hi!
these pictures are great. glad i found you!
katie; April 25, 2009 at 11:54 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?