Not sure why there’s so much Williamsburg because he lives in Fort Greene…

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1. Nate Kensinger’s amazing photos of the Navy Yard (previously)

2. Brutalism in the UK

3. An experimental Plastic Dining Room in Vancouver by Goodweather Collective + Loki Ocean

4. Inside the Loew’s Pitkin Theater

5. Mount Fuji Architects Studio: Tree House

6. Though I’ve been to beach several times in the past couple weeks, I have yet to visit Rockaway Taco, which is now immortalized by photographer Todd Selby in his trademark interior / food porn-y style. “Gross” though it may be, Fort Tilden is the perfect place to spend a sweltering weekday, if you have one to spare.

7. Dalian oil spill on Boston Big Picture blog

8. Zhang Huan is easily one of my favorite contemporary conceptual artists—his clever treatment of Chinese culture is always on point—Designboom has some nice photos of his current exhibition at UCCA, Hope Tunnel.

Zhang Huan
Hope Tunnel
Ullens Center for Contemporary Art
Big Hall
798 Art District
No.4 Jiuxianqiao Lu [map]
Chaoyang District
Beijing, China 100015
+86 (0) 10 8459 9269 / 8459 9387
Through October 24, 2010

9. Who Is Afraid of Red, Amber and Green?

Li Hui
Who Is Afraid of Red, Amber and Green?
Centrum Kunstlicht in de Kunst
Emmasingel 31
5600 JM Eindhoven, Netherlands [map]
+31-(0)40-2755183

10. Phenomenal close-up photos of eyes (via Notcot)

11. Lego Tattoo Pilot Pen Ads

12. “…I have since learned you like tomato soup.”

I biked down the East River Greenway for the first (and possibly last) time a couple weeks ago, before this happened...

]]> http://idolizeyourkillers.com/2010/08/images-5/feed/ 0 http://idolizeyourkillers.com/2010/07/backlog/ http://idolizeyourkillers.com/2010/07/backlog/#comments Wed, 28 Jul 2010 03:56:32 +0000 Ray http://idolizeyourkillers.com/?p=3240 …a.k.a. link dump / linkage /clickage from the past month; more to come…

• Very Bushwick and very fabulous (NYT)
• You know how we do in Brooklyn (Inc.)
• Pitchfork is Times-worthy.
• I managed to avoid reading any commentary on Inception until I actually saw it for myself yetserday, though at this point, I cannot possibly hope to catch up with all of the bandwidth that has been spilled (not to mention plot spoiled)—in theory and in practice, for example—over Nolan’s polarizing masterpiece. Also: A.O. Scott on film criticism in the digital age in theory and in practice; Dileep Rao (who plays Yusef) gives us the straight dope; Jonah Lehrer speculates on the neuroscience behind the film. Plus, Jonah Lehrer on LSD (in a manner of speaking)
• Am I guilty of “a breezy writing style”? (The Economist; related: China’s microblog macro-crackdown)
• Amid all the talk of his new book Imperial Bedrooms, Bret Easton Ellis also finds time to reflect on American Psycho (The Guardian)
• Sasha Frere-Jones endorses music in cloud form (The New Yorker)
• Tom Vanderbilt included a link to Dave Horton’s unabashedly self-righteous five-part essay on the fear of cycling in his own musings on bicycle highways for Slate. Definitely required reading for anyone who chooses to bike for transportation (as opposed to simply for leisure), with the caveat that it feels a bit too much like justification for my sense of entitlement that I feel when I tell pedestrians to get out of the bike lane. Still, the car culture of the US is easily worse than that of the UK (where Horton’s expertise lies; at least London has congestion pricing) and the essay actually affirmed my fear that cycling still has a long way to go.

• Deitch’s new projects (NYT)
• Brillo: from design to art (Print via BoingBoing)
• An amazing tale of art forensics (highly recommended) (New Yorker; cf.)
• Brion Gysin at the New Museum (NYT); interview with curator Laura Hoptman (AnOther)
• Graffiti prosecution in the Bronx vs. abroad
• Rhizome visits Babycastles.
• Wu Guanzhong, Chinese Artist, Dies at 90 (NYT)
• Why the Art World Hates “Work of Art” (Salon)
• Why Saltz kind of likes “Work of Art” (NYMag); he’s been recapping the show lately. (GQ, for their part, has been interviewing guest judges lately, but New York, not to be one-upped, has exit interviews, including why token outsider Erik kind of likes Jerry Saltz.
• Saltz on the Whitney as it should be (NYMag); Christian Marclay reviewed by his significant other (NYT); plus, the Whitney as it might be and Whitneys that never were; last but not least,  The Future Is Stupid: Jenny Holzer × Keds × Whitney = Bloomingdale’s Live Art

Animal; cf. What? by my boy Kombo

Don’t forget to check out the rest of the boroughs…

The most obscenely hipster shit ever:

Plus: PS1’s Warm Up lineup (finally) announced, also pretty decent as far as I’m concerned…

Photos (click for full-size):

Despite Sean’s best attempt to get me to see them last fall, I didn’t end up at that show (I should have known better after his last tip on the Drums), but between CMJ and SXSW, Sleigh Bells blew up: they played to a sold-out crowd at Ridgewood Masonic Temple on Tuesday to mark the release their debut album Treats. I was lucky enough to have bought my ticket before M.I.A.’s unannounced guest appearance at smaller gig last Friday, which surely spurred ticket sales over the weekend.

The Sundelles’ surf/garage stylings was merely a diversion and I was curious about Cults, who are on the fast track to blowing up, but I was mostly looking forward to my first Sleigh Bells experience and they didn’t disappoint. There’s not much to the performance itself but it’s as good a time as one might have at a concert, and I completely agree with Matthew Perpetua’s excellent appraisal of Sleigh Bells at Tuesday’s show:

Like the music itself, the show is elemental and assertive, simple enough to be obvious, though novel enough to make you wonder why no one has ever really done it quite like this before.

–Matthew Perpetua, Devil Horns Best Friends, Fluxblog, May 12 2010

To Perpetua’s list of adjectives, I would add: visceral, immediate and cathartic; apocalyptic yet ultimately triumphant. It’s pop, punk and hip-hop, compressed to the limit of listenability, which somehow makes it all the more appealing… or overhyped, depending on your point of view.

As for the music itself, Alexis’s vocals strike me as more riot-grrl than M.I.A., though affinity is clear: those drum-machine-gun beats could turn a ghettoblaster into a Future Weapon, while Derek’s SG delivers more hardcore riffage than most indie kids would dare (he previously shredded for Poison the Well).

Even so, the sonic assault scarcely belies the sheer catchiness of the tunes, and Treats is the first party album of the summer whether you like it or not. Sleigh Bells are the band of the moment, and frankly there’s nothing wrong with that.

Henri Cartier-Bresson's portrait of Sartre is currently on view in his retrospective at MoMA

As with his entire body of work, Sartre’s theory of imagination refers to—and, naturally, affirms—his ontology, in which he explores Husserl’s tenet that “all consciousness is consciousness of something” in the context of the ‘detotalized totality’ of being-in-itself / being-for-itself dualism. Sartre postulates an admittedly underdeveloped notion of image consciousness in his early work The Imaginary (1940), though these writings are largely eclipsed by his later political [viz. Marxist] proclivities; nevertheless, his theory of imagination is a sufficient foundation of a phenomenological aesthetics.

Notably, Sartre implies that the imaginary (or ‘irreal’) has the same ontological import as the real: if the real is never beautiful, it is simply because beauty is, by definition, imaginary, where imagination is a permanent possibility of consciousness. A painting, photograph, film, song, performance, etc., necessarily transcends perception—i.e. consciousness of oil on canvas, ink on paper, a projection, an actor, etc.—as an object of image consciousness, which overflows with the meaning of the portrait (etc.): a particular arrangement of brushstrokes or sounds immediately presents itself to consciousness as an image or melody. The abstract, then, is that which escapes us in experience qua perception; colors transcend pigment to conjure mood or geometry.

Hence, Images (in no particular order):

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KEY:

1. Liu Bolin opening in Soho this weekend (I used one of his pieces to illustrate my very first blog post). (ArtCat)

Liu Bolin
On Fire
Eli Klein Fine Art
462 West Broadway (between Houston & Prince)
New York NY 10012 [map]
212 / 255-4388
April 30, 2010 – June 4, 2010
Opening Reception: Friday, April 30, 6-9pm

2. Scott Campbell’s first solo show in NYC (OHWOW via S×H; also on Nowness)

Scott Campbell
If You Don’t Belong, Don’t Be Long
OHWOW
109 Crosby Street (at Prince)
New York NY 10012 [map]
April 29, 2010 – May 30, 2010
Opening Reception: Thursday, April 29, 6-8pm

3. Skye Parrott of Dossier curated a photography show at BAM

Younger Than I’ll Be
Curated by Skye Parrott
Natman Room
BAM Peter Jay Sharp Building
30 Lafayette Ave (between St. Felix & Ashland) [map]
Brooklyn NY 11243
718 / 636-4100
April 7, 2010 – May 23, 2010

4. Michael Joo & Damien Hirst: Have You Ever Really Looked at the Sun? (S×H) [A: Yes.]

Michael Joo & Damien Hirst
Have You Ever Really Looked at the Sun?
Haunch of Venison
Heidestrasse 46
10557 Berlin, Germany [map]
+49 (0) 30 39 74 39 63
May 1, 2010 – August 14, 2010

Hirst also has work at the Oceanographic Music of Monaco.

5. Barzman’s “Pink Terror” = slow-motion video and Stephen Hawking over a hot beat. (Barzart via 3qd)

6. Faile & BAST bring their street artcade to New York (TBWE; interview on Gothamist; previewed at AM; previous [London] coverage))

Faile & BAST
DELUXX FLUXX NYC
158 Allen St (at Rivington)
New York NY 10002 [map]
April 30, 2010-May 27, 2010
Opening Reception: Friday, April 30, 7:30-10:30pm

7. Maya Lin’s so-called last memorial What Is Missing at Times Square (DB)

8. Zaha Hadid for the 2012 Olympics in London (DB)

9. Longo-esque Trent Mitchell photography (ISO50 on FFFFound)

10. The Tribeca Film Festival saw the New York premiere of Tamra Davis’s documentary Jean-Michel Basquiat: The Radiant Child (Nowness)

11. Bursts of Color in Public (KitsunéNoir via FFFFound)

12. Whistler’s Father (FFFFound via TBWE)

13. Dead or Alive at MAD (Animal)

Dead or Alive
Museum of Arts & Design
2 Columbus Circle (SSE Corner)
New York NY 10019 [map]
212 / 299-7777
April 27, 2010 – October 24, 2010

14. Marina Abramović Made Me Cry (via Marco Anelli’s flickr); for more on The Artist Is Present, Kottke aggregates so I don’t have to.

15. Shepard Fairey’s May Day marks Deitch Projects’ last hurrah. (Full mural image & coverage at AM (also on NYT); video and other news on Animal; listing on ArtCat)

Shepard Fairey
May Day
Deitch Projects
18 Wooster St (at Grand)
New York NY 10013 [map]
212 / 343-7300
May 1, 2010 – May 29, 2010
Opening Reception: Saturday, May 1, 6-8pm

16. Herzog & de Meuron Special (ArchDaily)

17. DQM Spring 2010 Lookbook (HB)

18. For the 13th-consecutive single-artist installation on the Roof Garden of the Met: bamboo. (NYT via Inhabitat)

…Twin brothers Mike and Doug Starn (born in New Jersey in 1961) will present their new work, Big Bambú: You Can’t, You Don’t, and You Won’t Stop, opening on April 27. The monumental bamboo structure, ultimately measuring 100 feet long, 50 feet wide, and 50 feet high, will take the form of a cresting wave that bridges realms of sculpture, architecture, and performance. Visitors will witness the continuing creation and evolving incarnations of Big Bambú as it is constructed throughout the spring, summer, and fall by the artists and a team of rock climbers. Set against Central Park and its urban backdrop, Big Bambú will suggest the complexity and energy of an ever-changing living organism.

–Doug+Mike Starn on the Roof: Big Bambú

Doug & Mike Starn
Big Bambú: You Can’t, You Don’t, and You Won’t Stop
The Iris and B. Gerald Cantor Roof Garden
The Metropolitan Museum of Art
1000 Fifth Ave (at E 82nd St)
New York NY 10028 [map]
April 27, 2010 – October 31, 2010

19. Peter Root’s Ephemicropolis; see also NYC in staples. (DB; making-of video)

20. Shanghai Expo 2010 Pavilions (Dezeen / ArchDaily)

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Not as coherent but also interesting:

Images from the earthquake in Yushu, China (Boston)

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Mother for Stella; see also: Fading Ads, Pickled in Pixels (NYT)

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Parting Shot: [the view from Brooklyn Bridge Park] Glowingly (Animal)

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Interpol goes in a new [art] direction. (BV)

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Nike Music Shoe revisited: it was Ableton all along. (Core77)

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fin.

BREUKELEN from ofa on Vimeo / via FreeWilliamsburg