May 20, 2010
Like Images… but, you know, ending with “-ry” instead of “-s”
When we think of still lifes, we think of paintings that have a certain atmosphere or ambience. My still life paintings have none of those qualities, they just have pictures of certain things that are in a still life, like lemons and grapefruits and so forth. It’s not meant to have the usual still life meaning.
555 W 24th St (at 11th)
New York NY 10011 [map]
212 / 741-1111
May 8, 2010 – July 30, 2010
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May 4, 2010
More on the Images (below), as well as several new ones; as always, too much, too much. But seriously, how often do you see something like this.
Hyères, France, 1932 / Magnum
First of all, the Henri Cartier-Bresson exhibit at MoMA is really quite remarkable, and I echo Kottke’s rave review (he mentions the image above, which was the first of many that caught my eye).
What he excelled at was seeing things in a different way from most other people.
–A Father of Modern Photography: A Hunter and His Prey, The Economist, April 15 2010
The retrospective has a personal resonance on several levels: I’ve become increasingly interested in photography, journalism and photojournalism in the past couple years; his photographs of early and mid-century China are vaguely nostalgic (probably because I recently spent a couple months living in Beijing with my grandparents, who lived through it); and I recognized HCB’s portrait of Sartre from a book cover.
Discovered while eating a turkey hoagie and contemplating the meaning of life at a roadside stand. Also, admit it: he’s cute as a goddamn bug!
–Mike Sacks, Famous Philosophers and How They Were First Discovered,
McSweeney’s, May 2010
(More on HCB at Vanity Fair via 3qd.)
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Liu Bolin at Eli Klein: an excellent show despite the blue-chippy crowd at the opening. It might be more of the same and it probably has a certain loaded cultural content that can only be appreciated as someone who has recently spent time in China, but I would still say that the pieces in On Fire are visually compelling even without the political subtext.
His works have been communicated via emails, blogs, magazines and journals on a massive scale.
Liu Bolin’s earlier Hiding in the City photography series, in which he paints himself into the urban landscape, was inspired by the Chinese government’s demolition of the Suo Jiacun Artist Village in Beijing in 2006. He drew attention to great landmarks in China, both old and modern, while highlighting the lack of recognition which was paid to the citizens that built them. He portrayed the tragedy of the increasing insignificance of the individual in China as the government focused on presenting a modern commercial and industrial image. Rather than trying to fight, people attempted to hide and adapt to these forced changes.
–Liu Bolin’s On Fire press release & additional images via Eli Klein.
Click images for larger versions.
索家村 – Suo Jiacun [Artist's Village] (apparently, Liu Bolin reps it); 中国当代 – Contemporary China
折 – fold, discount, break, bend, snap, lose, roll over, convert, rebate, twist, double up, be convinced, turn back, turn over, lose money in business, change direction, be filled with admiration, suffer losses (Google Translate)
Dude's shirt (bottom right) matches the photograph...
Eli Klein Fine Art
462 West Broadway (near Houston)
New York NY 10012 [map]
212 / 255-4388
April 30, 2010 – June 4, 2010
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I didn’t make it to the Scott Campbell opening, but it made it into other “emails, blogs, magazines and journals on a massive scale”: TBWE has a nice gallery of the work and the opening; OC has a gallery of the work itself; HB recap; Interview studio visit via HB; Terry stays relevant.
I did make it to Faile & BAST‘s DELUXX FLUXX NYC opening (after stopping by Liu Bolin), but my photos didn’t turn out so well. Again, you can find more/better coverage elsewhere.
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Keith W. Bentley – “Cauda Equina” (1995-2007)
The New York Times has an interesting article on the kind of organic art that is currently on display at the Museum of Arts and Design.
Jan Fabre – "Skull" (2001); Fabián Peña – "The Impossibility of Storage for the Soul I (Self-Portrait)" (2007)
Of course, people have always used natural materials to make their art, for the simple reason that until recently nature was all they had, said Ellen Dissanayake, a scholar on the evolution of art [who notes that] from the beginning, art demanded transformation. “Even in hunter-gatherer societies, they tend to make their stuff look not organic,” she said. “When they’re painting, they’ll use geometric shapes, make a row of triangles or circles, as though to show humans are more than nature.”
As Ms. Dissanayake sees it, when people make art, or “artify,” they follow several “aesthetic principles,” whether they know it or not. “They simplify, repeat, exaggerate, elaborate and manipulate expectations,” she said.
–Natalie Angier, Of Compost, Molecules and Insects, Art Is Born,
The New York Times, May 3 2010
Billie Grace Lynn – "Mad Cow Motorcycle" (2008)
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I didn’t particularly regret missing the Shepard Fairey opening until I saw this:
Animal / TWBE
More Shepard Fairey and many more after the jump… Read the rest of this entry »
April 17, 2010
Josée Bienvenu Gallery
529 W 20th St 2nd Fl [map]
New York NY 10011
212 / 206-7990
April 8, 2010 – May 15, 2010
Jonathan Jones on Google Images as an art critic:
Green’s point is that Google has its own insidious “number one” works by these artists, which are automatically determined by the number of hits. But even if they are, does it matter?
It’s hard to argue, critically, with some of Google’s choices. Any picture researcher at an encyclopedia would be likely to go with Impression, Sunrise to illustrate Monet, or the aerial photo of Spiral Jetty to embellish Robert Smithson.
-Jonathan Jones, Can Google Gauge the Greatest Art?, The Guardian, April 12 2010
March 16, 2010
» Aesop Rock – Daylight (4:25) – 4.1MB m4a @ 128kbps
The Persistence of Trite Imagery
Since this Sunday marked Daylight Saving Time, I decided to put my philosophy degree to good use by pondering the psychology and metaphysics of this semi-annual ritual.
First of all, there is technically only one daylight to be saved: contrary to folk wisdom that might suggest otherwise, daylight is an indivisible entity. In a sense, daylight is like money—which is also grammatically singular but conceptually plural (insofar as one would hope to have more than one money)—such that daylight is quantifiable, at least in terms of daylight hours. In other words, official terminology denotes that summer is ‘Time to Save Daylight’—i.e., Time for Daylight-Saving—while the colloquial (if not altogether prevalent) shorthand “Daylight Savings” is a gerund, as per the nominal usage of “Savings” for that type of bank account. (Even the Wikipedia URL for the Daylight Saving Time entry is Daylight_savings.)
The monetary metaphor is useful in illustrating how DST’s pithy essence “spring forward, fall back” belies the curious phenomenon that either occasion—the turning of the clocks in spring or in fall—can be described as gaining or losing an hour. Common parlance suggests that we have indeed acquired a full 60 minutes, yet this increment simultaneously seems to have slipped through a mysterious temporal rift in the wee hours of Sunday morning. It appears that we have both gained and lost an hour on Sunday, a discrepancy that reveals two divergent systems of belief concerning time and how it is measured: absolute vs. relative. The two views correspond to a scientific picture of an independent physical world and a pragmatic ‘lived’ experience of time, respectively.
The former system holds that time marches forward of its own accord and that to push a clock forward—from 2AM to 3AM, say—disturbs the clockwork of the universe to the effect that humans have erased an hour from their day. Here the bank analogy must be modified: on Sunday, we withdrew an hour on credit, which we will pay back in October; for the next six months, we owe one hour to the universe, or nature, or whatever. We have lost it in the interest of practicality—we need to borrow the hour for the better half of the year—though we plan on restoring balance in six months or so. For the absolutist, the hour is deferred.
Those who abide by the second perspective, on the other hand, see time as more malleable, where chronology is purely pragmatic: we gained an hour on Sunday because we now have an extra hour of sunlight—and, ostensibly, productivity—to the effect that the days themselves grow longer. By springing forward, we stake a claim to the greater daylight afforded by the rotation of the Earth, silently folding one hour into the shroud of slumber in order to extend each and every day in those six months. For the relativist, it’s possible to save daylight like money albeit not in the interest of yielding a long-term dividend: everyone cashes out the same predetermined amount at the end of each day.
Of course, both schools of thought understand that the actual demarcation of time to be incidental (i.e. pragmatic in a broad sense)—otherwise we wouldn’t have license to give and take (or take and give) hours as we please. Nevertheless, I wonder if there is any correlation between the saving(s) locution and the gain/loss dichotomy: are relativists more predisposed to regarding DST as a savings account, as opposed to absolutists who treat the extra time as a line of credit?
Does that even make sense? Rather, does it even matter?
Now for the real news:
- Advertising 2.0: This Time, It’s Personal. FaceBook is now crowdsourcing targeted advertising like social AdSense (=AdBook?). (NYT, Future Perfect) Also, Product Placement: Geolocation is so hot right now (NYT)
- Mattel Mentality x Mad Men = Barbie. WTF. (NYT)
- Google Maps now has (spotty) bike directions: Gothamist blurbs, Streetsblog mentions, Wired crowdsources; Bike Snob NYC is more thorough, with an incisive riposte to the Post
- Big ups to the Alma Mater in the Times. But seriously, the prospect of digitally tracking writers’ inspiration and composition process is quite fascinating.
- Stanley Fish on Pragmatism’s Gift.
- I’ve always been a stickler for free throws (i.e. I don’t understand why every player isn’t shooting 90+% from the line), so I was pleased to see that Wired has posted a guide on How to Nail a Free Throw.
- Old news, but here’s a couple of interesting articles on sports video games and their source material; specifically, how video games are have become increasingly true to life for athletes: League of Gamers (ESPN); Gamechangers: How Videogames Trained a Generation of Athletes (Wired)
- Speaking of video games, Virtusphere. Just watch the damn video.
- G4 (correctly, I think) identifies Chatroulette’s ‘Merton.’ NYMag’s Vulture (correctly, I think) identifies Ben Folds as a “Fin de siècle singer-songwriter.” Just watch the damn video.
- (Over)analysis of Lady Gaga’s “Telephone” music video. (Vigilant Citizen)
- What Would They Know: Matthew Perpetua interviews Liars for Pitchfork.
- Time to Get Away: LCD Soundsystem finishing up their last record. (Daily Swarm)
- Wanna Be Startin’ Something: MJ posthumously lands a massive record deal. (WSJ, NYT)
March 12, 2010
Eyebeam’s MIXER event series continues this weekend with an Olympic-themed art and design marathon. The Chelsea art + technology hub will host Benton-C Bainbridge, CHERYL, Conveyors of Misguided Hits and Misses, Double Happiness, Erik Fabian, Jeff Crouse + Aaron Meyers, NYC Resistor and Stephanie Rothenberg + Scott Kildall, as well as Tanlines, Maluca and Justine D for late-night music performances.
Full press release here.
January 8, 2010
I’ve been following Tomokazu Matsuyama for almost a year now, ever since he was featured on the cover of Antenna magazine (PDF) in anticipation of a solo show at Joshua Liner Gallery last March. He’s back on the radar for a group show at the same gallery (opening this Saturday), as well as an upcoming solo show at San Francisco’s Frey Norris Gallery in February.
Matsuyama fuses an overtly traditional Japanese style with a contemporary graffiti- and comic-inspired aesthetic, featuring highly stylized figures rendered as flattened forms filled with seemingly arbitrary patterns. He has appropriated the color field to constitute pseudo-woodcut figures (or perhaps vice versa) in a supersaturated patchwork, recklessly cutting and pasting fauvist and abstract expressionist tropes into interlocking shapes. The result is visually stunning with obvious reference points while remaining accessible, if not altogether pop—his arsenal of patterns includes ben-day dots, stripes (à la Stella and jungle cats alike), and plaid, not to mention organic splatters—which belies the autobiographical subtext of confusion over cultural identity and the sense of displacement.
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December 12, 2009
Tonight at Jonathan LeVine Gallery
A notable double bill opening in Chelsea tonight. I’ll have to check it out when I get back to NYC.
And There Was War in Heaven
Jonathan LeVine Gallery
529 West 20th Street, 9th Floor
New York, NY 10011
December 12, 2009–January 9, 2010
Opening reception 7-9PM
Source: Jonathan LeVine Gallery via Arrested Motion