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.
A few days late on this one, but here’s a new trailer for Banksy’s Exit Through the Gift Shop.
The ever-quotable aspiring vandal / contrarian street artist / pop antihero also raps with the L.A. Weekly, dropping far too many pithy gems to quote here (Animal). Wooster Collective has gone so far as to set up a Facebook Fan page for the film.
I’m not surprised to hear that electric bikes are all the rage in China: I remember seeing countless two-wheeled contraptions that had some kind of ad hoc outboard motor strapped to them. In fact, I passed an old Chinese dude riding an electric bike across the Manhattan Bridge just the other day…
Of course, besides legal issues, GOOD points out that electric bikes represents a stepping stone between traditional transportation (bicycles) and an emerging middle class aspiring to Western ideals of status (electrics automobiles)—an intermediate space in a rapidly developing economy that is nonexistent in our car-dominated nation.
David Choe has been refining his trademark fast & loose graffiti style for over a decade now, spinning murals, paintings and prints from his sometimes-lewd imagination with enviable technical prowess.
After discovering Choe in Juxtapoz, I had the chance to see his work in person two summers ago at Lazarides’ pop-up gallery at Houston & Bowery (the space now occupied by Keith McNally’s new hotspot Pulino’s). The London-based gallery’s is hosting Choe’s solo show Nothing to Declare—his first solo show in his hometown in six years—to inaugurate a temporary space in L.A. this summer. The show and the space are set to open on April 23rd.
Lazarides / Outsiders has an artist bio and a couple of older videos (above & below).
In addition to being a prolific artist, Choe also updates his site/blog regularly.
So somehow I missed this, but LCD Soundsystem has (sort of) released a new track from their forthcoming (and possibly last, as reported earlier) album. In addition to over an hour of new music from James Murphy & co., they’ve also come up with a name and album art to spite Stereogum’s crowdsourcing campaign.
Just as Sisterworld is the Liars’ L.A. album, This Is Happeningrepresents the same for LCD, and the different roads from NYC to the City of Angels to illustrate just how far we’ve come from the dance-punk glory days of the early 00′s.
Of course, if the Pitchfork-approved single “Drunk Girls” (below) is any indication, I imagine that the one-time disco savior has crafted a radically different sound from the art-punk experimentalists: it’s a matter of timelessness vs. timeliness, respectively, insofar as rock music evolves through a dialectic* of the two principles.
But I digress: “Drunk Girls,” for your listening pleasure.
via Stereogum, which also posted a clip of another track on the forthcoming LP: “Pow Pow“
In other album art news, D*Face × X*Tina: never would’ve seen it coming, but I can dig it. At least it sets a precendent for some kind of blockbuster Shepard Fairey / Lady Gaga collabo.
*Yes I dropped a d-bomb. No, I don’t really know what it means, and I’m not proud of it.
Skateboard prodigy / creative polymath Mark Gonzales is holding a studio sale on Monday, featuring “Original Drawings + Skate Tees + Zines + Videos, DVDs and Much More.” I imagine it will attract the same crowd that constitutes the line outside Supreme when they drop new gear every season (the skateshop’s Soho outpost is actually just around the corner).
I wanted to appear like a dancer but not too feminine. The fencing uniform shows your body type but also means business.
I recently came across photographer Nate Kensinger’s graffiti-porn shots of the Batcave, an abandoned power plant-turned-squatter den in the no-man’s-land of Gowanus. While Banksy has inadvertently become UK’s biggest celebrity artist this side of Damien Hirst, it’s good to some legit slum tags.
Or rather, it’s like a window into a fabled lost culture, a hippie-anarchist-crustpunk-fixster-junkie utopia that, like any Eden, was never meant to last. Not that I mythologize Brooklyn’s creative (transplant) subculture or anything—I just happen to envy respect authenticity…
Nothing quite compares to the easy poetry of decay and vaguely supernatural lighting.
Jake Dobkin of Gothamist / Streetsy also has a set of Batcave photos on Flickr. (Kensington has more photos in addition to the three posted above, as does Dobkin whose photos have unduly been deferred to after the jump).