Ryan Steadman @Envoy535 West 22nd Street, 6th floorNew York, NY 10011
911must go google.
must go gargle
aforementioned urinal treat
use the arrow keys
Seems a bit careerist in light of the other work. Too self consciously "signature style" and "theme of alienation".But I could be wrong, what with my blind spot. 1) Did you notice any new colors in the rainbow after 9-11. Describe.2) Did you notice any new shapes after 911. For example, the cone.4) After 9-11, did you watch re-runs of 9-11 on TV? Or were you handing out fliers at ground zero: "on the health hazards of breathing known carcinogens?"5) Do you wear a dust mask on the job? Me too.4)Do you like "The Raft of the Medusa?" Me too.7) When you saw flight 93, were you blown away by the realism? Me too.8) What happened after the terrorists rushed the cockpit? It seemed like they were fucked.9) Do you wish someone had made you sign a petition to require the ground zero workers to wear dust masks as per OSHA requirements?10) Have you seen the docu-drama "Terminator"? If so, what would you do if confronted by a human?
A nice basquiat is up for auction. What does he have that this painting doesnt have? Joi de vivre? I mean I must confess Id rather have the basquiat for purely formal reasons. Its jsut "cooler" I guess.
remember how you said "anatomy of fear" about that freud? this is "design of fear". The closer I get to death, the less I fear it. death is cool. it's suffering that is fearsome. Hmmm.
Yeah I was studying at the Miskatonik University Library then. the gambrel roofed town sort of exudes an ineffable eldritch horror. It infused my mind and stained my thoughts until i could think only of feel good chick flicks like "The Thirteenth Floor" and "Tron".
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seems kind of like a dead end. no pun intended.
Isn't the rainbow a reference to a 70s childhood?
lets talk haircuts of the seventies
„The term ‘Cinema of Cruelty’ aptly reflects [...] [the] cinematic application of Artaud’s philosophical and theatrical principles. For these films try one, test one, push one through terror of the supernatural or supranatural to emotional and mental limits in which one is reduced to the most primitive of human spiritual levels, fearful wonder and astonishment at the inexplicable. To achieve this, these films work upon the most primitive level of human consciousness, for they require their audience to construct a coherent universe and a narrative meaning from a chaos of a series of shots, uttered in the synaesthetic language of the film. This savage, powerful nonverbal language of shocks and the collision of images appear almost tailormade for provoking terror. The audience instinctively seeks to establish limits upon what is indeterminate, and to classify it; when balked, they are left uncertain and in terror. The terror is underscored by the physical and psychological savagery that the demonic can exact upon humanity, and which is portrayed on the screen. While the transcendent cause of such savagery remains indeterminate and terrifying, its horrible effects are quite concrete and clear, so as to lend credence to the terrible reality of that cause” (Rockett 1988: 88f)Non euclidian I know, but poop is poop.
so, not all 911, just people hanging out on flat abstractions. hes got a thing, hes got a thing, and he makes it look so easy. what to say about the old 1,2...
i love that exploding stocking on the right side of the painting. i have always wanted exploding stockings.
i think he's got a thing that is called illusion. that is it.
Businessman: You don't like flying, do you?John McClane: What gives you that idea?Businessman: You want to know the secret to surviving air travel? After you get where you're going, take off your shoes and your socks then walk around on the rug bare foot and make fists with your toes.John McClane: Fists with your toes?Businessman: I know, it sounds crazy. Trust me, I've been doing it for nine years. Yessir, better than a shower and a hot cup of coffee.John McClane: OK.Businessman: [the businessman sees a gun in McClane's pocket]John McClane: It's okay. I'm a cop. Trust me, I've been doing this for eleven years. well the illusion is the best part. Without the figures you wouldnt know the building was square and that you are looking at the dealio from a possibly doomed floor of the possible second tower. What other interpretation is there? I don't know.That is causing some cognitive dissonance, in the same way that Tom Otterness shooting his dog made me cry like Eric Fischl on onions.This painting is as boring as "Towering Inferno".Yippee-ki-yay, motherfucker
The illusion may just be the best part, this is true, but so what of it? It is not interesting and it is predictable. This painting reminds me of those cd covers which feature the jazz lounge music. Colorful figures with oddly shaped heads. Is this painting supposed to add fun and an air of carefree-ness to the victims' ends?
No carefree is the New Yorker. This is Harpers material. Some people get their kicks out of Readers Digest or The Watchtower.I'm no Snake Pliskin, nor on the other hand, a Rupert Pupkin. I dont get the "style part" which seems overly dry and calculated - like someone elbowing you because you arent laughing even when you got the joke about a billion light years ago while en-route to planet gee fucking whizzz.
The message I get is : I want to do minimal geometric abstraction but, that wouldn't be good enough so I'll add people doing shit in my not good enough minimal geometric abstract painings which still are not good enough.
Well you could be ryan gander:A similar ingenuity is apparent in the “Loose Associations” lectures Gander has held since 2002—public performances in which the artist undertakes stream-of-consciousness analyses of design, language, and culture. Gander moves fluidly (if not strictly logically) from one topic to the next—from, say, the “desire lines” created in the grass by people cutting between paved pathways in a field, to the fake Arne Jacobsen chairs in London’s Victoria and Albert Museum, to the 1967 proto-MTV video for Bob Dylan’s “Subterranean Homesick Blues,” to the symbol for the artist formerly (and now again) known as Prince, to the possible typographical error in the title of Marshall McLuhan and Quentin Fiore’s 1967 book, The Medium Is the Massage: An Inventory of Effects, to the constructed Elvish language in J. R. R. Tolkien’s Lord of the Rings. These subjects reflect the artist’s interest in the living and dynamic nature of design, typographic, and linguistic systems (whether real or invented), as well as their built-in capacity for subversion and error that comes from their very use.
logic is a good thing my friend and I could be Ryan Gander. Am I in the cool kid club now.
I dont know I quote Frank Herbert and sit at a computer all day. I mean i have some kick ass screen savers and shit but nothing approaching logic.
Logic's in everything if you know where to look for it. if you paint I hope to see your work someday because if there half as good as your blogging they must be some fucking kick ass shilsnit.
one dayi will be doug aitken. Doug, your neon is flawless.
just do it
Just wish the figures were constructed with a little more care. Electronic Arts(The Sims) produces figures more lusciousthan RS by pushing pixels. I think RS shouldpush paint in a more masterful (and yeteconomical way.)Remedy: More trips to the Met, and morevideo games!
I did like the horizontal piece.
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