Looks cool..hard edge via 21stcentury lapidology and a hint of 70s era future world systems thrown in for good measure. I only like the complex ones though, the simple ones get generic-ish for me.
Chaos Monkey is a fun and fresh painting, two years old.
Global is small but tough, and reminds us that cubism happened, and if it didn't is happening right now---a tip to Cézanne and brother Ad Held.
Divination and Haunch are the same talk as painter Douglas Witmer, Divination could have even been done by Witner---that close, that sensibility! Check out cloud cover. The crystallites are starting to creep in peoples work. My suggestion--don't get too carried away. Oh, and yeah, the title? Great!
it is intersting that he's not following a strict process and letting images influence his work just as much. For this same reason some of the simpler ones are a let down for me too. More structures with more variety of source material please and thanks.
p.s. - oh, concrete phone, that is funny that you talk about witmer.
i went to a sprecher show with witmer last year! they were both showing in richmond with openings on the same night (i don't remember if they got a chance to meet).
Hey, martin well the furniture says, '... (we) have met up somewhere, somehow'. the images on your blog have the 'raoul de keyser' feel, though seems the work here has moved away from that,... testing new ground, moving the table around... local influences...
Interesting poppy likes the more more structure, cooky mentions that too... I think I know why...
Structure structure, or more more, remind us of things, and even though the things in this painting really don't add up to the things in the pantry, the more there are of these things the closer they resemble... the things in cupboard of the mind we know... so poppy I say 'I think I know why you and cooky preference the more, 'kind of rhetorical' [and not trying to be smart or anything but...] simply because there is more. But, really you have already said that:) Last week there was one poppy out here in my small garden. Now there are close to twenty, all colors... that blows my mind, so it's all relative... and considering the mind is this interesting non-place.
I see this work as much more related to Fisher than to raoul de keyser..those others fyfe, fox, are also leaning more towards the "painters' painter" sensitive painthandling vibe...sprecher is kinda leaning more towards the hipness of fischer in the jpegs at least, as I'm getting that matte, deadpan surface vibe of a richard phillips type painting(talking formalistic qualities, not figurative vs abstraction) that Fisher uses to more pronounced effect than sprecher sorry for the runon sentence
this piece, which i have yet to see in person, is starting to make me think of the alan shields in high times, hard times.. kind of fabric-y, tie-dyed.
hey, i saw on painters paparazzi that lauren luloff has a show at sideshow!
marty please link to some alan shields you find similar..I think a key to this conversation may be Sprecher's relation to the 70s (painting aand culture).is he being referential and unaffected or earnest and sincere..you could probably be both except for 100% on the earnest part
i apologize for this being a bit off topic, but Chelsea has been a bit of a burn out the last while - rarely do I see a film that totally changes the way I view Art... and im wondering has anyone else seen Destricted? I honestly can’t remember the last time seen any piece of Art this far into the Taboo with out becoming totally trite. (Films by 7 Artists – Matthew Barney, Larry Clark, Sam Taylor-Wood, Richard Prince, Marina Abramovic (from her gallery show), Gaspar Noe, Marco Brambilla
cooky - i'm just associating out loud with this specific piece... but the faceting, layering, strings, and palette started to put me in mind of fabric and the two alan shields pieces that were in high times, hard times... both the fabric pyramid and the free-standing diamond string wall.
cp, hear what your saying but thats not the reason for my preference for this particular artist. The less is more works for me just as much as the more is more. Depends whos doing what and how.
Ok Poppy thanks, that's what conversation is for... and steel and glass, stainless steel rigging... Talking strings, I saw strings and pyramids a while back, Chris Duncan, he's your way closeuup, right? And venturing out in all directions. He has this thing about the interconnectiveness ...of dots and strings, people, communities... it was interesting listening to what he had to say, very quiet and gentle guy.
Another painter i'm thinking of too, but can't give a name, but work is like, um...
...the color of capsules of light heading each on their own course: left to right, top to bottom to top and diagonally, they read. Twinkle. Sparkling clusters. Coastlines. Oceans. Orion is not that far off.
i get more seventies to eighties beveled glass decor -coffee table to vestibule mirror. The fracturing of space - well most recently I saw Benjamin Edwards do that - its an easy trick and this does not impress me with its craft.
SO unless anyone wants to argue craft - I dont, what about attitude,, or as we say in the biz, VIBE? Does it have the look? No it looks dated. And thats a crime.
i'm with you zip. it is just a trick. there is nothing more than that. art these days sucks. no one is doing anything real. it's just over-priced garbage. but unfortunately it's you know blah blah blah and the good painting that is being done is holed up in someone's studio somewhere.
true, artgirl, your name is like art grrrl, which would put you in a geurrrrrilla suit. On you Tube you might be lonelygirl 22 or or emogirl42. Indeed you naivety makes one suspicious. Maybe you are a psedonymous old man.
But I wont back down, no I wont back down, I will stand my ground. I will not take the easy way out. i got a full back of tricks for turning tricks, and they are easy, becasue I'm easy. Thats called talent and I got it to burn. Like money. Is it art to burn a million pounds? Ask yourself that and then look at this painting. You'll like the painting a lot more.
I do like that there is time invested in a work without it appearing fussy. Take for example Jorg Immendorf - Donald Kuspit is probably being paid to write him up. That makes DK a shill. DOnald is a paid shill, with a bag full of easy tricks. The hard part was learning them.
I learned a lot of tricks by painting - after five years you can pop em out like meercat blend coffee bean juice. You know, the fecund stuff.
Dont over cook it, thats a harsh shot of espresso. No, keep it full bodied and rounded.
Or do. Im cool with that. My problem is that dividing up space is not that hard, for me at least. The hard part is putting it back together again. This painting relies on polarities - look for mirroring shapes and colors on the diagonal. WHen I think about that I start to think, is anything by chance anymore? Cant we just have it NOT work? Do we need balanced or unbalanced tension filled dynamic spaces? I sure dont.
In conclusion go to the urban outfitters on broadway - a bunch of boards aranged in "explosions" of pattern, including islamic allover patterns - which you will see more and more of in the coming months - its the style of the times.
That is the question of the times. I see so many people positing that in so many paintings. I can also see the backlash in the future. But for now its a good line of inquiry.
Charline vonHeyl makes the most spectacular failed paintings I think. Good the bad and the ugly...
I was watching justin.tv this morning. God those guys are boring. But justin has a nice voice
dividing up space and putting it back together and i'm sorry, having it work, is hard if you know what you are doing and you are taking into account the way the forms react and so on. it is more than picking which pink and blue match on your palette.
Thats sad, but when they got sold to the New Times it really was the swan song.
The voice was my bible when I moved here. Im hoping musto and crue - (amanda lepore sent out a myspace bullet lately for one of the shows on a channel I work for) is our coming my way. Musto is in a # of cameos for a few of the networks he even mentions an inevitable show in La Dolce Musto this week. & i heart my reports on what local dives he is sighted jerking of into his whitey-tigties. live the dream.
As for Jerry i hope his fun conversational writing style can hold up at NY Mag. it takes itself so seriously - the word professionalism cums to mind. i wonder if it drained the Disco out of Haden-Guest.
saltz writes for modern painters or whatever overseas - i discovered that scanning the art mag section at barnes and noble. It floored me. Can a writer write for more than one publication?
yes, yes you can. And you can say essentially the same thing, only in different words. Or the same words, in syndication. I dig that. Its like when you wrote your term paper right out of the encyclopedia britannica - the 100 volume set. Or like when you did your science fair project on the slipperiness of slug slime with a little help from your pops who knows the drag coefficient and stuff. And you win. ANd everyone thinks it was all your dads idea. Fuck em if they can't take a joke.
Now its all on the interweb if you want, or the Blu Ray DVD set. You could do that with paintings right? and then index them and sound as erudite or obtuse or eldritch as you want. I don't, because i grew up largely without TV or white cubicle art for that matter. In this ganzfeld like attenuated cultural limbo, i wandered for many years.
Now I'm totally immersed in a bath of fizzy yellow media stuff.
Art is the same way. I've seen a lot of painting so "being there" just isn't as necessary as it used to be - might I say I'm immune to the white cube? Yes. Yes I am.
I dont even need to paint anymore. Im that evolved. Artgirl, if your still reading, my smug tone is entirely for your benefit. Yours and mine. Mostly mine.
I know you still enjoy the fresh clean lines of a madonna dress offset by a good drywall and spackling, but I know what thats about, and id rather just look at the walls - paintings distract me from the real artistry.
i was at a saltz lecture last october at which he said he had almost been fired a few weeks before, and talked about his own precariousness and temporariness in the scheme of things.
zip - i don't think modern painters is overseas anymore, i think they're based in new york. didn't they move from london last year?
Why would you get fired for writing fluff pieces about your art world cronies?
Modern painters - yeah sounds good to me - id look it up but who has the time. Just saying JS can pick up work anywhere, precarious or not. Just like the rest of us.
Clusterfuck is a millitary term - so its "topical" like wearing desert storm camoflauge. Or painting it. Or a fashion label called kill 'em all, or designing a shirt with an AK 47 pattern or creating field ration MRE style bento boxes but with cute stuff like chocolate truffles and dutch chocolate instead of high fiber cheese spread or hershy's high wax content chocolate.
its about class isnt it? Time=taste in a lot of ways. Thats how you keep em separated.
nwm, I think JS writes much more than 'fun conversational stuff', I'm up to reading him in a serious fashion, but... secretly like CF purely for his writing style, and for the kind of content I do I always head to the Rail... and then there's the whole internet thing. And then... there is all this communication, ceaseless non-stop communication... it's a 'wow' world.
Also what happened to TD, you sleeping, the keys to the harley snap off in the lock... or just nose down ...? Another good team writer! It's all good!
Thanks KJ for the hard hitting questions. Those people do not like to be interviewed. Except for kaplan and saltz. They know you right? The other people are wondering who would have the affrontery to shove a common 3chip handheld in their faces. The horror! All those tight lipped smiles.
"too many people talking about art criticism?" Not enough doing? I like the lady that doesn't do it for free. Yeah baby, yeah. But look at how goddamned good it is to do it without whips and chains or hairshirts or deadlines.
Me, I write for the love. That art duo is like 11 on the smug - every time i see them i avoid talking to them. They are like low rent kostabi street critics. Their lack of ambition astounds me.
Its the crooked smiles that get to me, too. What is so fucking amusing?
I figured $$ was an issue, but you need good sound and a steady pic or yr viewer doesnt get anything of value. Don't know how to get better sound on the little camera, will look into it.
Yr interview subjects thot you had a camera and were holding for a still shot--tell them its a video. Also, as zip said, 2 kinds of people--those who like to be on camera and those who dont. You have to disarm those who don't. Make them more comfy. Dont be nervous yourself (hard).
Are you tall? Hold the camera lower for the shorter people. You got Steve K. perfectly. You were right on him and his wolfish personality came thru perfectly. Watch out red ridinghood...
Love the bike intro. Branding!
When interviewing people--this is corny but it works--just repeat the last thing they said. Like just go "Survey?" and then like Joe Fyfe would elaborate.
If you're going to go unedited, put yourself in the vid more. Watch Nick Broomfields Kurt & Courtney for tips. He did it well.
Don't quit really. I would like to see more. I bookmarked your site.
Just saw this show yesterday... I'm a sucker for work that's a mash-up between digital precision and the hand. There's a sneaky dose of Photoshop thrown in. The "+" painting called Box is a P'shop cursor; you get it when you use the rectangle marquee tool. He did an earlier painting of an arrow cursor (not in this show). The green & black painting called Global uses the "crystallize" filter, but he mixes it up with gestural/invented mark-making.
It's a good show, definitely worth checking out. The scale is surprising. I think you have to see the work in person & hanging together to really get it.
if david salle can use the twirl filter, I guess its wide open.
Im not all that interested in photoshop to painting - seems like a way to get at the office culture though - id be more interested in a less abstract more concrete critique of the tool as it defines real world office rituals and mindsets.
The thing about photoshop is that it will make your brain square to fit the tank. that can be good, like having your studio outside of your living space. Or having enough money to get out of the city once in a while.
like david byrne popularized the powerpoint presentation as art. I mean there should be a show of powerpoint artists. You can major in "presentation graphics" now. WIld man, wild.
fun and conversational - "style" as in delivery - content and taste being quite different. I guess i ment to say not pretentious. I miss hating Finch, its sad not seeing him around these days.
Yeah, nwm, so you miss C. Finch? His stuff is quick, squalidly nimble, sharp-witted, and... well, dark and worn. The contrasts are there--collectible artifacts of a culture, no doubt!
KJ this stuff is going on here, too! Honestly though this walking around with the video in the galleries, well... do you think that works? An Interview might work, kind of new millennium interview style [you, or anyone, can invent that] or the old warhol shoots, something like that, fixed camera no shakes. It's funny you chase people with a camera and they run, or in your case, once the question gets thrown 'say something....' the camera just turns off.
Fix the camera and it becomes like art, people walk up to it, and peep in. Clean, no aggitation, no power game. Pop a question [Clean, no aggitation, no power game].
...anyway on an art-search engine here we have this currently up: want a job that doesn't pay, but gives loads of experience? TAB Video offers interviews with artists and features on exhibitions and events taking place in Tokyo's vast and varied world of art and design, giving TAB's users an instant visual insight into the wealth of what's out there. We are looking for people interested in the Tokyo art scene, who have their own camera and some basic experience with video editing software.
well, CP. i still follow his writing - i do miss hanging out with him, he is a fucktard but a character none the less..
Seems to be fewer and fewer "personalities" these days in the NYC Artworld. That reminds me about a number of tapes I will try to hunt down and get on youtube later.
& thats a good lead in to video as a medium by way of social sculpture, namely galleries & critics - i have seven years of that under my belt. Artworld safari Rulez.
Listen to the girl As she takes on half the world Moving up and so alive In her honey dripping beehive Beehive It's good, so good, it's so good So good
Walking back to you Is the hardest thing that I can do That I can do for you For you
I'll be your plastic toy I'll be your plastic toy For you
Eating up the scum Is the hardest thing for Me to do
When Statesmen gravely say 'We must be realistic', The chances are they're weak and, therefore, pacifistic, But when they speak of Principles, look out: perhaps Their generals are already poring over maps.
She's too much for my mirror She almost make me lose it The way she abuse it make me never wanna use it Well mend yer heart 'n mind yer soul
Ole Chicago she's uh woman thata Make uh young man uh bum She howl like the wind Make m' heart grow cold Make me long for that little red fum!
She makes things fly 'n she makes things roll She got me way over here 'n I'm hungry 'n cold I remember m' mother told me I oughta be choosey That was way back when I thought she was m' friend Now I find out she's uh floosey
I remember the butterflies 'n the sweet smell uh corn 'n the bubblin' fish in that lil' pond Oooh, Lousey! Oooh, Lousey! How I long for you How I long for you She's too much for my mirror That little floosey oh how I fear her Oooh, Lousey!
NOT FOR SALE: Forever Radical? April 12, 2007, from 6:30 – 8 PM, with reception to follow Einstein Auditorium, New York University 34 Stuyvesant Street (between 2nd & 3rd Avenues at 9th Street) New York City Free Admission
Panelists: Laura Hoptman, Senior Curator of the New Museum of Contemporary Art Greil Marcus, Author and Cultural Critic Adam Pendleton, Artist Emily Sundblad, Artist and Co-Director, Reena Spauldings Fine Arts Moderated by RoseLee Goldberg, Director of PERFORMA
NOT FOR SALE: Forever Radical? will explore the meaning of the term ‘radical,’ especially as it has been used in the past to describe live action by artists. Critical, disruptive, anarchic, and metaphorical, for decades performance was considered the battering ram of protest against the legitimizing power of the institution. How do artists today give shape to radical notions in their work? What impact do those ideas have on the landscape of performance and visual arts today? As more and more museums, galleries, and art fairs add performance to their programs, can this material still carry the provocative edge of its precedents? A panel of artists, writers, and curators will discuss whether the term “radical” still holds today, in the art world and in the broader social and political sphere.
EXHIBITION AT PETER BLUM SOHO March 29 - May 19, 2007 JOHN ZURIER: Paintings
John Zurier's paintings have been described as part of a new generation of painterly abstraction that transcends the gestural and material to evoke the emotional. Process and material are critical aspects of Zurier's works. He mindfully reveals the particular texture of the canvas or linen with its often rough and uneven weave. Furthermore, the evidence of the stretcher bars, and the tacking and folding of the material at the sides and corners, all reinforce each painting's physical qualities.
The evident brushwork and blending of monochrome color give Zurier's paintings an ethereal quality. Although his works share affinities with those of Ryman and Newman, Zurier also cites influences as broadly ranging from Watteau to Malevich. These interests are evident in the painterly way in which he builds layers of color, his attention to surface modulation, and the reductive character of the work. Zurier manipulates the flat surface with active brushstrokes, at times leaving the canvas revealed, at other times hiding it beneath a thick impasto-acts that simultaneously acknowledge the materiality of both the paint and canvas. Furthermore, the subtle layering of color builds and dissolves form, whether translucent or opaque, suggesting a sense of light, movement, and depth.
Now there's a guy, closeuup, around since the days of 'Radical Painting'. I had the chance to live with one of John's works on paper last October. And did it work your pants off: As simple as it was it was there! I wrote to a friend that NY giving Zurier a solo show now means there is room... growing room.
How was forever radical talk? Is nothing sacred? I should have gone right? Pressed the flesh? handed out business cards? Asked Greil Marcus a simple but astute and insightfull question?
Nous besoin un raison d'etre!
Speaking of advertising -
Popeye: I yam what I yam Reebock: I am what I am God: I am that I am Descartes: I think therefore I am
NEW YORK — A man jumped to his death Friday from the 86th-floor observation deck at the Empire State Building, one of Manhattan's busiest tourist destinations, police said. The apparent suicide forced police to briefly close the landmark on Fifth Avenue to tourists in New York for the holiday weekend.
The man apparently climbed over a security fence that encloses the observation deck before leaping off. He hit a landing on the sixth floor, where he died instantly, police said.
No identification was found on his body.
At least 31 other people have committed suicide at the Empire State Building since it opened in 1931. More than 3.8 million people visit the tourist attraction each year, according to the building's Web site.
It is 1,454 feet to the top of the Empire State Building's lightning rod.
95 comments:
Jered Sprecher @
Jeff Bailey Gallery
511 W 25TH ST / NO. 207
NY, NY 10001
excellent thank you painter
yess yes
and from iowa too, an added bonus
oil? acrylic? do we know what it is? dimensions? anyone see the show?
Jered Sprecher
Redux
2007
oil on canvas
96" x 72"
http://www.baileygallery.com/exhibition_02.cfm?exh=370
Looks cool..hard edge via 21stcentury lapidology and a hint of 70s era future world systems thrown in for good measure. I only like the complex ones though, the simple ones get generic-ish for me.
title of show is Furniture of the Universe
96" x 72" is the size of Abstract Painting. Read that in the Book.
Chaos Monkey is a fun and fresh painting, two years old.
Global is small but tough, and reminds us that cubism happened, and if it didn't is happening right now---a tip to Cézanne and brother Ad Held.
Divination and Haunch are the same talk as painter Douglas Witmer, Divination could have even been done by Witner---that close, that sensibility! Check out cloud cover. The crystallites are starting to creep in peoples work. My suggestion--don't get too carried away.
Oh, and yeah, the title? Great!
it is intersting that he's not following a strict process and letting images influence his work just as much. For this same reason some of the simpler ones are a let down for me too. More structures with more variety of source material please and thanks.
i don't relate his work more so much to kim fisher. more to painters like raoul de keyser, and in nyc maybe somewhere between alison fox and joe fyfe?
anyway, definitely prefer sprecher to fisher.
p.s. - oh, concrete phone, that is funny that you talk about witmer.
i went to a sprecher show with witmer last year! they were both showing in richmond with openings on the same night (i don't remember if they got a chance to meet).
Hey, martin well the furniture says, '... (we) have met up somewhere, somehow'. the images on your blog have the 'raoul de keyser' feel, though seems the work here has moved away from that,... testing new ground, moving the table around... local influences...
Interesting poppy likes the more more structure, cooky mentions that too... I think I know why...
care to elaborate concrete phone?
Structure structure, or more more, remind us of things, and even though the things in this painting really don't add up to the things in the pantry, the more there are of these things the closer they resemble... the things in cupboard of the mind we know... so poppy I say 'I think I know why you and cooky preference the more, 'kind of rhetorical' [and not trying to be smart or anything but...] simply because there is more.
But, really you have already said that:)
Last week there was one poppy out here in my small garden. Now there are close to twenty, all colors... that blows my mind, so it's all relative... and considering the mind is this interesting non-place.
I see this work as much more related to Fisher than to raoul de keyser..those others fyfe, fox, are also leaning more towards the "painters' painter" sensitive painthandling vibe...sprecher is kinda leaning more towards the hipness of fischer in the jpegs at least, as I'm getting that matte, deadpan surface vibe of a richard phillips type painting(talking formalistic qualities, not figurative vs abstraction) that Fisher uses to more pronounced effect than sprecher
sorry for the runon sentence
these are more techtonic plates or metal refractions than gems or diamonds. More conceptual than referential - not pop.
this piece, which i have yet to see in person, is starting to make me think of the alan shields in high times, hard times.. kind of fabric-y, tie-dyed.
hey, i saw on painters paparazzi that lauren luloff has a show at sideshow!
i think i will come to nyc next week.
marty please link to some alan shields you find similar..I think a key to this conversation may be Sprecher's relation to the 70s (painting aand culture).is he being referential and unaffected or earnest and sincere..you could probably be both except for 100% on the earnest part
i apologize for this being a bit off topic, but Chelsea has been a bit of a burn out the last while - rarely do I see a film that totally changes the way I view Art... and im wondering has anyone else seen Destricted? I honestly can’t remember the last time seen any piece of Art this far into the Taboo with out becoming totally trite. (Films by 7 Artists – Matthew Barney, Larry Clark, Sam Taylor-Wood, Richard Prince, Marina Abramovic (from her gallery show), Gaspar Noe, Marco Brambilla
cooky - i'm just associating out loud with this specific piece... but the faceting, layering, strings, and palette started to put me in mind of fabric and the two alan shields pieces that were in high times, hard times... both the fabric pyramid and the free-standing diamond string wall.
cp,
hear what your saying but thats not the reason for my preference for this particular artist. The less is more works for me just as much as the more is more. Depends whos doing what and how.
There's layering and then there's layering.
The body armor is getting better and better. Still leaves a way in, though.
Ok Poppy thanks, that's what conversation is for... and steel and glass, stainless steel rigging... Talking strings, I saw strings and pyramids a while back, Chris Duncan, he's your way closeuup, right? And venturing out in all directions. He has this thing about the interconnectiveness ...of dots and strings, people, communities... it was interesting listening to what he had to say, very quiet and gentle guy.
Another painter i'm thinking of too, but can't give a name, but work is like, um...
...the color of capsules of light heading each on their own course: left to right, top to bottom to top and diagonally, they read. Twinkle. Sparkling clusters. Coastlines. Oceans.
Orion is not that far off.
Well, back to jumping around a square.
To me its all about throwaway culture.
i get more seventies to eighties beveled glass decor -coffee table to vestibule mirror. The fracturing of space - well most recently I saw Benjamin Edwards do that - its an easy trick and this does not impress me with its craft.
SO unless anyone wants to argue craft - I dont, what about attitude,, or as we say in the biz, VIBE? Does it have the look? No it looks dated. And thats a crime.
i'm with you zip. it is just a trick. there is nothing more than that.
art these days sucks. no one is doing anything real. it's just over-priced garbage. but unfortunately it's you know blah blah blah and the good painting that is being done is holed up in someone's studio somewhere.
tricks always seem easy until you try to do them
Zing!
funny but true.
fracturing space is good. its about hhow you do it--in a mechanical way or a felt way. the latter is less tricky.
i like tricks, especially when the artists indicates the trick, in a not obvious way. that's fun.
true, artgirl, your name is like art grrrl, which would put you in a geurrrrrilla suit. On you Tube you might be lonelygirl 22 or or emogirl42. Indeed you naivety makes one suspicious. Maybe you are a psedonymous old man.
But I wont back down, no I wont back down, I will stand my ground. I will not take the easy way out. i got a full back of tricks for turning tricks, and they are easy, becasue I'm easy. Thats called talent and I got it to burn. Like money. Is it art to burn a million pounds? Ask yourself that and then look at this painting. You'll like the painting a lot more.
I do like that there is time invested in a work without it appearing fussy. Take for example Jorg Immendorf - Donald Kuspit is probably being paid to write him up. That makes DK a shill. DOnald is a paid shill, with a bag full of easy tricks. The hard part was learning them.
I learned a lot of tricks by painting - after five years you can pop em out like meercat blend coffee bean juice. You know, the fecund stuff.
Dont over cook it, thats a harsh shot of espresso. No, keep it full bodied and rounded.
Or do. Im cool with that. My problem is that dividing up space is not that hard, for me at least. The hard part is putting it back together again. This painting relies on polarities - look for mirroring shapes and colors on the diagonal. WHen I think about that I start to think, is anything by chance anymore? Cant we just have it NOT work? Do we need balanced or unbalanced tension filled dynamic spaces? I sure dont.
In conclusion go to the urban outfitters on broadway - a bunch of boards aranged in "explosions" of pattern, including islamic allover patterns - which you will see more and more of in the coming months - its the style of the times.
Cant we just have it NOT work?
That is the question of the times. I see so many people positing that in so many paintings. I can also see the backlash in the future. But for now its a good line of inquiry.
Charline vonHeyl makes the most spectacular failed paintings I think. Good the bad and the ugly...
I was watching justin.tv this morning. God those guys are boring. But justin has a nice voice
I like resoleable shoes. Some paintings don't This painting could go either way.
dividing up space and putting it back together and i'm sorry, having it work, is hard if you know what you are doing and you are taking into account the way the forms react and so on. it is more than picking which pink and blue match on your palette.
Resoleable? How bout walking around with holes in yr soles. Been done? Bare feet, no feet, footloose, could get ugly
any others working with this in mind, the not having it work?, where this is the foremost thought in the artists mind?
whoa JS just left the Voice to work at NYmagazine. http://gawker.com/news/village-voice/jerry-saltz-jumps-voice-ship-for-new-york-248577.php
I predicted it. New Times kills everything it touches. Musto next.
Ny mag zzzzzzzzzzzzzz
any others working with this in mind, the not having it work?, where this is the foremost thought in the artists mind?
having it work the way you thought it shouldn't...
that's the ball, and that's the game.
Glad you are back, um, zip... mr. rational!
here the wind has taken air, and the pink flies, like unpiloted planes, speedsters, flip-flopping, cart-wheeling, across the tarmacs.
Thats sad, but when they got sold to the New Times it really was the swan song.
The voice was my bible when I moved here. Im hoping musto and crue - (amanda lepore sent out a myspace bullet lately for one of the shows on a channel I work for) is our coming my way. Musto is in a # of cameos for a few of the networks he even mentions an inevitable show in La Dolce Musto this week. & i heart my reports on what local dives he is sighted jerking of into his whitey-tigties. live the dream.
As for Jerry i hope his fun conversational writing style can hold up at NY Mag. it takes itself so seriously - the word professionalism cums to mind. i wonder if it drained the Disco out of Haden-Guest.
saltz writes for modern painters or whatever overseas - i discovered that scanning the art mag section at barnes and noble. It floored me. Can a writer write for more than one publication?
yes, yes you can. And you can say essentially the same thing, only in different words. Or the same words, in syndication. I dig that. Its like when you wrote your term paper right out of the encyclopedia britannica - the 100 volume set. Or like when you did your science fair project on the slipperiness of slug slime with a little help from your pops who knows the drag coefficient and stuff. And you win. ANd everyone thinks it was all your dads idea. Fuck em if they can't take a joke.
Now its all on the interweb if you want, or the Blu Ray DVD set. You could do that with paintings right? and then index them and sound as erudite or obtuse or eldritch as you want. I don't, because i grew up largely without TV or white cubicle art for that matter. In this ganzfeld like attenuated cultural limbo, i wandered for many years.
Now I'm totally immersed in a bath of fizzy yellow media stuff.
Art is the same way. I've seen a lot of painting so "being there" just isn't as necessary as it used to be - might I say I'm immune to the white cube? Yes. Yes I am.
I dont even need to paint anymore. Im that evolved. Artgirl, if your still reading, my smug tone is entirely for your benefit. Yours and mine. Mostly mine.
I know you still enjoy the fresh clean lines of a madonna dress offset by a good drywall and spackling, but I know what thats about, and id rather just look at the walls - paintings distract me from the real artistry.
I like Jerry but Doug Harvey is better.
Sometimes Jer gets too full of himself--like with the whole Clusterfuck thing. Now he's stuck with that forever. Bad move.
i was at a saltz lecture last october at which he said he had almost been fired a few weeks before, and talked about his own precariousness and temporariness in the scheme of things.
zip - i don't think modern painters is overseas anymore, i think they're based in new york. didn't they move from london last year?
Why would you get fired for writing fluff pieces about your art world cronies?
Modern painters - yeah sounds good to me - id look it up but who has the time. Just saying JS can pick up work anywhere, precarious or not. Just like the rest of us.
Clusterfuck is a millitary term - so its "topical" like wearing desert storm camoflauge. Or painting it. Or a fashion label called kill 'em all, or designing a shirt with an AK 47 pattern or creating field ration MRE style bento boxes but with cute stuff like chocolate truffles and dutch chocolate instead of high fiber cheese spread or hershy's high wax content chocolate.
its about class isnt it? Time=taste in a lot of ways. Thats how you keep em separated.
poor people have lots of time, too
nwm, I think JS writes much more than 'fun conversational stuff', I'm up to reading him in a serious fashion, but... secretly like CF purely for his writing style, and for the kind of content I do I always head to the Rail... and then there's the whole internet thing. And then... there is all this communication, ceaseless non-stop communication... it's a 'wow' world.
Also what happened to TD, you sleeping, the keys to the harley snap off in the lock... or just nose down ...? Another good team writer!
It's all good!
Thanks KJ for the hard hitting questions. Those people do not like to be interviewed. Except for kaplan and saltz. They know you right? The other people are wondering who would have the affrontery to shove a common 3chip handheld in their faces. The horror! All those tight lipped smiles.
"too many people talking about art criticism?" Not enough doing? I like the lady that doesn't do it for free. Yeah baby, yeah. But look at how goddamned good it is to do it without whips and chains or hairshirts or deadlines.
Me, I write for the love. That art duo is like 11 on the smug - every time i see them i avoid talking to them. They are like low rent kostabi street critics. Their lack of ambition astounds me.
Its the crooked smiles that get to me, too. What is so fucking amusing?
SCAB - scary is more about context than the work itself.
I don't find painting scary - unless you attach symbolic or ritual meaning to them. The real scary stuff has a function.
Otherwise its just fantasy. Thats not what you meant right?
I love you KJ, but get a good camera and a shotgun mike or give it up. Also, since you have access, ask some good questions.
I figured $$ was an issue, but you need good sound and a steady pic or yr viewer doesnt get anything of value. Don't know how to get better sound on the little camera, will look into it.
Yr interview subjects thot you had a camera and were holding for a still shot--tell them its a video. Also, as zip said, 2 kinds of people--those who like to be on camera and those who dont. You have to disarm those who don't. Make them more comfy. Dont be nervous yourself (hard).
Are you tall? Hold the camera lower for the shorter people. You got Steve K. perfectly. You were right on him and his wolfish personality came thru perfectly. Watch out red ridinghood...
Love the bike intro. Branding!
When interviewing people--this is corny but it works--just repeat the last thing they said. Like just go "Survey?" and then like Joe Fyfe would elaborate.
If you're going to go unedited, put yourself in the vid more. Watch Nick Broomfields Kurt & Courtney for tips. He did it well.
Don't quit really. I would like to see more. I bookmarked your site.
Just saw this show yesterday... I'm a sucker for work that's a mash-up between digital precision and the hand. There's a sneaky dose of Photoshop thrown in. The "+" painting called Box is a P'shop cursor; you get it when you use the rectangle marquee tool. He did an earlier painting of an arrow cursor (not in this show). The green & black painting called Global uses the "crystallize" filter, but he mixes it up with gestural/invented mark-making.
It's a good show, definitely worth checking out. The scale is surprising. I think you have to see the work in person & hanging together to really get it.
if david salle can use the twirl filter, I guess its wide open.
Im not all that interested in photoshop to painting - seems like a way to get at the office culture though - id be more interested in a less abstract more concrete critique of the tool as it defines
real world office rituals and mindsets.
The thing about photoshop is that it will make your brain square to fit the tank. that can be good, like having your studio outside of your living space. Or having enough money to get out of the city once in a while.
theres a whole genre of paint shop pro screen capture videos on the web - erased in reverse
for example.
be
like david byrne popularized the powerpoint presentation as art. I mean there should be a show of powerpoint artists. You can major in "presentation graphics" now. WIld man, wild.
People think that we don't understand
What it takes to want to be a man
I don't care much for that
I don't know why
Just the thought of just a waste of time
Hiding things that no one wants to find
I don't know much of that
I don't care why
Goin' against your mind
Goin' against your mind
When I was a kid I saw a light
Floating high above the trees one night
Thought it was an alien
Turned out to be just God
If you're not sure who not to believe
Who has better reasons to decieve
They're really good at that
That's all they do
Goin' against your mind
Goin' against your mind
And we won't share
No, we won't share
fun and conversational - "style" as in delivery - content and taste being quite different. I guess i ment to say not pretentious. I miss hating Finch, its sad not seeing him around these days.
Yeah, nwm, so you miss C. Finch? His stuff is quick, squalidly nimble, sharp-witted, and... well, dark and worn. The contrasts are there--collectible artifacts of a culture, no doubt!
KJ this stuff is going on here, too!
Honestly though this walking around with the video in the galleries, well... do you think that works?
An Interview might work, kind of new millennium interview style [you, or anyone, can invent that] or the old warhol shoots, something like that, fixed camera no shakes.
It's funny you chase people with a camera and they run, or in your case, once the question gets thrown 'say something....' the camera just turns off.
Fix the camera and it becomes like art, people walk up to it, and peep in. Clean, no aggitation, no power game. Pop a question [Clean, no aggitation, no power game].
...anyway on an art-search engine here we have this currently up:
want a job that doesn't pay, but gives loads of experience?
TAB Video offers interviews with artists and features on exhibitions and events taking place in Tokyo's vast and varied world of art and design, giving TAB's users an instant visual insight into the wealth of what's out there.
We are looking for people interested in the Tokyo art scene, who have their own camera and some basic experience with video editing software.
well, CP. i still follow his writing - i do miss hanging out with him, he is a fucktard but a character none the less..
Seems to be fewer and fewer "personalities" these days in the NYC Artworld. That reminds me about a number of tapes I will try to hunt down and get on youtube later.
& thats a good lead in to video as a medium by way of social sculpture, namely galleries & critics - i have seven years of that under my belt. Artworld safari Rulez.
Hi. I am away. I will be back next week. No post for awhile.
Celebrating Tartan Week?
HOLY COW!!
I remember THAT!!!
WACK!
Listen to the girl
As she takes on half the world
Moving up and so alive
In her honey dripping beehive
Beehive
It's good, so good, it's so good
So good
Walking back to you
Is the hardest thing that
I can do
That I can do for you
For you
I'll be your plastic toy
I'll be your plastic toy
For you
Eating up the scum
Is the hardest thing for
Me to do
Just like honey (x 17)
thiungs in mirror may appear
more on mirrors
When Statesmen gravely say 'We must be realistic',
The chances are they're weak and, therefore, pacifistic,
But when they speak of Principles, look out: perhaps
Their generals are already poring over maps.
no rearviews on my ride
“Art is not a mirror held up to reality, but a hammer with which to shape it.”
-Bertolt Brecht
arbeit macht frei
She's too much for my mirror
She almost make me lose it
The way she abuse it make me never wanna use it
Well mend yer heart 'n mind yer soul
Ole Chicago she's uh woman thata
Make uh young man uh bum
She howl like the wind
Make m' heart grow cold
Make me long for that little red fum!
She makes things fly 'n she makes things roll
She got me way over here 'n I'm hungry 'n cold
I remember m' mother told me I oughta be choosey
That was way back when I thought she was m' friend
Now I find out she's uh floosey
I remember the butterflies 'n the sweet smell uh corn
'n the bubblin' fish in that lil' pond
Oooh, Lousey! Oooh, Lousey!
How I long for you
How I long for you
She's too much for my mirror
That little floosey oh how I fear her
Oooh, Lousey!
http://www.youtube.com/watch?v=8ISil7IHzxc">Fukin' A!
Thats right, folks..
Dont touch that dial
Well, I am the slime from your video
Oozin along on your livinroom floor
I am the slime from your video
Cant stop the slime, people, lookit me go
NOT FOR SALE: Forever Radical?
April 12, 2007, from 6:30 – 8 PM, with reception to follow
Einstein Auditorium, New York University
34 Stuyvesant Street (between 2nd & 3rd Avenues at 9th Street)
New York City
Free Admission
Panelists:
Laura Hoptman, Senior Curator of the New Museum of Contemporary Art
Greil Marcus, Author and Cultural Critic
Adam Pendleton, Artist
Emily Sundblad, Artist and Co-Director, Reena Spauldings Fine Arts
Moderated by RoseLee Goldberg, Director of PERFORMA
NOT FOR SALE: Forever Radical? will explore the meaning of the term ‘radical,’ especially as it has been used in the past to describe live action by artists. Critical, disruptive, anarchic, and metaphorical, for decades performance was considered the battering ram of protest against the legitimizing power of the institution. How do artists today give shape to radical notions in their work? What impact do those ideas have on the landscape of performance and visual arts today? As more and more museums, galleries, and art fairs add performance to their programs, can this material still carry the provocative edge of its precedents? A panel of artists, writers, and curators will discuss whether the term “radical” still holds today, in the art world and in the broader social and political sphere.
For a millisecond I thought 'Painter' might have been Sol Lewitt.
RIP.
Great artist, good painter and a generous person.
I have left aside all theories and kept this as my only doctrine:
one is never exact enough, simple enough, deep enough.
- Ivan Aguéli (Swedish painter, 1869 - 1917)
EXHIBITION AT PETER BLUM SOHO
March 29 - May 19, 2007
JOHN ZURIER: Paintings
John Zurier's paintings have been described as part of a new generation of painterly abstraction that transcends the gestural and material to evoke the emotional. Process and material are critical aspects of Zurier's works. He mindfully reveals the particular texture of the canvas or linen with its often rough and uneven weave. Furthermore, the evidence of the stretcher bars, and the tacking and folding of the material at the sides and corners, all reinforce each painting's physical qualities.
The evident brushwork and blending of monochrome color give Zurier's paintings an ethereal quality. Although his works share affinities with those of Ryman and Newman, Zurier also cites influences as broadly ranging from Watteau to Malevich. These interests are evident in the painterly way in which he builds layers of color, his attention to surface modulation, and the reductive character of the work. Zurier manipulates the flat surface with active brushstrokes, at times leaving the canvas revealed, at other times hiding it beneath a thick impasto-acts that simultaneously acknowledge the materiality of both the paint and canvas. Furthermore, the subtle layering of color builds and dissolves form, whether translucent or opaque, suggesting a sense of light, movement, and depth.
distressed denim used to be for nappy hoes and sloppy joes.
Now there's a guy, closeuup, around since the days of 'Radical Painting'. I had the chance to live with one of John's works on paper last October. And did it work your pants off: As simple as it was it was there!
I wrote to a friend that NY giving Zurier a solo show now means there is room... growing room.
I knew you'd like it CP. (Work your pants off-luv you my man)
Yup it's denim-ish...True Religion crossed with Oh Brother where art thou...
positively proustian
there's allways room.
guy debord would love it
I never knew what the x in X3d
was supposed to be - total bullshit, I believe.
RIP Player Piano.
How was forever radical talk? Is nothing sacred? I should have gone right? Pressed the flesh? handed out business cards? Asked Greil Marcus a simple but astute and insightfull question?
Nous besoin un raison d'etre!
Speaking of advertising -
Popeye: I yam what I yam
Reebock: I am what I am
God: I am that I am
Descartes: I think therefore I am
Stop and sell the garbage.
cat in a hat: sam I am
I am Sam
Ryoichi Kurokawa
i like looking at the art you guys post so thank you
splendid isolation
I don't even need to leave the house for art anymore.
Thank you.
Pad Thai delivers.
tv part!!!!!
THis painting seems appropriate - that or the other one posted here
torben Ghieler
or marc Handelman
all that zooming vertiginous void.
sucking the air out of your lungs.
I heard a leg landed on the street.
Man Jumps From Empire State Building
Saturday, November 27, 2004
* E-MAIL STORY
* PRINTER FRIENDLY VERSION
NEW YORK — A man jumped to his death Friday from the 86th-floor observation deck at the Empire State Building, one of Manhattan's busiest tourist destinations, police said. The apparent suicide forced police to briefly close the landmark on Fifth Avenue to tourists in New York for the holiday weekend.
The man apparently climbed over a security fence that encloses the observation deck before leaping off. He hit a landing on the sixth floor, where he died instantly, police said.
No identification was found on his body.
At least 31 other people have committed suicide at the Empire State Building since it opened in 1931. More than 3.8 million people visit the tourist attraction each year, according to the building's Web site.
It is 1,454 feet to the top of the Empire State Building's lightning rod.
you made it
phil hansen
dude brah I'm totally stoked!!!!!
FATALITY!!!!
is anyone getting sick of this guy?
zip or jared sprechter...or both?
Post your own painting, until painter resumes?
"we need to drill down on this marketing document to a fine degree of granularity"
wow...that statement is so 1999.
the churn rate on marketing buzzwords is viral. whatever that means
dont get your longtail in a bundle
well, i like jared sprecher but i kept checking for weeks and it was still the same old guy.
we can post our own?
this one's englebush, happy in a contemporary way.
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