Id be impressed if this was done with .css scripting.
Does Sarah Moris know anything about tensor math?
And finally - theres an article in cabinet magazine on someone who made a fractal sponge out of business cards. Its pretty rad!!!! Thats where each origami shape interlocks modularly with another shape forming a whole. Sort of like when you get a big crowd of lines together and they form a "design" that "signifies" something - like "aliens please land here in Nazca, we love you and our acorn squash and maize is out of this world!"
SO in that sense this work is cool - like i'm going on a road trip right now because I have recurring visions of a singular shape and I can't controll the compulsion to go see it. ANd I'm playing my pattern recognition game up to levels that seem obscene. red red red red red yellow red red yellow red. red red yellow red yellow. red red yellow red yellow blue red red yellow red yellow blue green red red yellow red yellow blue green green red red yellow red yellow blue green green red red red yellow red yellow blue green green red yellow
Frank Stella was a fella went down around the bend A synecdoche is just a skosh An asymptote is all she wrote Stock market stock market Zen.
I think Sarah Morris is playing an interesting part in painting.
Too often is she criticized for her aesthetic.
What should be recognized is how her paintings are always well executed, well composed and sophisticated. The bigger question is whether or not it would be interesting to see a little more Morris at times, and less tape--human error, if you will. Then again, isn't there plenty of room for other painters to be doing this?
Sure, some paintings are a little too "designy" but this is her intent. She's using the language of painting as a mirror to reflect (and I mean seriously, these paintings are really glossy) a type of shallow and seductive culture.
So, who cares if she composed these digitally? I think that makes them all the more interesting. We don't see any hesitation or struggle with the image in terms of realizing it physically. Even if it appears cold, mechanical, etc., etc., it does reveal itself slowly.
What I DO think is problematic is how these paintings (as in other SM projects) are more often props for the films. In my opinion the two have little dialogue formally. But that's just me.
... back at the desert, the mournful spot, where painting had struggled to stay 'alive'. You may not have noticed last time but there was a black case half buried in the sand. And inside that case was a different kind of painting. And when you run forward and skip over to the new, the New Century of Painting, that bag, its contents, didn't seem to make it over particularly well. That bag was Abstraction: Its contents were the most radical shift in consciousness in art perception and making to ever occur in two thousand years. That bag, too, was the same bag that landed us up in the desert pronouncing painting dead.
Sarah's work is great. it takes guts to do this work this early part of the century. You need to be tough, and 'uhm sensitive! Yeah sensitive too!
"Well executed" sounds like something that happens in Texas at midnight with the guards clapping.
This show was cold, cheerless and about the cash. Nothing new here. At least Sol Lewitt has a system that he figures out...yah, pull this off in CSS without tables and we'll talk.
Off to go criticize the new Sesame Street character on the other blogs.
not for nothin but "Los Angeles" was my favorite film I ever saw in a gallery, ever. Completely gorgeous and poignant. The paintings never really hit me either way. Oh, and I also like Liam's beats.
That would be the sensitive, come on zip! You should try chopping your brie up, not the cheap rubber stuff, good stuff, chopping some garlic, fine, and add a touch of miso, chunky. Heat an old cast iron bowl add, and let it burn a bit. Serve with celery. Invite me, we can talk n. I'll bring the ASAHI.
I like how this work mimics the composition in the Duston Spear below. As for the piece, I'm somewhat intrigued by the visual play in the piece. Interpreting it in different ways, it has a certain malleability.
Miso soup with Brie? Oh, where are the traditionalists when we need them.
I'll try anything.
4.2 earthquake...
Makes my balcony seem like a diving board.
Maybe this artist has it right...find a system that ensures a good critique, a good paycheck and easy directions for the paid employees. Peter Halley for the early part of the century.
Sarah Morris is a painter and filmmaker whose work deals with the language of the urban environment. Morris studied semiotics at Brown University and her work is informed by an interest in signs and the de-coding of our environment, touching on architecture, social structures, the commodification of desire and, frequently, the intersection of all three.
I really enjoy patterns, from arabic or moorish allover pattern to background tiling in web pages. I find them relaxing and intrinsicly interesting. THats why I liked the paintings of the floor pattern from the Shining Movie Hotel carpet. Come to think of it Ive seen that pattern several places now. Its probably ubiquitous somewhere -
But Im more interested in making them myself than watching. AND im not sure how they relate to theory - seems like you could be into astrology or the khaballah and have the same fun.
I read about a guy a while back that taught himself Open GL (this was before 3d programs made it easy to tesselate things) This guy made fourth dimensional models then painted cheesy paintings but he got no mojo - too dry and mathematical I think. Plus he was worried about copyright and was probably a bore.
Too bad sucker!
I like the crispy rice in a bowl with egg and stuff.
I bought this sphere made from metro cards and reverse engineered it. So now I can make my own. its cool in that sort of "I can tie my own shoe" sort of way.
Ill have to see the animations - there was a good one on 27th of spinning circular patterns a while back - anyone remember that?
26 comments:
Sarah Morris @
Friedrich Petzel Gallery
537 West 22nd Street
535 West 22nd Street
New York, New York 10011
Again with the space stuff.
I own this program....
Id be impressed if this was done with .css scripting.
Does Sarah Moris know anything about tensor math?
And finally - theres an article in cabinet magazine on someone who made a fractal sponge out of business cards. Its pretty rad!!!!
Thats where each origami shape interlocks modularly with another shape forming a whole. Sort of like when you get a big crowd of lines together and they form a "design" that "signifies" something - like "aliens please land here in Nazca, we love you and our acorn squash and maize is out of this world!"
SO in that sense this work is cool - like i'm going on a road trip right now because I have recurring visions of a singular shape and I can't controll the compulsion to go see it. ANd I'm playing my pattern recognition game up to levels that seem obscene.
red
red red
red red yellow
red red yellow red.
red red yellow red yellow.
red red yellow red yellow blue
red red yellow red yellow blue green
red red yellow red yellow blue
green green
red red yellow red yellow blue
green green red
red red yellow red yellow blue
green green red yellow
Frank Stella was a fella
went down around the bend
A synecdoche is just a skosh
An asymptote is all she wrote
Stock market stock market
Zen.
I think Sarah Morris is playing an interesting part in painting.
Too often is she criticized for her aesthetic.
What should be recognized is how her paintings are always well executed, well composed and sophisticated. The bigger question is whether or not it would be interesting to see a little more Morris at times, and less tape--human error, if you will. Then again, isn't there plenty of room for other painters to be doing this?
Sure, some paintings are a little too "designy" but this is her intent. She's using the language of painting as a mirror to reflect (and I mean seriously, these paintings are really glossy) a type of shallow and seductive culture.
So, who cares if she composed these digitally? I think that makes them all the more interesting. We don't see any hesitation or struggle with the image in terms of realizing it physically. Even if it appears cold, mechanical, etc., etc., it does reveal itself slowly.
What I DO think is problematic is how these paintings (as in other SM projects) are more often props for the films. In my opinion the two have little dialogue formally. But that's just me.
I dig the Stella vibe.
Lee Krasner did some nice Olympic prints.
I am folding 1,000 fucking cranes.
I am wishing for universal peaces.
... back at the desert, the mournful spot, where painting had struggled to stay 'alive'. You may not have noticed last time but there was a black case half buried in the sand. And inside that case was a different kind of painting. And when you run forward and skip over to the new, the New Century of Painting, that bag, its contents, didn't seem to make it over particularly well. That bag was Abstraction: Its contents were the most radical shift in consciousness in art perception and making to ever occur in two thousand years. That bag, too, was the same bag that landed us up in the desert pronouncing painting dead.
Sarah's work is great. it takes guts to do this work this early part of the century. You need to be tough, and 'uhm sensitive! Yeah sensitive too!
Buzz Spector loves his 'tech'.
"Well executed" sounds like something that happens in Texas at midnight with the guards clapping.
This show was cold, cheerless and about the cash. Nothing new here. At least Sol Lewitt has a system that he figures out...yah, pull this off in CSS without tables and we'll talk.
Off to go criticize the new Sesame Street character on the other blogs.
ah U's dad you are just in a pooh pooh mood!
not for nothin but "Los Angeles" was my favorite film I ever saw in a gallery, ever. Completely gorgeous and poignant. The paintings never really hit me either way. Oh, and I also like Liam's beats.
"it takes guts to do this work this early part of the century. You need to be tough, and........sensitive"
About as tough as baked brie.
That would be the sensitive, come on zip!
You should try chopping your brie up, not the cheap rubber stuff, good stuff, chopping some garlic, fine, and add a touch of miso, chunky. Heat an old cast iron bowl add, and let it burn a bit. Serve with celery. Invite me, we can talk n. I'll bring the ASAHI.
I like how this work mimics the composition in the Duston Spear below. As for the piece, I'm somewhat intrigued by the visual play in the piece. Interpreting it in different ways, it has a certain malleability.
Im more into sharp cheddar.
love it.. god im so burned out thou get back to it later
Miso soup with Brie? Oh, where are the traditionalists when we need them.
I'll try anything.
4.2 earthquake...
Makes my balcony seem like a diving board.
Maybe this artist has it right...find a system that ensures a good critique, a good paycheck and easy directions for the paid employees. Peter Halley for the early part of the century.
Sarah Morris is a painter and filmmaker whose work deals with the language of the urban environment. Morris studied semiotics at Brown University and her work is informed by an interest in signs and the de-coding of our environment, touching on architecture, social structures, the commodification of desire and, frequently, the intersection of all three.
I really enjoy patterns, from arabic or moorish allover pattern to background tiling in web pages. I find them relaxing and intrinsicly interesting. THats why I liked the paintings of the floor pattern from the Shining Movie Hotel carpet. Come to think of it Ive seen that pattern several places now. Its probably ubiquitous somewhere -
But Im more interested in making them myself than watching. AND im not sure how they relate to theory - seems like you could be into astrology or the khaballah and have the same fun.
I read about a guy a while back that taught himself Open GL (this was before 3d programs made it easy to tesselate things) This guy made fourth dimensional models then painted cheesy paintings but he got no mojo - too dry and mathematical I think. Plus he was worried about copyright and was probably a bore.
Too bad sucker!
I like the crispy rice in a bowl with egg and stuff.
I bought this sphere made from metro cards and reverse engineered it. So now I can make my own. its cool in that sort of "I can tie my own shoe" sort of way.
Ill have to see the animations - there was a good one on 27th of spinning circular patterns a while back - anyone remember that?
Quakers!
this is what happens when you give rob pruitt cocaine cocaine
where was that from?
composed digitally? Well I'm into high thread-count..
I say buy, buy, buy!
I dig it. Her paintings are smart-- not something I say (can say) often. urghurghhghh.... that's it, I am burned out too.
Spiders on drugs
Hey UD. That was a good shake! Invigorating.
im jealous of you San Franciscans.
Sven -
jason rulnik
shoebox gallery - but the show up is nice if you like this or that sort of thing.
diamond dogs
Wrecked up and paralyzed, diamond dogs are sableized
Rulnick's show was fun. He'll be blue chip sooner than later. Buy now.
ZzZzZzZzzzz
http://www.kopenhagen.dk/showpic.php?file=uploads%2Fpics%2Fmccarthy-0107_044.JPG&title=Image&width=800m&height=600m&bodyTag=%3Cbody+bgcolor%3D%22%23FFFFFF%22%3E&wrap=%3Ca+href%3D%22javascript%3Aclose%28%29%3B%22%3E+%7C+%3C%2Fa%3E%3CBR%3E%3Cfont+face%3D%22arial%22+size%3D%221%22%3E%3C%2Ffont%3E&md5=9e956d2cdce4e6863644cf712f62471f
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