[THIS IS A LIVING DOCUMENT]

an abstract picture is shattered by its definitions. It is recognized as abstract and becomes a signifier. an abstract painting is a photorealistic painting of an abstract painting. the language of the materials used in the picture prevents it from ever reaching a truly abstract state. It is painted with something called which we call ‘paint’, with a color we call ‘blue’ with a tool we call a ‘brush’ in a building we call a ‘gallery’ which shows things we call ‘art’, which we, I, am supposed to think about, write about.

I went to see a Richard Tuttle show last year in midtown. The work was exceedingly ephemeral. There was a price list there where it listed each piece being around 20,000 dollars a piece.

art is an installation picture

art is an opening with a buzzed audience

art is an article in an art magazine

art is a commodity

artist pariah the slime

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in the late 60s and early 70s it was whittled down to nothing. artists making work under the moniker of ‘conceptual art’ were making something from nothing. the art object dematerialized.

surely ‘nothing’ cannot be sold.

something from nothing leaves nothing

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post-internet proposed an ontological questioning of images and objects in the wake of a globalized and networked world but never went as far as directing those same questions to the structure of power and wealth.

“First, nothing is in a fixed state: i.e., everything is anything else, whether because any object is capable of becoming another type of object or because an object already exists in flux between multiple instantiations.” - Artie Vierkant

Everything is anything else, except for the power structures and systems that produce vast inequality and suffering, except for the power structures embedded in the art world itself, the art world that supports these artists, that puts these ideas forth. These power structures ensure the exact opposite, that everything cannot become anything else.

Everything has remained intact. Nothing exists in flux. Post-internet art has only strengthened the existing power structures which have been legitimized even further through supporting and claiming to nurture the conversation that post internet proposed.

Post-internet artists settled for the role of “mirror to reality”. Artists who are supposedly tapped into our contemporary moment. Artists who observe our culture, synthesize it and spit it back out to us highlighting the most salient aspects of today’s culture. An anthropological distance is maintained. The artist is removed and maintains a position that holds no responsibility. Artists are floating down the river pointing out to all which direction the water is flowing. They have no stake. There is nothing at stake. Jumping in the water, thrusting a stake into the riverbed, having an opinion, any attempt at change is out of the question.

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there is something about remembering specific facts, letting them stick as individual entities in your brain. That type of keeping facts filed away in your memory keeps them separate from all other facts. Like items in an encyclopedia that sit next to each other but never interact. Like stories in a newspaper that sit next to each other but never become contaminated by one another. They are bubbles that are unaffected by other bubbles around them. But facts aren't just something to remember. They have affect. The fact can be forgotten but the feeling remains. What happens when we let the facts interact? We forget the specifics and are left with a strong cocktail of emotions and premonitions. You read an article, don’t remember anything. Together all these facts paint a picture of a system that can’t be seen. It’s image is elusive, it’s factual limbs flailing about striking you in the gut. It’s that feeling you can’t forget. It leaves you feeling a fool. In arguments facts are the used as ammunition, like some conspiracy lunatic you are left with nothing but a; “trust me man”.

bubble trouble:

123groupshow

Jet lag:

I arrived in Stockholm. I flew from Shanghai. The time difference between Shanghai and Stockholm is nine hours. I felt a little tired after the long flight but needed to stay up to adjust to the time difference.

The biggest difference is the difference in time. the difference in our idea of what our future time will hold.

Collectors, carl. Have an idea of time moving forward. An idea of progress, of events.

young artist>collect>have shows>make connections>bigger studio>more production>meet “important” people>curators>included in shows with big name artists>value increases over time>solo show>have museum shows>value increases>become part of the canon= culture has been nurtured and created. Collectors believe they are nurturing culture. They may even think that it wouldn’t exist without them. It is a money making scheme that feels better. Make you feel important, intellectual, cultural. It is all done with the idea that the time we all have ahead of us all is stable. Reliable. and maybe it is reliable for people like him and other people that have that kind of money. the “1%”. There are projections that 100 million ppl will die by 2030 if we fail to act on climate change. it is projected that 90 percent of those deaths will be in developing countries. there is no question. that we are failing. at least currently. that projection is most likely pretty conservative.

I dont see our time ahead like carl.

archival.

global warming.

culture for who. museums for who? in a 4c degree world. who will be there to look at the art. our future is being wiped away.

outsider art fair:

start small.

once a month have an event where people convene at a location. each member works on one piece of art for the month and brings it to the location on the event night. You install your piece however you like. emphasis is on the art. ppl are encouraged to bring their camera and document their piece and other pieces however they would like. each person is only permitted one piece per month. the idea is to have art that exists outside of any institutional space and outside of any institutional support. the artists are the organizers and they decide how things are installed and documented.

i want to start small and just invite my group of immediate friends to see if they want to do this. i will see how it goes and adjust some things. if it goes well i would want to open it up and make it public and invite more ppl.

perhaps this is overly optimistic but maybe i would encourage ppl from other parts of the country and world to participate in their location and different groups would emerge. the event would be on the same day for every location/group. maybe a conversation would emerge between groups and locations or maybe each group would develop some sort of voice or they might decide to have a theme for one month? the idea is to keep everything open but really never allow any sort of institution to become involved. the spirit is to be outside. even if an institution is inviting a group in for free it does not go with the whole idea. no asking for permission. no scheduling. no grants. desolate locations are encouraged, abandoned buildings, parking lots, subway cars, empty fields, golf courses, parks. there is no limit to the type of art. if you can pull it off you can do it. performance, sculpture, poetry, singing, dancing, drawing, painting, presentation, lecture. whatever you can patch together, keep it scrappy. don't show anything that you wouldn't want to get damaged. leaving the pieces in the location is encouraged. anonymity is also encouraged but not required.

i had this idea because i wanted something… an event, a show…that would focus solely on the art and less focus on the social dynamic of an opening. I miss the school environment. i miss the intensity of focus on the art. i want an event where conversations about the art make sense. a celebration of the art. ppl making art for the love of making. people going to the event for the love of looking and viewing and thinking and conversing

Maybe ppl would document the show and everyone would consolidate the images in one place (a specially built website? reddit? Facebook? all of the above?. no editing of the images so there would be lots and lots of pics because everyone would be taking them…hopefully.

solidarity with McPoems

name ideas:

outsider art fair

outsider art monthly

i guess i would just say that i think the whole conversation surrounding stefan simchowitz is missing the point. ppl are talking about the specifics, the players and not the game. its kinda ignoring the larger system at work which is really the problem. i think simchowitz is a total slimeball and not actually that smart but i agree with him in that he probably isn’t the worst out there. im sure that there are dealers and other art world ppl that are totally corrupt and awful but they just keep their mouths shut. simchowitz is the center of attention because he has a massive ego that requires petting so he just keeps talking and talking which gets him more and more attention. you lose the battle the second you focus all your attention on these guys. ppl like simchowitz because they think he is shaking up the status quo and challenging the establishment but he IS the establishment. He is like any of the libertarian dickheads in silicon valley who think they are gods gift to the world because they are providing a radical new perspective that will change the world. they think wearing flip flops to an important business meeting or wearing your underwear to a nyt photoshoot is outrageous and offends the establishment. in reality it really doesn’t change anything. it is a minor adjustment, a change of face but the structure remains unchanged. these are people who have zero vision for any substantial change. they are a tweak to the system, a cosmetic difference. Everything is shuffled around except for their motivation: PROFIT. that is the only thing driving these ppl. when simchowitz isn’t posting his arrogant opinions about how he is the art world messiah he posts flaccid ‘progressive’ op-eds on his fb painting himself as a politically progressive figure. all the while he admits that his goal in collecting all this artwork and ‘helping’ these artists is to have an art collection worth 1 billion dollars. ppl argue that he is not a flipper, he is a hoarder who is playing the ‘long game’ and that somehow this is better. but i ask how this is better? There is no such thing as clean money but there is definitely no such thing as a clean 1 billion dollars. 1 billion dollars can only come from the businessmen who ruthlessly reap profits from an economy run on fossil fuel. an economy run by people who have ego’s equal to simchowitz. an economy that is driving us to a world with a 4 C degree change in temperature. a 4 C degree world that is literally uninhabitable. his explicit aim is to be one of the select few to take advantage of an economy that services a few and starves the rest. apparently he can sleep at night by telling himself that he is different, he is taking on the unjust greedy establishment. he tells himself that he is on the right side of history because he is a vegetarian with progressive beliefs that posts articles on fb advocating social justice. simchowitz isn’t changing the system he is reinforcing it! When these ppl look at art they see money, they see profit. whether the see it coming in the next couple of years or in thirty years, they see money. its no surprise that most of the art that they collect is a-political zombie abstraction. if it actually had any content it might distract them.

the artworld more than anything deserves to be picked apart, overhauled, restructured and probably dissolved but simchowitz is most definitely not the answer. the fact that so many people are buying into his message is so depressing and cynical to me. I used to be excited by the people making art that was categorized as ‘post-internet’. i saw it as a community of ppl making art and using the internet as a platform to circumvent the art world. i saw it as an explicit political move made by artists to wrestle power away from existing art institutions by using tools that no longer required permission to publish and share. who needs a gallery when you have the internet? i mistook convenience for vision. most ‘post-internet’ artists did not share this vision, they simply did not have a point of entry into the art world or art institutions so they were just putting their art out there by using the most convenient tool: the internet. suddenly the floodgates opened and one by one artists were airlifted from the internet into galleries, museums and auction houses. simchowitz was largely responsible for this. now he claims “you can’t say I’m bad - I created the post-internet movement!” I have completely lost interest in most of the art being produced by any of the ‘post-internet’ artists. it no longer has any edge and is so a-political. most of the artists have been silenced in the process: artie vierkant, jon rafman, petra cortright. They seem to have nothing to say on these issues. they have nothing to share except details about their upcoming shows.

the market has broken down any political ambitions. the market has created a competitive environment where there is no time or space to build communities or solidarity between artists. artists are pitted against each other. when an artists puts forth a critique or a vision they are shot down by their FELLOW ARTISTS! artists are labeled as complicit and hypocritical if they talk about the problems within the art world and a desire for something else. artists have become protective and paranoid of change. it is like when ppl critique al gore for riding in an airplane. “IF YOU ARE CONCERNED ABOUT GLOBAL WARMING WHY ARE YOU BURNING FOSSIL FUELS BY TAKING AN AIRPLANE!” “well then what's your idea? If you don’t have a better way of doing things then just shut up, you are complicit”. its a strawman argument used to guilt anyone into silence. Anyone that wants to start a conversation about a better world has to think twice because they don’t want to be caught with their pants down. “How can you talk about these things when you are having a show in a gallery? When you are selling art?” I am not interested in purity or a perfect record i’m interested in real changes to the system. ideas for new systems and worlds are not and should not be created and implemented by one person. It isn’t plausible for one individual to come up with all the answers to such large systemic problems. active communities with strong ties, shared grievances and a diversity of visions will be the most effective. these communities may begin to form once artists start conversations and push back against market forces. until then we will have no vision of a more egalitarian art world or world brought forth by artists. all we will be left with are visions presented by ppl like simchowitz.

we like to play games and we like to win those games. winning often becomes the sole objective while all other details go out the window.

new years resolution:

In 2015 I want to create and share more. This past year I spent more time overthinking things than I would have liked. I spent too much time behind the computer feeling annoyed or bitter or critique-y. I spent time too much time sitting around wishing that certain worlds existed instead of being proactive and taking steps to realize those wishes. I realize now that what I want to do in this world will not begin from a conversation away from the art object or image. I realize that I will never be satisfied with the world as it is, with art as it is. In order for me to bring about a world that I want to live in I need to start creating things that depart from the current reality and make things that exist within an entirely new world, artworks that follow their own set of laws.

I can only ever be mediocre theorist, critic or writer. I am best as an artist. The best thing I can do is embrace the freedom that comes with being an artist.

I have realized that conviction is hard to distinguish among artists. I want to make more of an effort to find artists that have the same conviction as me. I want to work on forming new bonds and a network of solidarity. The market thrives on a total depletion of solidarity between artists. Artists are so eager to jump head first into the market (not always for bad reasons, even if they are bad reasons it doesn’t make them a villain or a bad person). The astronomical amounts of student debt that accumulates after just four years of pursuing a degree has put my generation at the bottom of a deep hole that we are required to climb out of before we can even embark on our adult lives. By the time we climb out, our ambitions and hunger for a better world dries up. This is the way the system was designed. This puts artists in a position that makes it nearly impossible to say no. Artists today are hungry for any opportunity to get their work out there and rise through the ranks of the art world. There is little opportunity for artists to develop demands from the institutions that hold the keys to their potential success. Opportunities to seize the leverage points necessary for change have been lost and forgotten. You cannot demand change if you already put your name on the waiting list. I want to remember that I can issue demands. I want to work with other artists who share this desire. We are soon to forget that today’s art institutions are beholden to artists. Art institutions have been successful in avoiding this truth by using the market to create a rat race amongst artists. This atomizes artists working today and prevents solidarity from building and communities from forming. Art institutions wield a substantial amount of power within contemporary society. I want to work towards forming demands that would require said institutions to step in line with artists who spend time envisioning new systems. I want to demand that these institutions take steps towards realizing those visions. I want to talk to other artists that share these desires, I want to work with other artists on fleshing out what the best plan of action is.

My focus on art institutions is not to reform them. I do not wish to spend all my time working towards changing these institutions just so I can feel better about subscribing to them. Honestly I would rather see existing institutions dissolve completely. I no longer see them as an essential or healthy component of a more egalitarian art world. My interest is mostly in the power these institutions yield in today’s society. I want to utilize that power. Artists are no longer reliant on these institutions.

All works are free. Click on image to download.

Installation instructions

punk- running around and inhabiting ruins

poetry.

vito aconci talking about marina abromovich. “can’t do performance for too long. it is a way to break from everything but not something to do for too long.”

i honestly can’t guage poetry. i don’t know whats good and whats bad. part of that is very aggravating and i just assume that almost all of it is bad and no one knows anything about it so it cant be good. there are just too many people doing it. all a sudden so many people doing it. but at the same time i see poetry as this ruin that people have found that they can run around in. it is how vito says. it is like perfomance where people can use it to break out and into something new.

psychotropic art happened

our lives as a manic worry mess..dragging all of our thoughts that are at the front of our minds, dragging all of our garbage and trash and worries that we cant throw away, bringing everything into the space that is usually hidden, put away, making seen what is usually not seen to us and everyone else. take out what is hidden in our own heads, our own minds, the power lines, the land fills, the search histories on our computers.

gallery space as prison that we are too busy wiping our shit on the walls we didnt realize the door was open, the guards have walked away, we are free to walk out the door but we want to finish what we started. we are busy writing our manifesto on the walls. fingerpainting it with our hands, with our own shit. but really no one will read it. no one would even understand it if they were to read it.

open thoughts on the wall.

feeling totally free to replicate someone else's work. not because it is an interesting conceptual move. there are no essays to read with it. sorry sturtevant. it just popped into my head so why wouldn’t i remake someone elses art. smaller out of clay. out of play doh, sorry bhqf...no one cares.

Seychelle Obsidian D. Allah. show at Reference gallery.

nothing is put down in the space and then picked up. everything used to put the thing up gets left there. if it doesnt look good or feel right just keep going until it is totally and utterly over the top.

pile of wet paper towels with red food coloring with enamel to look wet

dvds.

lots of food coloring! “google tar sands” “google google google”

our usual art is a scripted movie. actors playing their role.

i want the actors to turn and look directly into the camera. and eat the camera, shit on it or break it.

unpaid interns or overpaid interns take all the pictures, all the instal pics, of every art show that we see. its about time that they become the art. cross this line and you become part of the crime scene. walk through the door and you are guilty.

art now is all about the negative space. what is not there points to what is there. and what is there is an attempt at a defined thought. im bored of that. i want everything left in.

‘that show was garbage! that show was total trash!”

craigslist free section

crazy person rant. no doubt in their minds that it makes perfect sense. but what we all do is categorize it and shelve it in a place that we dont have to deal with or think about. “crazy person rant”. put in art context would you be forced to? edward shenk and btroemel conspiracy theory shit but not so goddamn hip and annoying and idea-y. not edwards fault. prob brads. like schumacher’s stuff but not architect-y, not so academic and clean. leads people to think there was an idea in the first place. ...im not trying to trick anyone. its literally just a mess of my garbage a mess of my thoughts a mess of everything that i intake and produce.

desperate space of someone barely living, barely surviving. don’t mean a homeless person but all of us. we might not be there yet but we will be. its very sad i guess..our mother ship earth is flying through a rough patch. should get bumpy. survival materials. pasting essays on the wall. frantic frantic frantic. less curating. less holding back. more letting go. TO MUCH!.

refuge art. barely holding on. fuck you showing art in here we need to use this space to live! muther fucker. i put all my water here. and all my piss here. and all my garbage in between everypage of your book. printing out everything that i see. a list of what? a list of lets see. anything really.

A Beautiful Mind

using cardboard boxes to create smaller rooms in the space. dioramas everywhere!

the space should not be translatable in a single glance a single shot...it shouldn’t be like...’oh look a crazy person space’ ‘oh a manic space’ well it should read like that but not it one shot..not in one glance. there should be different mental modes all over the space. a labyrinth that can't be seen from afar.

where does our energy come from?where does our garbage go? sharing every last thought and writing in on the wall. garbage town. “this reminds me of looking at your notebook”

chaining a ny hobo to a ditsy ny girl: girl: “new york is so crazy! you never know what you are going to see!”

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Art, to me, is always communication. It is a message that didn’t set out to communicate anything at all. It is not an obfuscation of a literal meaning. It is not abstraction of an idea. It is not a riddle with an answer. It just is. Art is fully realized and fully present. Art cannot be uploaded and plugged into google translate in order to find the meaning neither can you plug in your twenty page thesis and have it spit out a series of artworks. Art is the product of a human interacting with physical materials, thoughts, ideas and immaterials that exist in their world, their reality. Why is this interesting? It is interesting because it communicates from one human to another. In my mind, it is silly to ask: ‘what is this artist trying to say?’ or ‘what is this artist trying to communicate to me?’. Artists are not totally dumb, if they had something they were trying to say they would and should, just say it. The most interesting and successful artworks communicate that something has happened. There was a human being that encountered a thought, an idea or a physical material and they interacted with it. The artist uses their human brain to make choices, the choices made are ingrained in the material, in the artwork and it is left there to be picked up by the viewer. What is left, or what is constructed during that interaction is the ‘art’. The question that the viewer is faces with is: ‘why’? It is a question that naturally arises in the viewer; ‘Why?’ The viewer is forced to deal with this object or image. they are forced to ask. ‘why?’ ‘why does this exist?’ ‘why did someone make this?’ ‘why did they make it like this?’ ‘why does it look like that?’. for me it is always ‘why?’. It is the question that can be asked across the board, no matter how different the art may be. We may look at cave paintings that were created 40,000 years ago and ask ‘why?’. We can look at a Picasso that was painted in the last 100 years and ask the same exact question. If we look at one of Picasso’s owl’s. They are painted in a way that some would call ‘crude’ or ‘unrealistic’. Some people just stuff a real owl and put it in a case, but it’s not that interesting. Picasso’s owl is so marvellous because what we are looking at isn't just an owl, it’s a human looking at an owl. It’s an account of a human looking at an owl. Thats what thrills us. There is more owl-ness there in the Picasso owl than in the stuffed owl. Even in photography where we have a machine that produces the image. The only thing the human has to do is push the button on the camera. There is barely any space for the artist to insert their humanness, their freedom or their creativity. They are simply choosing the subject, how to frame it and when to press the button. We choose to pay attention to photographs because someone has decided to pay attention to a subject, and the representation invites us to commune with this attention that has been paid to the subject. ‘Why did they photograph this?’. The question of ‘why?’ gives the audience an opportunity to ask a question that has no correct answer. What is created by the question is not a correct answer but a space that can be traversed by the viewer. A space where you are free to wander and  stumble across something that leads you away, to something different entirely. The artist may have a specific answer but this should not have any bearing on where you arrive. Art gives the viewer the freedom to arrive at any thought that the piece may have generated. We are given the space to mull over our own humanness through the choices that were made in the artwork. We are an empathetic species. We relate from one human to another through artworks and the visible choices made in those works. These relations to artwork have no time limit, they can traverse a huge expanse of time and still hit us. Lost in the woods alone. Wandering through the vast forest we see a plume of smoke and our heart jumps, another human!

Let us take a look at our art institutions. How does the art meet the world? How does it reach the viewer? Today, we typically find art in museums and galleries. We find art hung on walls in bright, white and austere spaces. We find art in huge buildings with education departments, curators, literature, wall texts, modern wings, ancient wings and contemporary wings. Our art institutions no longer, and may never have, permitted the viewer to access art’s most generative question: ‘why?’ Todays experience of looking at art is completely alienating and suffocating to a majority of people who make the effort to look.

The question was changed from ‘why?’ to ‘what?’. Looking at art has become a challenge to identifying the literal aspects of artwork and the reasons for its historicization. We stand in front of the work and ask ourselves, ‘what is this piece saying?’ and ‘what did this guy do to get this piece in here?’. We are asked to translate the work. The ‘why?’ question is answered the second you walk through the museum door. The curiosity that drives the question suffocates and dies in the environment provided by museums and galleries. Art is defined by these institutions, there is little room for anyone to interact with and contemplate the work in an individual and generative way. Art’s elusiveness evaporates due to the institution’s drive towards definition. Anything that you find inside the gallery is defined as art and everything outside is not. Perhaps Duchamp was the last artist to create work that existed in art institutions which managed to maintain any space for the viewer to arrive at the question of ‘why?’.

When the question changes from ‘why?’ to ‘what?’ we move from the realm of the imagination where there are no limits, to a realm of right and wrong. Art viewers feel alienated because they feel like they either don't know the answer or don’t have access to ‘understanding’ the ‘meaning’ of the work because they are dumb or they weren’t educated enough. This is why people have a sense that art is elitist. It feels like you need to take an entrance exam to access the artwork at all. Currently, it seems that art’s sole point of entry is only accessible by the ‘elite’, by the ‘intellectual’, but if we look closer we see that even the people that are considered privy to the information necessary to access the work cannot reach a meaningful and open mental space to think about art because their prejudices and preconceived ideas cloud out their ability to approach artwork in an unbiased manner. The institutions that they have passed through live within them and go on to mirror mental structures that inhibit their sense of what is possible.

Art should not be ‘dumbed down’ in an attempt to create an point of entry into the work that a majority of people would be able access. Art need not be populist. Art’s points of access can be diversified in a way that does not dumb down the work or prevent it from being part of a nuanced and intellectual conversation with history and the contemporary moment. (see: jeff koons art in america). We can achieve these conversations outside the today’s structure.

I believe that art should be on the run from any space that seeks to define it. The time for our art institutions of the day have come and gone. They are propped up by people who are only looking to protect their position of power, by people who revel in their ability to define and narrativize, by artists who would kill to be accepted into the canon presented by these institutions. Too much has been built to give it all up, but what we need more now than ever is to tear it all down. If we are interested in art that serves a greater social function there must be an exodus from these types of institutions.

Humans aren’t supposed to handle eggs in a bird’s nest because the mother will reject them if she senses they have been tampered with. The wild potentiality of asking ‘why?’ in front of a piece of art is so easily squashed when handled and presented in the wrong way. The viewer is smart. Artist’s must do everything in their power to protect their eggs and keep them wild.

Everything that aims to define art aims to destroy and minimize the only true power that artists are capable of yielding in the world.

Art is no longer capable of existing in these spaces. They can no longer be seen. Museums and galleries have moved on from being a site of exploration, creativity and possibility to a space of social and intellectual anxiety. A gallery show looks like one item out of hundreds on an ever expanding artist CV, a check on a tourist’s ‘places to visit’ list, a photo used to indicate where you have been. Art is invisible, a sorry placeholder for what once was and what can be.

As artists we are discontent with the institutions that have deemed themselves worthy of presenting culture to the world. Now is the moment to take things into our own hands. We must abandon what has not worked. We don’t have the time or patience to put our energy into working within the system, to make these institutions egalitarian or more agreeable. We read about people attempting to critique and then improve institutions in our history books. Institutional critique; where has it gotten us? What has it changed? Similar to capitalism we have discovered that our institutions are capable of absorbing and accepting into their canon any critique that may be flung at them. If you go to a restaurant and you don’t like it you might go home and write a bad Yelp review, you might go back in a year and see if it is any better, if not you probably will never return. What you don’t do is return regularly writing bad Yelp review after bad Yelp review about the same restaurant over and over and waiting for them to change. If you don’t like it, just leave! Let’s start our own restaurant!

Let’s start having more of our own shows. Let’s have them outside, inside, in a closet, on a beach, on a bench, in the back of a truck, on the internet, on the edge of a cliff. Lets have as many shows as we can. Lets have shows with other people. Lets have shows without people. Solo shows. Group shows. Shows with bad work, good work, slow work, quick work. Lets have an opening! Lets not have an opening!

We are over editing, being too careful. Lets start exploding with content. We have the means to be expressing ourselves all the time. Not just as artists but as people. We have never had so many powerful tools at our disposal. We have the most amazing cameras, video cameras and self publishing platforms. On top of that we have the same mediums and tools that have always been around. Books, screen printing, paint, charcoal... Nothing has to go out of style. We can use all these tools, mediums, methods and technologies in conjunction with each other. We should be in overdrive. Fully saturated. The airwaves should be carrying vibrant culture but they are clogged with dry and mundane sludge. It has become about what you hold back and what content you decide to trickle out. Currently our art and culture are the golden turds of our over-professionalized institutions. I want to see real feelings and content, the messy diarrhea of people and artists who prefer tools over institutions. Lets remove the floodgates. Lets let all of our attempts and mistakes see the light of day. Art is communication. Lets start communicating more!

We do this without pinning our hopes on specific technologies i.e. tumblr, photoshop, social media etc. Those are great tools but lets not put any single thing over another. “Dual sites” will be important to this but they are just the tip of the iceberg. Lets think about using tumblr but also drawing. Let’s think about using facebook but also a truck, photoshop but also spray painting something on a wall. Everything is fair game. Let’s use it all. Let’s flood the airwaves with weird signals. Lets spread it all out.

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You are lost.

You come across a town.

A man is tied to a wooden post.

You see two men arguing in front of the tied up man.

They are excited to see you because they need someone to settle their argument.

You tell them that you can help.

They tell you that the man that they have tied up is a thief. He has stolen a loaf of bread from a store and now they are going to kill him for his crime.

They are arguing the best way to kill the man.

One man argues that the best way to kill the man is to hang him in front of the towns people. That way it will deter others from committing similar crimes.

The other man argues he simply needs to suffer the consequences for his crime. Making an example of him is barbaric and unnecessary. He argues that the best way to kill the man is to shoot him. It is quick and there would be no struggle.

They turn to you.

They ask. Who do you agree with? What is the best way to kill this man?

You agree with the man who wants to shoot him. You agree that it would be best to shoot the man because it would be quick and it would put him out of his misery. You argue that hanging him would put him in extreme pain and he would suffer for several minutes. You agree that it is unnecessary to make an example out of the man.

What you really believe is that the man should not be killed at all. You think that it is barbaric to kill a man simply for stealing a loaf of bread. Perhaps he was hungry and could not afford the loaf. Perhaps he was rich and simply felt like taking the bread. Either way, you believe that capital punishment is not appropriate. But you have picked one of the sides that have been presented to you. You picked the best option out of the two. You pick the option that has more logic and facts to back it up. You pick the option that you believe will win the argument in the end. You want to win the game. At the same time you have forgon the opportunity to state what you truly want: for the man not to be killed at all. By picking the best option that has been presented to you, you have agreed to kill a man for stealing a loaf of bread.

Cooperation with destructive institutions by engaging in the political process grants them legitimacy through complicity. We accept a limited realm of debate and become co-opted and incorporated into industrial culture. We create the illusion that the system works, both to the public and to ourselves, which only masks the real problems.

donella meadows - visioning

        - visioning

        - what is it that we really want

        - what is the world that we want to see

howard zinn - three holy wars

        - visioning not just forwards into the future: ‘what kind of world do you want’. but visioning into the past. looking at history with this mindset. what kind of world would you have wanted. being unashamed of looking critically at the past.

        - what is progress? have we really progressed? non linear progression. maybe native american culture and other indigenous culture has been our furthest ‘progression’?

paul chan - artist create other worlds, other worldly.

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artists using the internet is some passive way. like. using it because it is just how things go these days. you can’t avoid the internet. of course. the artist is some sort of zeitgeist. how interesting! we love that romantic notion don’t we? the artist is this being that reflects the times. our culture and art is only as good as the world we live in? i hate that. fuck being a mirror that is so boring and easy. put some skin in the game. besides. we don’t need an artist to reflect our society. we can just walk down the street. or go on youtube and type in anything into the search bar. there you go. there it is in all its glory and probably thousands of time more interesting and revealing than whatever project you made.

take some initiative. have something to say. it takes a lot of ego to just let the waves pass over you and assume that you are this mystic being who will absorb the contemporary moment and crystallize it into something. into this reflection that is meaningful. Besides. even if you are able to do that. if you are that person. its like. why do we need our moment reflected back to us. i mean. i know the reasons. its like interesting maybe. its like. an aerial view. you can see things that you had not seen. jeff koons. blah blah blah. it doesn't attempt to move the ticker. it keeps everything in the same place. i mean. we can pin our hopes on the idea that maybe ppl will come to a new understanding of their contemporary moment and it will move them. move them to create something new. or to do something. to create change. but instead of hoping for that. why dont artists just take a stab at it. try and change something. be at least a little oppositional. c’mon. and lets see it in your actions and not your little critique. thnx

i think that is this idea ive had. this idea of the artist changing something. and thats really general. and im not even sure if its possible. or what the best way that artists can enact change.

‘how many artists does it take to change a light bulb?

None. Artists can’t change anything’

Idk. when i look at andrea fraser and institutional critique. did that set out to change anything? or was it set up to be a mirror. to make what was opaque transparent. and perhaps that is a change. but it still relies on another step that is outside of the artist. the artist has done their job. they critiqued the institution. made it more transparent. ppl know whats going on now. but now its the job of someone else to do something with that transparency. like the press. they are just supposed to be this objective thing that just makes things transparent to the public and it is the public’s responsibility to act on that information. but that seems to happen less and less in both global politics and art and institutional critique.

to me. at this point. its wasted breath. i would rather just do. if you have a problem with the institution just leave it! walk out the door and leave it to die. art institutions and capitalism are masters of absorption. they will absorb anything that is thrown at them. so lets stop throwing.

reporters should be activists. the idea of objectivity in the press and reporting is this old idea. all it does is support and protect whatever the status quo is.

and artists should just create their own structures if they find that the ones that they inhabit are problematic. or at least lets strive towards that. move in that direction. and even if we cant lets not settle. lets keep our mouths open. artists need to cut out the whole, im an objective smarty pants journalist observer. they need to get out there and light their hair on fire in the streets and lock their necks to something.

artists have become second rate theorists. we examine. we investigate. we question. these are good. but when are we going to DO? Artists just perform.-

‘Fragments of an Anarchist Anthropology’

“I further maintain that an appreciable part of so-called left-wing literature had no other social function than that of continually extracting new effects or sensations from this situation for the public's entertainment.”

Walter Benjamin - Author as Producer

I can’t just sit here and be happy with a successful professional art career. i can’t do it. like. fuck me and fuck you if you can be content with that. but me. thats not why im doing art. im inhabiting this role because its the one place in our society where we can do whatever we like. be whoever we want to be. we are not beholden to anyone. and if that class of people cannot break from a professional world where everyone jerks each other off then we are fucked beyond fucked. That! is the reflection of our contemporary moment. we have lost. we are the indebted class who cannot think about anything but ourselves. we cannot build anything except for our own careers.

i sound so annoying and so complain-y when it comes to everything art. like. i literally hate everything. is that a bad place to be for such a young person? such a young artist? maybe its not. but. i have such a crazy amount of discontent with everything art related.

when it comes to that point. where i like. pretty much dont like any art except for maybe some old stuff. is it worth critiquing or complaining about anything specific? i dont think so. i just like. want to throw it all off. just take a sharp turn. i need a different starting point to be working from. a different starting point in order to get to a totally different end result. i love art. the idea. and the reality of it. but maybe i just havent seen anything i like yet. and i dont like pretending i like stuff. even though i do it anyway. chances are. i hate ur art. im sorry.

im scared. scared of myself and what i really want to do. how i really want to function in this world. i know what im doing now is not it. perhaps im not brave enough. the costs suck. i dont want to go to jail. sit in prison. maybe thats not the consequence. idk

we are dying for a new art movement because we are scared of death. we cling to the idea that our contemporary moment is unique. we need to know that what is ‘now’ is a progression from what was ‘then’. We need to see that we are present, thinking, being, absorbing our world. as if to say. we are here. we are alive. this moment is different and here is why.

new project reading list:

Post-History - Vilem Flusser

Towards a Philosophy of Photography - Vilem Flusser

Into the Universe of Technical Images - Vilem Flusser

Collected Fictions - Borges

scrabble racks. with same letters. different combinations.

hybrid car. vanity licence plate. same letters as scrabble letters.

both drawings on music stands

sandwiches wrapped in white paper with napkins on brown paper bag

slideshow on screen outside with these objects around

You cannot delete the 'Stocks' application from the iPhone.

I tend to be attracted to hippy shit and politics. but why are the aesthetics always so bad. Even in art. So many ‘politically minded’ artists have either the worst aesthetics or they are just not interested in anything formal. I want both. I want to make a drawing one day and then burn something down the next. I guess paul chan comes close...but still.

The funniest thing you can do is walk around with your left shoe on your right foot and your right shoe on your left foot. Its the funniest joke i can think of.

Occasionally someone will ask us if they can have a show in Rodi.

Getting requests to show..having cachet was never our intention. it was never the point to become a real gallery that would farm young artists. that may very well be what happens (hopefully not). but I’m not really interested in that. the whole impetus behind the truck was to show artwork without anyones approval. It was started to show my mothers work and my work. it was created in a diy spirit. so yes, we are interested in showing a diverse group of artists. but if you are an artist and have work that you are proud of that you want to exhibit. we can show it, but know that you don't need us to show it. just like we decided that we don't need a traditional gallery to validate our work. there are hundreds of ways to take things into your own hands and show your work. a truck is just one solution. get creative. our mission...the mission of the truck is to show art to new audiences and show artists how it is possible to abandon the current art world model and do it all yourself….(there are obviously some issues here, it could very well be a position of privilege being able to abandon the art market/model. Perhaps it's a luxury?Currently the art market is one of the very few ways to support yourself as an artist. but I’m convinced that there are ways to do it.)

What you learn from toilets is that if you put something nasty underwater, you can’t smell it anymore.

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I hope the internet ends the art market and the art market sponsored media's domination of discourse. Without an alternative model for distribution artists will continue to be understood and publicized according to their profitability. This is unhealthy because art is not a competition but a form of communication. Art has the potential to truly become governed by anarchy because, unlike economics or politics, it's inherently unnecessary. Every artist should be a radical or an idealist. Art is a fantasy world anyway– why not treat it as a utopia? My utopia is a place where every artist is anonymous and the idea of buying art seems quaint. In this utopia people will treat art as an evolving conversation, responding to one another and suggesting new ideas whenever they feel like it. Objects won't be necessary because they would only slow down the rate of the conversation. Images and other forms of digital communication will be the only methods rapid enough to keep pace. Identity-based creation and image-brands will be a thing of the past because they are a product art's reliance on capitalism– a reliance that, in this utopia, will also be a thing of the past. Museums, galleries and other places may continue to exist as alternate forms of presentation but it is already impossible for them to keep up with what is most contemporary. Viewers will no longer be required to rely on bureaucratic organizations to tell them what art is good for them. The utopia I describe will exist very soon. Such a utopia may not end the art market, but it exist alongside it– a heaven available for those who wish to avoid the inefficiency and backwardness of the professionalized art world.

- Brad Troemel, 2010

I’m not interested in condemning a group of people who felt their best way to challenge the institution was to work for it. History will reflect the first institutional critics as having the sharpest pens but ultimately in need of a real sword. Writing the word FREEDOM until your finger’s blisters fill with blood doesn’t make you free- it makes you a slave to painful repetition. The next generation questioning art institutions should consider the destruction of the art market as their greatest hope for change. With social networks and instant access to new art globally, the museum and gallery’s purpose has been held in a state of suspension. Our time will be defined by how we react to this confused role; whether we dispose of middlemen or nurse a flesh-hungry monster back to health for it to unsurprisingly devour us once more. Free Art is self-driven: the tasks of promotion and discovery are done by its participants. The argument that art cannot exist without institutional rulers is as mistaken as the idea that morality cannot exist without religion. We must think more of ourselves and what we can achieve without a dog leash.

Once upon a time, the world was romantic and proud. When people faced the options of compromised liberty or death, many chose the latter. I am a Free Artist because I know that I, just like the maker of elaborately useless objects and the dealer of those luxury goods, must one day reflect on what I attempted to do with my life. A failed attempt at change is better than a successful assimilation, and a successful attempt at change is better than all else. Heaven and hell are not faced upon death, but when we close our eyes to sleep at night. The Free Artist sleeps with a grin.

- Brad Troemel, 2010

Brad Troemel and Lauren Christiansen started the Tumblr blog ‘The Jogging’ in 2009 while they were undergrads at SAIC. In 2014 Brad had 6 pieces up in the Zach Feuer Gallery in Chelsea. Each piece was priced at $12,000. Lauren Christiansen is currently the director at Untitled Gallery in the Lower East Side. Untitled Gallery represents Jogging member Artie Vierkant. Artie wrote The Image Object Post-Internet in 2010. The essay was originally released for the rotating online exhibition site called JstChillin. Artie’s image objects sell for around $17,000 and are shown at art fairs throughout the world. The Jogging was shut down by Tumblr in October of 2010 after it hosted a vote to decide which website it would DDoS (Distributed Denial of Service). The project was called ASSEMBLY. It was also created for the rotating online exhibition site JstChillin which was started by Caitlin Denny and Parker Ito. Parker Ito’s paintings currently sell for tens of thousands of dollars on the secondary market.

In 2009, during my senior year in highschool I taught myself how to use photoshop and began using it to make art. It felt right to me. I had become interested in making and thinking about art. I applied to art schools exclusively. Photoshop was a breakthrough for me. Around this same time I came across The Jogging. In an uncharacteristic move, I found the blog founder’s name and his email address. Brad Troemel. I emailed him. I told him I was a big fan of The Jogging. I noticed that they were using photoshop in a lot of their posts. It gave me a model. A whole new way to make art. About every thirty posts they would post a short piece of writing or an interview that would be passionate and politicized which really excited me. In 2009 I was accepted into the Cooper Union for art.

        Brad and Lauren graduated SAIC and moved to New York to start new projects. Brad attended NYU for his master’s degree and started a new project called 'Joyce Jordan'. It was an online platform where people would post art anonymously.

The name Joyce Jordan acts as a placeholder for a group. Joyce Jordan may be shown in art exhibitions by anyone and everyone who wishes to display the website. All exhibitions Joyce Jordan is featured in will be documented on the website. Because tracing if someone was or was not involved would be impossible, all exhibitions may be used by anyone on their own CV. Joyce Jordan’s resume is public property.

The project failed to attract enough contributors and attention and the project never got off the ground. Lauren co-founded a gallery in Chelsea with Leah Recht called ‘Stadium Gallery’ in 2011. It put on a handful of shows and closed in mid 2013.

New York City has rapidly become a playground for the rich and a hostile place for artists to live and work. It leaves artists with little to no options. There is often no space to build something larger than your own body, there is no time to let stupid ideas congeal into something meaningful, there is not time to waste on projects that may not be profitable and there is no money to buy yourself that missing time and space without compromising your own potential. New York squeezes its artist’s and leaves them no room to push back. The lure of the art market and the money that comes with it serves as an enticing solution to these problems. Artists are left with the option of either moving further and further out or moving to a different town or city entirely. It seems like artists in New York are left with two options. Jump into the art market and climb its social ladder or work a day job and getting pushed further and further out of the city due to rapid increases in rent. New York City is not only hostile to artists but to all its inhabitants. In recent years, homelessness in New York City reached the highest levels since the Great Depression. In January 2014, there were an all-time record 53,615 homeless people, including 12,724 homeless families with 22,712 homeless children, sleeping each night in the New York City municipal shelter system. Families comprise nearly four-fifths of the homeless shelter population. The number of homeless New Yorkers sleeping each night in municipal shelters is now 73 percent higher than in January 2002, when former Mayor Bloomberg took office.

In 2012 Brad and Lauren restarted The Jogging. The Jogging 2.0. They invited a handful of artists to join them as members. The members were to join Brad and Lauren in posting to the blog. Brad asked me to join. I was so excited to be making art for the project that had such an influence on me early on. To be in conversation with a group of artists who I respected and had been following held so much potential in my mind. Brad was the first to post. His first post was titled ONE-TIME-USE-ONLY MAN’S YANKEE CANDLE “FIRST DOWN” WITH M40 AS WICK (EXTREMELY RARE, ED. OF 10 ONLY / SPECIAL FATHERS’ DAY OFFER) $50. Under the post there was a link to buy the object on ETSY.

The Jogging always had a major political dimension to it. Brad wrote essay upon essay about the futility of art objects, the evils of the art market and museum system, the arbitrariness of artist manufactured false scarcity and the promises held by the internet as an emancipatory tool for artists to break free from traditional modes of distribution and representation. In the first phase of The Jogging, from 2009 to 2010, all of Brad’s projects and writings were illustrations of his ideas. They were attempts to realize his ideologies in practice, to truly have art be governed by anarchy. The first project that he started upon arriving in New York was Joyce Jordan. In my opinion, this was his last project which attempt to put his theories into practice.

In 2009 The Jogging was on track, producing an unbelievable amount of images, videos and writing. It was poised to make changes in how the art world operated. The Jogging based their political principles on a single tool: the internet. (The California Ideology) The whole foundation of their beliefs were built on the idea that the internet is a powerful tool that would radically emancipate art and artists from old fashioned art institutions and the market. An art world panacea. When the founders of the project moved to New York and were met with disappointment when their projects did not take hold (joyce jordan and stadium gallery), all was lost. Their antagonism towards institutions and the art market were replaced by an eagerness to become a part of them. The baby was thrown out with the bathwater. What is left is a cynical, defeatist, self-congratulatory cesspool of cheap content. In just three years The Jogging has turned into a vehicle that seeks to create personal and professional opportunities with institutions, collectors, artists and curators who make up the system that they once renounced. The Jogging has been transformed into a tool that is used to climb the art world ladder to ‘success’. What once strove towards anarchy in practice, has settled for an ‘image anarchy’ in theory.

The Jogging 1.0 exposed me to an alternative to the status quo. It is no longer their pursuit. The Jogging and it’s ‘post-internet’ disciples compromised their principles at the drop of a hat. (Maybe artists can’t have or shouldn’t have principles? I don’t know) Some of the biggest names from the post-internet community (Artie Vierkant, Jon Rafman, Petra Cortright and Parker Ito) have entered into the larger art market and partner with slimey collectors like the infamous Stefan Simchowitz. Money has lured these artists to drag their most successful projects through the mud by materializing works that should have stayed on the internet, overproducing and over fabricating which ultimately diminishes the quality of their work (I’m thinking of projects like Artie Vierkant’s Image Objects, Jon Rafman’s ‘New Age Demanded’, and Brad Troemel’s Vacuum Seals).

In 1964 Bob Dylan who had been the golden boy of folk music during the early 1960’s turned from his acoustic origins and went electric on his new album ‘Bringing It All Back Home’. Leading members of the folk movement renounced his new music. Irwin Silber, a champion of the folk music revival wrote an open letter to Bob Dylan where he criticized Dylan for moving away from political songwriting. Bob Dylan moved on to create one of the 20th centuries most diverse and important bodies of work. Dylan has time and again evaded categorization. Like a rolling stone that gathers no moss, he is an artist that reflects the multiplicity of living in our modern society. The best artists are the ones who create a hot mess. Politics, love, death. You think you are looking at one and it slowly reveals itself to be another. Operating in a single facet is limiting and boring. The beauty of being an artists is that you are beholden to no one. If you are a doctor, a lawyer, a politician or even a custodian you are held to what you say, if you don’t keep your word it will cost you. Artist’s can say something one day and something completely different the next. Jasper Johns once said “do something, do something to that, and then do something to that”.

What am I asking for? Do I want artists to religiously stick to some sort of moral code? I don’t think thats what I want or expect. No artist should be boxed in. My feelings towards The Jogging are that of disappointment. I am disappointed to see a firm conviction with incredible promise get washed away with little to no resistance. Young artists will need more. We need a dose of idealism that will be enough to buck today’s paradigm while not breaking our own backs. We will need to do more if we are unhappy with the current system. Falling into an ironic feedback loop is no use to anyone.

I needed to write this jogging whining down so I could move on. I have things to do. Work to get done. Worlds I need to create. Great books I need to read. Moving on….

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A tirade against the ills of civilization is old hat for me, and certainly, there will be readers who think me unfair. Education, invention, medicine, art, sport, and so many other examples of the benefits of civilized life are likely hanging at the fore of my critics’ minds. Absolutely, these are components of civilized life, but not exclusively so. What education or innovation or medicine or art look like and how they are distributed may look different under civilized and uncivilized paradigms, but in no way are they monopolized by the former or absent from the latter. Under a civilized paradigm, the arts, sports, education, medicine – these all become the realms of professionals to a great extent, whereas for the non-civilized these are communal and regular components of daily life.”

It is a little embarrassing to say. I was scammed and I totally fell for it. Well not totally. I’m not out 3,000 dollars.

About a month ago someone emailed me saying that they were interested in buying some of my art. It seemed a bit weird. I could tell that english was not their first language.

artists railed against the white cube and perhaps we still do. but we are drunk. not on the cheap wine. not on the pristine walls. but with how the whole thing looks. and not just how it looks in person. but how it looks in our photos.

this is not new. it’s something that people have written long essays on. its fairly boring. at least to me. It is talked about as something new. as something that changes the game in a small way. ‘more ppl look at the installation shots than they do the real objects in the actual space’. it is a new way. a new framework for people to make work. this is kinda true. but we have to return to our original contempt for these types of spaces. their perfect environments, their bleached white surfaces. we remember that we hated them. their posturing. their feigned objectivity. they are the nail in the coffin that gets lowered into the grave marked ‘art and life’. they are the borders of our art world. they are fucking pretentious and boring. Not to say that these critiques of the perfect white cube havent changed opinions. I don’t think anyone would claim that those spaces are objective in anyway. So if thats the case then what do we see and think of when we see these white spaces. I know what i see. I see connects, sucking up, and ladder climbing. i have no interest in cooking up some new reason why they are interesting spaces. i cant claim to be above the images they produce. install shots. they do. they do look very good. but what is just past that. what is on the other side of that wall. we have to ask ourselves...what is more valuable to us. following thru with our contempt for these white spaces? the answer to the question ‘what do we do if more ppl are looking at the installation pictures than they are the actual objects?’ is pretty obvious to me. do we want to find a way to get over our white spaces or are we so attached to making a couple more seductive images.

why would we jump out of a moving car. a beautiful luxury car that is getting us where we want to go. in style. in our beautiful white cadillacs. maybe we should jump out. because we want to take off our sunglasses and look at a piece of garbage on the side of the road. and put it next to a leaf that looks very similar to the piece of garbage.

is it necessary for writers to throw in that token humble line in their writing? You always see writers making exceptions. Like ...well these ideas obviously are silly, this in no way does this topic justice…

i dont know what im talking about

work on:

finish herbert hoover catalogue

my rodi show

        - windows

        - figure out how much all the wood and shit will cost

        - start making the images

        - figure out when i want to have the show

italy/israel book?:

        - do i want to do them together or have them be two separate things?

        - make some of the collages

start working on mural for hallway

Writing here is not the same. Starting to feel someone over my shoulder. Like any journal ‘private’ piece of writing. you imagine your audience. even if you try and convince yourself its yours. Your own little place where you can hide your thoughts. Cant complain though. I guess i passively shared it.

I went on birthright. The landscape in israel was beautiful. Alex and Micah were fun to be with. The birthright program is awful and poorly planned. “Its a free trip so you can’t complain”. Subtly coercive. A lot of gifts...especially large ones are subtly coercive. Why is this person giving me this gift? Why am I here? What do they want me to think?

Cemented some ideas in my mind. I have no interest in organized religion. I don’t have the patience for religious dogma. I find it spiritually draining. On one Saturday night for shabbat they took us underneath the hotel we were staying in for Shabbat services. It was an empty bomb shelter with flimsy plastic chairs and soul sucking fluorescent lights. We had to make a circle and sing prayers in Hebrew. It reminded me of hebrew school. In those days I just took it. I didnt really question anything too much. I like singing so i didnt mind singing the prayers. I still don’t mind the singing today. But. I started to read the english translations of the prayers. It was all like…”god is great blah blah…”. but i was saying it in hebrew. You get to israel and you hear everyone speaking Hebrew and you realize its their language. I mean. I knew this before going to israel. But it really hit me. I was saying all this stuff in someone elses language. I didnt even know what i was saying. But i realized i sounded like some evangelical tv preacher. I stopped singing the prayers. I realized that my spiritual experiences come first and foremost through my aesthetic experiences. Not that ive even had a spiritual experience. I can’t say i have. And there i was sitting in some depressing bomb shelter on a cold plastic chair singing about god in a language that i didnt speak. What was i supposed to connect to?

Also nation states are old school and dont make any sense. I don’t believe in a two state solution. or a one state solution for israel. i believe in a no state solution for the world. it just doesnt make any sense anymore. or. it probably never made sense. only made sense to the people drawing the lines on the maps. Borders and nation states create this idea. It creates an ‘us’ and ‘them’. If you are inside a particular nation you become part of the ‘us’. you are given the freedom and rights of the ‘us’ unless you break a law. that makes everyone else on the outside of the nation a ‘them’. they are lumped together and they can be one of two things. they can be an ally if they do what ‘us’ wants and tells them to do. or they can be an enemy that the citizens of ‘us’ need to be protected from. and ‘us’ has an army to do just that. most borders are invisible and most borders are arbitrary. they are backed up by threats of violence.

If someone from one area decides. ‘hey there is no food for me to eat here. there is a problem. but i know there is food in this other area. i will go to that area.’ they make their move. they begin their journey to the place with more food. They find they are not allowed to cross a certain line. A line that is invisible and arbitrary but they are told that if they cross it they will be detained or harmed.

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i have been reading Guy Mcpherson’s newest book. He is a climate scientist. It is scary, depressing and anxiety ridden. He basically says that our industrial civilization is likely to collapse by 2030 due to climate change and homio sapiens are not likely to survive due to things like nuclear contamination.

Game over for humans.

 How much am i to believe? There is no reason for me not to believe most of it. but then. Y2K. But this must be different. There is so much data to support his claims. But what do i do with this information if it is to be true? how do i go about my life when the human project has 15 years left.

No. I believe that a picture, a work of art, lives and dies just as we do. That is, it lives from the time it’s conceived and created, for some 50 or 60 years, it varies, and then the work dies. And that is when it becomes art history. So, art history only begins after the death of the work, but as long as the work lives, or at least in the first 50 years of its life, it communicates with people living in the same period who have accepted it or rejected it and who have talked about it. These people die and the work dies with them. And that is where the history of art begins.

In that sense, I believe that the history of art is extremely random. I am convinced that the works on view in the museums and those we consider to be exceptional do not represent the finest achievements in the world. Many geniuses have foundered due to their lack of direction; ultimately they could not find a way of remaining geniuses throughout their life. A simple error of judgement was tantamount to artistic suicide. Their works have disappeared as a result, and there are many more interesting things that have been consigned to oblivion. In other words, this is my understanding of mediocrity. Basically, only the mediocre works created in the past have survived, while the most beautiful works, the finest works, have vanished. This is something I really believe, but I’m not forcing anyone else to believe it too.” - Duchamp, 1966

We have 16 years from Guy McPherson and 50 years from Duchamp. We no longer have enough time for a piece of art to ‘die’. We are short by 34 years. What does it mean to make art that doesn't have enough time to die. I am making, creating, with the knowledge that posterity is no longer an option. We are forced to make for the immediate. Nothing has time to go out of style. There is no time for a ten year project. We are forced to make art that operates at a single pace. I don’t want it. I listen to a Duchamp interview. I hear the recording and the buzz of the early recording technology and I hear the warm wash of future time. Time that he and humanity have ahead of them. Not really for Duchamp. He had two more years to live. I can’t really place myself there. Perhaps this nervous end of the line. End time anxious thinking has always been around. The Bay of Pigs was in 1959. My mother was 2. She wasn't worried. The cold war had yet to begin and end. But now we have something else but it has a stronger grasp. It chokes you and leaves you without a single last breath of hope. No doors are left open. There are no players or pieces to move around. It is a faceless front that seems to creep towards us but when we look closer. When we look at the numbers. The details. It is charging at us at an exponential rate.

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I want to reorganize my website. I want to start giving away more art for free. I get emails from time to time being like ‘hey, my name is ****** im have this space/project called ******. I’ve been following your work and I would like to invite you to include your work in an upcoming exhibition called *****. let us know if you are interested’.

most of the time the projects/spaces are pretty interesting. but i really dont need to be involved. I just want to say okay to it all. If you are a fan of my work just use it. you dont even have to ask. all. I want to make my work more accessible in that way. I want people to be able to include my work in a show. I want them to be able to access it without me, install it without me. I also want to be able to sell stuff. I’ve come to terms with the fact that i like making things. I love it. I am not making objects because the market is telling me. I think it would be fine to sell these objects. I want to do this in a really open way. I want ppl to be able to see the prices on my website and have them buy pieces directly from me if they are interested. They can just send me an email saying that they are interested in purchasing a certain piece and they can put money in my paypal account and i can just ship it to them.

I also want a lot of my work to be used for free. If you want to include my work in a show you can. If you cant compensate me thats fine. If you can that would be great you can put money in my paypal. If you just like what i do and want to support me great.

I want to give freely my ideas and work to anyone who can use them instead of hoarding them to myself for profit

I want to try and create a free and accessible version of everything that i make. so ppl can have it for themselves, use it in their own art, include it in a show without ever asking me. I would like to be properly credited for my work and i don’t want ppl to sell my work without my permission.

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I'd rather do it than come up with an email explaining why I can't or don't want to do it

I played with a cat today. It was okay. I usually hate cats and I guess I still do. This one was alright for a couple of minutes.

‘Kraftwerk’: entire show using solely pieces of kraft american cheese singles

drawing show: pencil on paper: different banks, bombs: float drawings in a pond or in a stream

'Mick Jagger Mad About The Beatles And Other Late 20th Century Geniuses'

'When people were stealing radios from cars in the 90's who was buying the stolen car radios?'

'Does Home Depot let the birds that get into the store just die? Or do they catch them and let them go? Or do they just kill them?'

'Cars waiting for the light to turn green'

‘I tried to give it away for free but he gave me twenty dollars’

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Its been several months since I graduated. The summer is way gone. I’m in a routine now where I'm at home in Yorktown during the week and take the train into brooklyn for the weekends. Its fun. I’ve been able to still see my friends but also get work done at home. Making art. I started to make these images on canvases that were lying around the house. I basically finished three. I started applying flocking on the biggest one. The third one. And it just wasn’t working. I dont know why I even started making those things. I can’t come up with any good reason. It feels trite. or something. i feel like i am making them for external reasons. I realize. I can only make things if I feel like I am playing and learning in the process. I have no patience for anything else. I make soulless art whenever I try doing anything different. If everything is going right I make things, I play and I get charged with an insane energy that just propels me forward. I was applying the flocking on the canvas. It looked okay but I just felt like shit. I knew it wasn't working. I felt like an artist assistant. I surely wasn’t playing and i definitely was not learning. I felt like I was working for jeff koons. painting.

I reached a point where i knew i was done with them. all of them. I had completely lost interest. It just wasn't me.

I became really frustrated and agitated. I realized then that I had been in the house the whole day. I was only outside the house for a couple of minutes earlier in the day to rip the license plate off of my dad’s broken car. It was rusted on there and we needed to get it off so we could bring it in and stop paying insurance on the car.

Everything came to a point. I got a picture text from my roommates. They were all dressed up in Halloween costumes. I should have gone into Brooklyn. My frustration grew. It grew with the canvases, the images, the state of my art making in general, my living situation, everything really. I felt a little lost with everything.

I needed to go outside to get some air. I took Frankie with me so he could pee. It was misting. It was a nice temperature. It was nice. I was probably out there for ten minutes. Just walking around the property. Looking at the sky. Watching a car go by every so often and seeing the light pass through the trees. A headache came on strong. I was relaxing and breathing but all my anxieties were traveling from the rest of my body and concentrating in one place on the back of my neck. I heard gargling water. The mist was collecting on the pool cover and dripping through the mesh cover to the water below. Another car drove around the corner and pulled up my driveway. It was my dad. I heard him get out. His car alarm went off. Frankie was confused. It went off and I saw my dad walk in the house through the windows. I walked towards the front of the property and I was watching another car come around the curve. My eyes were on it. I was watching the lights comb through the trees. It spun out of control. The tires screeched. The car smacked against something and it made a booming noise. I couldn’t believe it. It looked like the beginning of a movie. I couldn’t tell if the car slammed into one of the giant boulders or if it had lept over the buffer and jumped into the neighbors pond. Was it sinking?

I ran into the house and let Frankie off the leash.

I ran upstairs yelling that a car had crashed outside. I ran out the front door and pulled out my phone and pulled up the flashlight app. When I got close I saw the lights on and the exhaust rising. I saw a man come around the back. I was relieved. I yelled to ask if he was ok he said he was. I got close enough and could see his face in the red tail light. He was not much older then me. I remembered it was Halloween. My first thought was that he was a young guy, driving home from a party drunk. He seemed shaken up. He said he was fine and that even his car was fine. The front tires were suspended in the air floating over the water. The lights were illuminating the whole pond. There is a tiny little mound of land in the middle, an island with a huge tree that was glowing. Again it looked like a movie. The car would have slipped straight into the water if he was going any faster. My mom had already called the local police. I asked him who I should call. He sounded nerdy. He said I should just call a towing place and that there was no need to call the police. Maybe he was drunk. I don’t think he was. He talked to my dad. My dad said he was an architect and the kid replied that he had wanted to be an architect but he was a computer programmer. I searched for a place on my phone ‘Yorktown car tow’. I got results for Yorktown, Virginia. My dad walked down. We tried pushing the car while he pressed on the gas. It didn’t work. The cops eventually came and began to deal with everything. We heard a car coming around the corner. The cops turned on their lights so that the car would see something was up and would slow down. I listened and realized that it wasnt a car. It was the neighbors ATV. They fly down the street twice a day. They are much younger than me. They must have been scared by the cop lights because they never made it around the bend. They turned around in our driveway and went back up to their huge house. I told the car guy that we were going to walk back up to the house. He thanked us for everything.

Usually I like wandering into unknown art territory. It gets me excited. These canvases were definitely unknown for me. It wasn’t the right type of unknown.

I went inside.

My headache was gone. I thought about what it would have been like if the car flew into the water. What that would have looked like. What I would do if I had to jump in the water and pull some guy out of a sinking car.

I don’t feel bad about wasting time making the canvas images.

I am more upset that they exist in the world now.

It looks like they belong in a south beach hotel lobby.

I don’t have an interest in salvaging them as stand alone images, stand alone objects.

I realize that I need to destroy them.

I’m going to do something with them. I’m not going to show them. I’ll incorporate them into something new and totally different.

I need to take things in a new direction. I’ve reached a dead end.

I need to fly off the road.

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LETS

Let’s start having more of our own shows. Let’s have them outside, inside, in a closet, on a beach, on a bench, in the back of a truck, on the internet, on the edge of a cliff. Lets have as many shows as we can. Lets have shows with other people. Lets have shows without people. Solo shows. Group shows. Shows with bad work, good work, slow work, quick work. Lets have an opening! Lets not have an opening!

We are over editing, being too careful. Lets start exploding with content. We have the means to be expressing ourselves all the time. Not just as artists but as people. We have never had so many powerful tools at our disposal. We have the most amazing cameras, video cameras and self publishing platforms. On top of that we have the same mediums and tools that have always been around. Books, screen printing, paint, charcoal... Nothing has to go out of style. We can use all these tools, mediums, methods and technologies in conjunction with each other. We should be in overdrive. Fully saturated. The airwaves should be carrying vibrant culture but they are clogged with dry and mundane sludge. It has become about what you hold back and what content you decide to trickle out. Currently our art and culture are the golden turds of our over-professionalized institutions. I want to see real feelings and content, the messy diarrhea of people and artists who prefer tools over institutions. Lets remove the floodgates. Lets let all of our attempts and mistakes see the light of day. Art is communication. Lets start communicating more!

Lets do this without pinning our hopes on specific technologies i.e. tumblr, photoshop, social media etc. Those are great tools but lets not put any single thing over another. “Dual sites” will be important to this but they are just the tip of the iceberg. Lets think about using tumblr but also drawing. Let’s think about using facebook but also a truck, photoshop but also spray painting something on a wall. Everything is fair game. Let’s use it all. Let’s flood the airwaves with weird signals. Lets spread it all out. I don’t want to put it all in one place. Maybe we can have a directory that shows what affinity groups and affinity artists are making and showing (solidarity with a show + project). Take contemporaryartdaily.com as an example. It’s a kind of directory of what is going on. The problem is that it is a directory of boring gallery shows. Can we imagine something that is similar but it is exploding with more diverse artist driven content.

Lets try and prevent things from becoming owned by any one person or any one group  (i.e. brad + jogging)

Ben Vickers said we could have made our own institutions but that is a mistake.

The material reality of having to feed oneself led to its key proponents taking positions in existing institutions instead of building their own.

Many artists have chosen to be represented by commercial galleries - and as a result the gallery space has been re-prioritised.

We need to go even further than just creating new institutions. Artists don’t need institutions, they never did. We should aim to destroy institutions and leave nothing in their place. We should always be working to prevent any single project from growing into an institution.

Free people are free artists and artists are free people

Lets always be striving for anonymity. Lets always strive towards art and society being free.

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glad to see someone wrote this. ben vickers.

“Where post-internet got lost:

The centralisation of the discourse around a specific term.

It got drunk on followers and likes.  

The material reality of having to feed oneself led to its key proponents taking positions in existing institutions instead of building their own.

Many artists have chosen to be represented by commercial galleries - and as a result the gallery space has been re-prioritised.    

When every art student on the planet started replicating the aesthetics mistakenly tied to the term post-internet, the golden tickets ran out and it was doomed to premature canonisation.”

charge camera battery!

print out a couple of copies of the interview!

Photos dripped slowly out of our cameras. It started flowing. It starting exploding and the radiation spread. They are now coming from the other direction. flooding in. we have hit peak oil and we have hit peak image. The oil and the images will be harder to retrieve. the oil is increasingly energy intensive and the photos are harder to find. the remaining ones. the ones that we need. they are not on this planet anymore. but we don’t have to travel anywhere to get them. unless we need to know. unless we want that specific light to travel through a lense.

I can still rack my brain and remember. I think it was 1976 I was in still living in San Diego. I was shacked up in that tiny house and driving my 1973 AMC Hornet. I was driving the thing down the Mission Valley freeway. I had the windows open, no radio on. I can still remember this thought that popped into my head. My body was a mass of sputtering energy. A specific concentration that was as probable as a bug existing in the first place.

I’m sure that whatever we want to see. The things that are right next to us that we can’t see. We can see them through this camera and through these tiles.

Can we get the Byzantines in on this. They will like this joke I’m telling you!

Im no longer certain that we will see it all. We have it all. But we won’t see it.

to christian:

so here is what i think about josh’s show

i guess the best way for me to think about my problem with it is to think about

like i remember sophomore year in day’s class i made all those photoshopped images and i presented them in the drawing show on the computer on a pedestal on a slideshow loop. I remember going up to it during the show and being like...o fuck this does not work. absolute no no. i realized that the images were good and fine and they probably even work on the computer but they only work if someone comes across them by themselves. like on their own computer on their own time. that is a fine experience. but to try and look at images on a computer in a gallery type setting is the worst experience. you walk up to it and you cant get past the computer. then i think a year later i was in leslie hewitt’s class. and i made more photoshopped images and i printed them out pretty big and tacked them all up on the wall. something wasnt right again...it wasnt as bad as showing images on a computer but it still was like eh. you could tell right away that something doesnt work when printing out the pictures is the only step in materializing the images. something clearly wasnt being taken far enough. it was not yet worth experiencing the images as a physical entity. then i think i was in day’s class again i had that show with brandon and then right after that i started wheatpasting my prints directly on the wall. and it was finally like ah ha this makes sense. this is an experience in real life with an image that makes sense. it has like a feeling to it and a presence. it holds its own.

fuck day was a really good teacher. i remember having a studio visit in her office. and she just like lightly brushed her fingers on her desk and was like...this is a haptic moment. there is so much just in that little touch. it is infinite.

idk

but yea i guess when i looked at josh’s prints i had that same feeling as when i looked at my own prints in leslie hewitt’s class. when all i did was print them out. its like fuck. seeing it there. there is some sort of let down. its just obvious that something isnt being taken far enough.

but that is just my problem with the art part of his stuff. thats not even the conservative part for me. i mean i guess it probably is a big part of it.

the conservative part is

i mean that work is in conversation with photography or like what photography is and how it functions today

but when i really think about it...what is it even talking about? like. is it just saying that photoshop exists. that it is used heavily in commercial photography? is it saying that something is drastically new with photography or with art?

also i've just been thinking about how awesome cooper is and how is makes you think in such a great way. and how shitty it is to have specific departments and photo departments. When i look at josh’s stuff it becomes so clear that it is a product of a photo department.

i mean i feel like i was able to advance my work and make all the realizations i was talking about before because i was thinking about photography in a DRAWING class! i mean how cool is that. and all the while i was taking sculpture classes every semester. thats probably the only reason i didnt just end up printing out photographs and put them behind glass. because cooper is a total experience and it makes you create things with the consideration of the entire physical, haptic experience of looking at something in real life. its so cool. and same with you and everyone else at cooper. at least if they take advantage of it. i mean you were thinking about sculpture and painting but also video and just everything. it creates really awesome artists.

honestly all these other ppl coming out of schools where they had a focus are behind..catching up in my mind. unless they are just like really great. monsters. total artists these programs fuck them up. they are specialists in something. more like a craftsman.

like i feel like i think about photography the most with my own stuff. but im def not a photographer. i like to think i am reacting to like...the whole world and not just a narrow photography conversation.  and u are reacting to the world and not justt a conversation about painting because ultimately having a conversation about just one thing like painting or photography or even art in general (like art about art) is fucking boring and conservative. at least thats the word i think of. its the wine tasting. the insular shit that drives me crazy. i really feel like artist should be reacting to the world in the most general sense. because that is like more real or something. real ppl can see it and think about it and feel it and react to it because the artist is living in and reacting to the same world that the audience is.

the way that it currently is. ppl are like in these programs that are specialized and then they go off to grad school. its a bubble and it is its own world. and then its seems like these artists just start reacting to that bubble world and not the larger one. so then it just becomes this insular conversation that is irrelevant to almost everything and anyone who didnt get a bfa or an mfa

but im super hopeful lol

not to mention the structures that artists are learning in and showing in

there doesnt seem to be much criticality towards any of it. so much of it is self congratulatory. its like u get a show somewhere or you sell a bunch of your stuff and share it on facebook. and everyone is like “congrats” “awesome job”. where is the fucking outrage! i mean. its sort of like that ladder climbing thing i was talking about. its this shitty ladder that everyone is climbing. and every time someone makes it to the next rung you get congratulated. nothing is thought of it. and we even become jealous and want it. to climb the next rung. i do it. but we all know the ladder sucks. deserves to be smashed. and there shouldn’t even be a new ladder to take its place but something entirely different. because ladders suck. you have to climb them.

and i think when i talk about it..it makes it seem like im really sure about this, or that it is totally black and white. but its really confusing to me and im not sure about anything.

like. i dont know what to do. how to smash the ladder. what to put in its place. how do i start going about doing any of this? but at the same time i think you are allowed to complain, critique and analyze without any responsibility. its like the cooper situation. i don't fucking know how to raise 10 million dollars a year. but i sure as hell know that jamshed doesn't either and if he did he would fuck it up. so i feel fine in raising complete hell. complaining without a better solution. and not just that..complaining and then asking for even more. that is fine too. its fine to say that cooper is a good educational model that deserves to be protected but really when i think about it..philanthropy is a shitty model for a school. schools should be even freer than cooper. it should not rely on the whim of a rich person. the whim of a philanthropist who suddenly feels like throwing money at an institution. the education of a young person shouldnt run dry when the philanthropy runs dry. that is a failed model for me. even if it is better than all the other models. schools should be totally free and not rely on money. do i have a solution for achieving that….no...but who cares. thats the world i want to live in and im not going to back down from it. i mean.. isn't it shitty that we grow up with ppl telling us that we can create the world we want to live in and we can be whatever we want to be but then when it comes down to it, if you really try to follow that advice you find out that its all a sack of shit. after 22 years of schooling you cant be want you want to be. and the way the world is currently structured.. it wont even let you discuss the world that you want to live in let alone think about enacting any of it. you get laughed out of the room if you talk about a world where things are free. a world where there is no money, no borders or a world where art is free or where there are no galleries and collectors. because if im just trying to imagine my perfect world...duh there would be no money! i would never think of money! there would be no museums or collectors or galleries. why would there be? what kind of fucked up artist would imagine that in their perfect world? so if the world as it exists today is not even close to being like what an artist’s perfect world is, why aren't we complaining about it at every step? why aren't we complaining and looking to change the current structure and model all the time? if i get a show at higher pictures or some gallery why shouldn’t i be a little pissed that galleries even exist? it would be crazy and ungrateful in a certain sense. but nothing will change if ppl just go along with how things are.

conversations get totally shut down or fail to start at all because ppl dont feel like they have the right to complain about anything if they don't have a better solution. but thats not true.

and this is what is ultimately conservative to me. it is conservative to protect a world that isn't even close to a world that you would like to live in. it is conservative to be scared of and even go as far as protecting systems and structures that go against what you believe. because we find ourselves defending things that we would never go along with in the first place.

if we forget about our current “reality” and take the time to imagine what we really want, how we really want to live...what our perfect world would look like. is wildly more free and creative than what we settle for today

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“dude centric”. circle jerkin it. like ive said before the implicit critique in so much of the art you see online now is so stale. ppl coming to a harsh realization that the internet is not our democratized emancipatory playground but a parallel reality that shares many of the structural flaws that permit and cultivate injustices and oppression. capital..the market is this structural flaw. it has creeped its way in.

the problem with the circle jerk is that all the dicks (aka the art) are impotent. the art looks cool and is probably...potentially critiquing the existing systems/structures but where does that get us?

might be an interesting conversation to be had but it certainly is not an effective leverage point for change.

how do you change an oppressive structure?

i just want to start from scratch. work with people to destroy this old shit pile of a world that has been designed for us and work to build something better. i have little hope in the idea that a market or a structure can self correct. it wont self correct to face the problem of climate change and it wont self correct to face the problem of inequality.it always has and always will take people putting themselves on the line. direct action.

this quote is the essence of it for me:

“If a factory is torn down but the rationality which produced it is left standing, then that rationality will simply produce another factory. If a revolution destroys a government, but the systematic patterns of thought that produced that government are left intact, then those patterns will repeat themselves.... There's so much talk about the system. And so little understanding.”

that is from Robert Pirsig. I found it at the beginning of the donella meadow book “Thinking In Systems”.

I just want start from scratch. work with people to destroy the old and build something better. you really need to tear up the foundation to change anything really. foundations are exactly that...foundations for a specific structure. so unless you rip that up..get rid of it completely you will never be able to build anything that is truly different from what was there before.

not from the thread but think this is interesting:

what does pointing out obvious inequalities even do? is the point for patriarchy to acknowledge itself and subsequently resolve it’s inherent inequalities, is it for women to “resist” it, or is it something else that i cannot realize? if this happened wouldn’t women just be assimilated into an already problematical gallery-based framework of art? seems v short sighted to me, so much so that i’m not even sympathetic to these “arguments.”

i’m interested in changing the art world, not assimilating women into it. and, of course, i don’t think inclusion of women into the art-work-force would change it in any real way. the inclusion of gays in the military was (and the leftist celebration of this), the inclusion of minorities and women into the uber-capitalist globalized neoliberal work force was the worst thing ever!”

Been living at home for the most part

in yorktown

Its nice. I am turning the basement into a studio. I built a big table. I am so much more productive here than I am in brooklyn. I dont know why i need to be in brooklyn. The only reason for me to be there would be to spend time with my roommates. which i enjoy. besides that it is a little ridiculous. My room is tiny. It’s like the entire city doesnt want me there or doesnt want me to do what i want to do, which is make art. Im not about to break my back just to say i live in bk. just to live in a closet. Im not looking to get discovered in the big city. that doesnt even happen anymore anyway. NYC or bk is totally where i want to live. I really do love the city. But at this point it doesnt make sense. I would most likely have a panic attack before i ever got to doing anything productive. I have no interest in climbing any ladders. social ladders. art world ladders. im only interested in the work. or artwork. making things and people who are obsessed with making possessed by the work too.

they say its all about who you know. its disgusting. its true though. thats how the world works. its sucks that the world isnt a meritocracy. it is on some occasions. but it is also all about schmoozing. going to certain events. talking to certain ppl.

but its also true in another sense. you can pick your nose and you can pick your friends. so build your own ladder by picking your own friends. build your own art world. dont suck anyones dick.

it is an effort but probably worth it. surround yourself with ppl you respect and admire and enjoy talking to. or not even just people you enjoy talking to. you can disagree with everything they say and hate them. but if they get you thinking. if they really get you going. its probably a good idea to pull them into your world. there isnt enough time to waste with ppl who will only get you places. find people who will make your brain explode.

in the end good people and good work breaks through all the bullshit.

Futurama Brought Me Here

Im Just Going To Leave This Here

Norman Mailer said the most effective anti-war protest during the 60’s was the one where thousands of protesters gathered around the pentagon and said they were going to levitate the building in order to end the war in vietnam. The gov freaked.

i made a big album on the tanners facebook of pics of art that the tanners or I didnt understand. Didnt get much of a reaction from anyone. Really wanted to see if ppl tried to talk about what they were doing in any way.

“What is your art about?” is a really stupid and destructive question. but sometimes…

things are just too opaque for me that that question is the only place I can turn.

I included some of Jasper Spicero’s work in the tanner album. I think the work looks very nice but at the same time i have a hard time accessing aspects of it.

Jasper messaged me on fb saying that he saw the tanner album. He asked if i would be interested in speaking about the work more.

I agreed and thought it might be nice to write a short blurb and first whack at the work. and then maybe we will follow with an interview or discussion or something.

thoughts on jasper’s work:

feeling. poems. swords? fantasy. moth. telling some sort of story. what type of story? very open ended story. is it a story of a feeling? should the feeling come from the photograph of the work...the sculpture? or should it come from the piece itself? in person.

I have only seen one of jaspers works in person

there was melting ice involved at 319 scholes

i think that was his piece

i see more water

melting. drain.

some weird designs. displays that you might see in pottery barn teen.

lots of flowers. flowers are recurring. as well as 3d printed items

objects stuck in plaster. not detritus but seems more like a suspension of a narrative

very opaque narrative. what do these objects say: jewlery, buttons clothing. plumbing hardware

ivan’s room: supposed to be sad? definitely a narrative. little kid at ikea. or maybe container store display. there is never any living in the pieces. nothing is used or lived in. new. display state.

everything is bought?

yea guy says in the article that the sword was purchased online.

in your eyes blue: childhood representation again.

okay there is a script

generic script. similar to the objects. stand in for indicators of emotion but they hold no emotion or life or living. much like a display. the life is waiting

things in plaster but not from any natural occurrence. placed there to indicate story that never happened. emotional props hold no emotions. much like a tombstone. but not too much like a tombstone

midi music. basic container for music. can emotion be squeezed out of it. can you be sad (emotion) over something that is incapable of holding or translating feeling? emotional over emptiness?

“Even if the doors are locked I'm not empty. There's a person inside.”

living your life out in ikea

can ikea hold the memories, the feelings of life if you attempted to live there? all the objects are meant to leave and serve that purpose. but what if they never leave and you just live in the display.

romance? is it romantic?

what would it be like to describe what a candlelight dinner is to someone. is that a romantic thing to do? is the description romantic?

very norwegian or swiss or something

very

white house in girl with the dragon tattoo. the house of the killer.

Leo Steinberg on Jasper Johns in New Criteria:

“All of them are slowed down. As they were not mass-produced in the outpouring of industry, so they no longer submit to the mechanical gestures of human users - the flipping of pages, the saluting of flags, opening of drawer, computing of numbers, etc. What we see when we face a Johns commonplace is the possibility of a changed attitude; better still, the possibility of an object’s lone self-existence without any human attitude whatsoever surrounding it. What Johns loves in his objects is that they are nobody’s preference; not even his own. By a strange paradox, these handmade, uniquely made commonplace things are relieved of man’s shadow.

If his works are disturbing at all, perhaps it is because they insinuate our absence, not from a scene of romantic desolation, nor from a universe of abstract energies, but from our own place.”

there is still a confusion for me with a lot of the work. that i cant break through. it seems to be driving at and circling around a feeling shooting for certain emotions but i wonder if this confusion blocks that emotion. does it prevent me from ever reaching it...feeling it. or is that confusion a component of the work?

much like when you look at an ikea display. a living room set up. mock up. A living room is where life and love and feeling is supposed to be present.

on the couch

where the magazines are placed on the coffee table

but the living rooms are eerie at ikea

in a container store display

there is that confusion and emptyness which leads to that weird feeling. Has this been used or is it waiting for a new life?

it is an emotion that arises out of an absence. an absence of the human?

again we can find something similar with Steinberg on Johns:

“I remember how, in 1957, my initial dismay over John’s work was overcome by the pictures themselves. A suspicion of their destructive or unserious intention was dissipated not only by their commanding presence and workmanlike quality, but by something that impressed me as the intesity of their solitude. And this despite their deadpan materiality, and despite the artist’s assurance that emotional content was neither overtly nor implicitly present. When I said to him recently that his early works seemed to me to be “about human absence,” he replied that this would mean their failure for him; for it would imply that he had “been there,” whereas he wants his pictures to be objects alone.

Well then I think he fails; not as a painter, but as a theorist. For the assumption of a realism of absolute impersonality always does fail if taken literally. That assumption is itself a way of feeling; it is the ascetic passion which sustains the drive of a youthful Velazquez, or a Courbet, while they shake the emotional slop from themselves and their models”

rhmfoundation grant artist statement draft:

I remember a phone conversation I had with my mother. She said, “Aaron, I know you like to make images but there are already so many images out there. It is a sea of images! What are you going to do?” In a sense I like to think that all of my work attempts to answer this question. How does an artist produce pictures in a world that is already oversaturated with images?

The entirety of our everyday experience is easily quantified by the camera. We point the camera and snap a photo, it has no problem representing the scene before us in phenomenal detail. My work asks if and how artistic freedom and human expression can exist today. If we take the camera to be a mechanical apparatus that can generate every and any image, then we can assume that every possible photograph is contained within the device. How can the artist create something that hasn't been seen, how can the artist be free? I have found that playing teases out these photographic possibilities.

I use the window and the screen as a recurring motif in my work. The window is used to speak to the framing of the camera and the screen recalls the grid of pixels in digital images.

During the production of my digital images, collages,websites, sculptures and paintings, I might pass a piece in and out of the computer multiple times. For instance, I might take a photo, manipulate it in Photoshop, print out a portion of it, draw on it, scan it, Photoshop it again, and print it out again. I have maintained what might be called a normal studio practice (drawing, a bit of painting, and sculpture), but everything I create is with a photograph in mind. Being able to take a photo of what I’m making with my hands at every step frees up my creative process – I have no hesitation in burning, ripping or submerging a drawing in water when I already have a photo of it.

The camera serves as a touchstone in my work. It permits me to play freely with art materials and everyday objects and move fluidly from medium to medium. A sculpture may end up being a collage. A photograph may end up being printed out and wheat pasted onto a sculpture or used as the basis for a painting. A video may become a performative presentation. An everyday object may find itself magically floating in midair. The suspension of disbelief that the camera brings forth can be found quite literally in my photographic “Floater” series. I suspend everyday objects. It is unclear whether they have been thrown in the air and captured mid flight, whether they have been photoshopped or are they simply breaking the laws of gravity. I use photoshop as a tool in my work to cast doubt. The doubt that can be found in my photographic work carries over into the images we see everyday, calling into question the validity of photography and the truth that we believe the camera provides us.

Get Off - Nick Faust

Our institutions time has come. They are crumbling. We exist in a new democratized, horizontal world. A world where artists roam free. They are no longer shackled to institutions that insisted on rigid hierarchies.

Now that old institutions have crumbled or are inadequate we are presented with the internet with all its tools and platforms. Surely it is democratizing. Right? Everybody is on the dancefloor!

Everybody?

I still just see my young white brothers from that frat house down the street. Haven’t we learned that the initial emancipatory promises of the internet are not quite as hopeful as they once appeared to be? The internet offered us a window to a more egalitarian world, or at least it provided us with tools to get there. What has happened? All of our neo-liberal capitalist surveillance states have taken the internet under their control. It is completely surveilled, monopolized, and sanitized by common sense, copyright, control, and conformism. The glimmer is faint. Surely it would be a worthy cause protecting that glimmer and rescuing it but lets not pretend that the shit pile isn't sitting ontop of us every time we sign into google or facebook. For much of the global south there is no dance floor let alone a bottle of axe that would be totally siiiiickk to use in an art installation.

The collapse of bourgeois and bohemian individualism into the warm embrace of the commodity is the defining style of the middle class sensibility of today’s disintegrating spectacle.

I am interested in a better world for everyone. Not just for me and my friends. Not just a better art world. A better world. The internet. The network. This is why our artistic inhibitions have dissolved? The network dissolved them? Where did they go? Did they dissolve for everyone? Our panacea didn’t materialize. Our messiah arrived paralyzed and can’t seem to fix a thing. He is only able to reinforce existing flaws. In the face of growing inequality, irreparable climate change, and a market oriented art world which has become completely inert and antiseptic. We are supposed to ‘get off’. We are to celebrate the freedoms that technology has granted us.

“configured by a generation of artists who aren’t guilted into previous high-low, worthy-unworthy binaries, using the commercial skills and craft that they acquire in their day jobs.”

So supposedly i am part of the first generation of artists to finally get rid of the high low binary? And i did this through my day job where i sit at a computer all day photoshopping models for a fashion magazine. My love for my measly job, my position as a cog in todays global economy, that is what has liberated me? my embrace of the free market? Is that where the artist’s freedom exists today. In the aisles of Target. What product do I want to buy to use in my next art piece? I can use any? Free at last! Free at last! Hallelujah! I’m free at last!

“The shame of selling, and the shame of admitting that you might find certain qualities of your day capable of being relevant to the things that art struggles with is still taboo, amazingly.”

Where are these taboos? examples?

The only taboo i see in this generation of artists is talking about the end of capitalism in a genuine way. without rolling their eyes. without a huge dose of cynicism. that is the taboo. But what is being suggested is that the taboos are elsewhere. The taboo is that we are not embracing our shit jobs at the bottom of the capitalist totem poll. We don’t have a smile on our face while we grovel in the dirt. The taboo is enjoying your job, enjoying your internship. I'm not interested in ending that taboo because it is not a taboo.

He seems to be arguing for a renewed merger between art and life. But he is locating the “life” in an incredibly depressing place. The toxic product, the measly internship and the banal gossiping on facebook. My freedom is not in home depot, bed bath and beyond, a facebook thread or my job at a design firm. At least I don’t want that to be it. This is where life is for my generation of artists? This is the well where we are to pull our inspiration from? It is being masqueraded as a widening of artistic options, but it seems to be narrower, less accepting of certain classes, sexes and races. Is anybody but white men playing around with axe body spray?  I don’t want to find my freedom is something that I know to be finite. I can only be happy in the infinite.

----------------------------------------------------------------------------------------

making other ppls art:

everyone is making art in their own lane.

working for the camera. working to fill the holes. fill out the photographic possibilities and when they get new ones they claim it as their own. It is like early explorers. the find a “new land” and think it is them that created it. they call it their own. name it after themselves.

making someone elses art is like sweeping in and claiming the land as no ones. telling everyone that the world isnt flat. telling them that it already existed before they got there.

those pictures arent yours or anyones. they already existed in the camera before you got there.

right now authorship in art is like the revolutionary war. when both armies would meet in the middle of a field and then just shoot back and forth at each other

making someone elses art is like introducing guerilla warfare

making someone elses art is like driving drunk

vearing into all the lanes

im going to make all “your” art. but please...make mine.

anon art is where its at. but im not there. i dont know why. am i too weak?

so please, by all means, fuck over my name. steal everything I have made and ruin it. do exactly what i wouldnt want to be done to it, done to it.

At least this would reaffirm what we all know. that the control that we believe we have, the steering wheel in our hands is not really there. its a figure of our imagination. its all. a beautiful chaotic field.

it is great to live with art

collectors and art dealers have nearly spoiled this idea but

images change

objects change

meaning and thoughts comes in crazy waves when you live with the same piece of art for an extended period of time

i had a william eggleston image. it was from his show card but i framed it

it was a picture of oranges on the ground

it was on my wall for about two years before the frame just fell and broke

i probably looked at it once a day

it would look totally different from one day to the next

it took me about two months before i got into my head that the whole image looked like a flag

it is a great way to look at images

especially my own images

it seems indulgent but i can just stare at my images all day.

it is so easy now to just print out art images to scale and hang them on your wall

i think i will do that more

color draw paint over all my photos

photos from growing up

all over my art images

make them all again

go over all the picassos

entropy (sand castle video)

lesson in grade school

        how many possible outfits can you make if you have 5 shirts and 5 pairs of pants

contemporary art daily - art

eventual heat death of the universe second law of thermo dynamics

eventual heat death of contemporary art daily

shit i need/want to do list

-finish hjgs shit (bio, adjust price, sign contract)

-write another email to the met to follow up

-apply to other shitty jobs

-start working on new slideshows/presentation

        -karaoke vids with or without singing

        -drawing with projector

        -continue with every image thing

        -incorporate parts of the drone thing finally but don't allude to it

-’look at this’ with nick demarco

-render the seinfeld videos somewhere

        -make page for vids (can’t be youtube)

        -ask who has after effects and a fast computer

-work on more movie posters (celeb page)

        -maybe actually wheat paste them in places

-make vid where i talk about each image from my old flickr

-make whale watching vid (car tail fin things)

-make laguardia football vid

        -buy football

        -throw it through laguardia statue

-make more “paintings” with shawn

        -figure out panels

        -nail down how to transfer images

        -look into other technique

                -flocking

-fix bike brakes

-take photos for rodi

-buy new desktop?

-figure out vid camera

-email andrew weinstein for art history videos (aweinstein@hotmail.com)

- monkey with camera drawings

“I want to make sure that all of us in Washington are investing as much time, as much energy, as much debate on how we grow the economy and grow the middle class as we’ve spent over the last two to three years arguing about how we reduce the deficits,” Mr. Obama said.

“If we don’t do anything, then growth will be slower than it should be. Unemployment will not go down as fast as it should. Income inequality will continue to rise,” he said. “That’s not a future that we should accept.”  ugghh stfu

literally growth growth growth

still talking about growth?

I love taking photos. and i guess i have some sort of hierarchy for a good image and a bad image. certain criteria. i think im able to see it and able to execute them on occasion but i also love looking through images and finding it in other peoples pictures. it just happens. kinda by chance but not really. they are ppl making choices. and you stare at it at night. i do. in my bed and its intense. im in space and everything is freezing for me in HD.

everyone getting their grind on *critiquing* capitalism

or not even critiquing because i think most people are sick of institutional critique

it is something they studied in school and therefore it is over

a dead tactic

whether it worked or not

whether it was effective

it probably wasnt

so people are not really open to saying that that is what they are doing

they are “engaging in a dialogue about the capitalist mode of production” or “observing the neoliberal global economy”

the critique is implicit right?

you are doing your job

following the proud tradition

holding the liberal artist flag

the progressive...working against the system art flag

but guernica wont work this time

you cant work from inside

it starting to seem like it just wont be enough

we all know it

the art world and maybe art in general has totally been consumed

its just a smaller version of the shit show that is the global economy

you cant run away to the internet either

that has been consumed too

the problem is that there appears to be no way to step outside of this way of living

this way of working

we may as well

engage

work with it

right?

work with it...but critique it

right?

besides the install shots look so fucking good

right?

kinda like obama

kinda like the all of the above energy plan

that will surely work

building solar panels and wind farms all while we drill more holes in the ground

pump more chemicals into our water supplies

suck more natural gas out of the ground

more tarsands

something will stick right?

work with the existing system but come up with our nice little critiques and wind turbines

besides

we can’t think of a way to step outside system

its not worth it

right?

what are the options anyway?

lets see

living off the grid?

in the woods?

sure that would work i guess

you can make your art out there

and like

barter it around to other wood dwelling artists

whats another way to step outside?

we can form an artist crime circle

we can steal things

kill people

you know

then we wouldnt have to becomes slaves to this system

we wouldn’t have to become anyones artists assistant

anyones unpaid intern

we can just rob banks

that would be a good critique of the capitalist system

but we are not willing to go that far

for now

to risky

how else can we step outside?

well we can do it

quite literally

like go outside and make our art in the streets

right?

o shit

but that already exists

its sTrEeT aRt

taggin shit

destruction of property

Banksy

right?

that already has such a thing

such a name to it

such a stigma

but

it might be our best option

the best place to step outside into

the most exciting

get over it if you dont like banksy

if you dont like obey

shepard fairy

tags

who cares about them

dont let them ruin the best place we have going for us

just ignore them and do your thing

make it your own

make something in the street and leave it there

step outside

by going outside

the street is big enough for everyone

idk maybe the crime circle would be cool too

i guess they are both illegal

lets just do something else

your artist statement isnt doing it for me yet

Overthinking the implementation of a dream can jeopardize the entire vision. Pragmatism inhibits the creative process. It makes you think, “well that isn’t really possible so I am going to give it up”. It does not permit wandering, finding a dead end and spending time there. Daydreaming, getting bored and getting lost are essential to a creative process, dreaming of a new reality or stumbling upon a revolutionary idea. All of these things emerge from the imagination. In order for a vision or a creative idea to truly flourish, space must be given to dream. You must not be bothered by whatever today’s version of reality is. Upon close examination, today’s “reality” is just a series of agreements that have no material basis. It is constructed, it is just one vision/version of reality that could have been thought of by a single person or more likely, a group of people, a corporation or a state. Look at the root of any problem today and you will find money. Look at money. What is it? You will see that it is a social agreement made on a global scale. The social agreements that make up our contemporary reality are paradigms. Paradigms can be adjusted or completely thrown. Whether they are working or not. Once we see our contemporary reality as an entity that we can remove ourselves from, we begin to examine it and find that it is fundamentally conservative. Turn on the news. Being tied to any single reality hinders imagination and leads to conservative worldviews. We cede to a single reality and rarely stray from it. We let this conservative reality lead our lives and discussions. Our current reality does not allow us the liberty of having our imaginations and creativity lead our decision making process. The pervasive conservativism in our daily political and social dialogue comes from the twenty two years of schooling which tells us that anything is possible but at the same time, that the current system which is sold to us as a concrete “reality” is what you have to work with. What you have to work within.

The reason for dreaming of a better or more sustainable world is quickly changing. Dreams are no longer for the dreamer. They are quickly becoming necessary.The pragmatic thinker is beginning to see the ground under their feet shift or disappear completely. They are grabbing and picking up the first thing they find. We are now in need of creative solutions to the dangerous problems that are rendering our current “reality” and way of living obsolete. Another world is not possible; it is necessary. The ought and the is are one. The collapse of the global economy is here and now.

If thinking of a better world is no longer something that we want to do but something that we have to do it is important that our first step is dreaming, wandering, getting bored and getting lost. For this is where the imagination takes off.

‘Stage’ (working title) is a performative presentation that is the first phase of an ongoing project exploring questions I have regarding human expression and artistic freedom and how they exist in a world that is quantified by mechanical apparatuses. I hope to continue this project in the future. I would like to expand on these ideas by creating more presentations for the project which will utilize video and sculptural elements.

you are critiquing the global capitalist system with your works?

really?

who are you talking to? who is listening?

lets go outside

lets lock our necks to something

I don’t understand

while i hate using this term because its been used to death. I don’t think this proposal is MuTuaLLy eXcLuSiVe from the “committee”. I know barry has already said this in an above comment but I don’t mean it in the same way. I don’t mean that we can have the committee and then the 300 person committee working side by side. I mean that this proposal should have (and can still be?) our proposal for the committee. We have to remember, they came to us with this committee proposal but without any structure. They gave us a shot at structuring it. So while we clearly don’t have any definitive, nailed down financial solutions to the problem, we’re overflowing with solid ideas/structures on governance and just how ppl work together. We recognize that the problem at hand is ultimately financial but we have ALWAYS said that the ROOT of the problem was structural. So this is our chance to build a structure to solve the problem. It amazes me that they essentially left it open to us. So we have to ask ourselves.In just a few short weeks it looks like we have settled for a committee that doesnt look all that different from any committee that has existed in the past two years!!

6) For two months the president’s office has been a productive space for the Students for a Free Cooper Union, the Alumni Association, the faculty, the board of trustees and the public. We have held numerous events and have engaged in many productive discussions. We have stated that the doors are always open and the President is welcome at any time. We propose to return the office to its original state and share the space with the president. The occupation would end and the space would remain open for the committee to meet and work. Building hours would be honored.

4) By December 1, 2013, if the new committee does conclude there is no tuition free solution, the Board and administration should affirm that their main task, their every effort, from now on, will be in seeking to restore full tuition scholarships to all undergraduate students at Cooper Union. In addition, the committee will continue to meet and receive the same level of access to information and personnel.

“I think that Cooper Union is going to fall apart. That’s my opinion. Now others don’t agree with me but thats my opinion. I wish that was not the case. It was falling apart. I don’t think the solution we came up with is going to save the day” - Jeff Gural

if art is not actively changing the world or getting people to...jump starting people to change the world...then it is actively failing and should actively be stopped. If it is not doing this it is nothing but self serving. (this might be a little over the top aaron) Quit wasting your life on someone elses dream and think of your own and then go and make that dream happen.

Everyone is abusing art and using it as their vehicle to get somewhere pathetic.

contemporary art and the art world is disgusting and boring and it would be smart to reject it outright. everyone congratulates each other on whatever stupid bullshit they just got recieved or won like they just got a raise from lehman brothers.

not saying this because i am negative. not at all. and don’t try and pin me in that corner. i just have high hopes and im ambitious about what art can do. and its upsetting when you see how it functions in the world today. In a prison.

dont farm your food, steal it

dumpster diving is complicit

no one seems to be that surprised by the edward snowden NSA leaks. The leaks that reveal that the NSA has essentially been spying on almost every american.

They say it is for national security.

People seem a bit ambivalent about the whole thing.

Not surprising either. Probably because we all use GPS on our phones to get us to our destination. We are being tracked all the time. We don’t mind. We are willing to be tracked as because we get a bit of a benefit from it.

dead bird on microphone stand

singing into dead bird

6/13/2013

Robert Moses knew that doing things without asking “permission” was the best way to get things done. People don’t really want to tear down things that have already been built. Something that has already had effort put into it. It puts naysayers in a weird bind. Its like...”really you are going to tear down this highway that is already halfway built???” no one does that.

Look at the Step Down show on the 7th floor in Cooper. Thats a good example.

Stigmergy all over the place.

Emergent design.

Organization by stigmergy occurs when individual parts of the system communicate with one another indirectly by modifying and sensing their local environment. Termite mounds are a classic example, but cells do it and computers do it too.

The third of the four principles of multicellular systems is that much of the communication between cooperating entities (cells, social insects or computers) is indirect and distributed. The entities deposit long-lived cues in external structures -- connective tissue, termite mounds, or databases as the case may be. For example, chess pieces on a chess board structure the actions of chess players who interact with each other by changing the locations of the pieces. The external persistent information helps to organize the collective behavior of the cells, insects, computers or people. The term stigmergy was coined in the 1950’s to put a name to these sorts of reciprocal relationships between social insects and the stigmergy structures that they build, e.g., termite mounds (see photo below), ant hills, beehives and even the pheromone-marked ant trails of nomadic social ant species such as army ants. More recently, the idea has been adopted by other disciplines including computer science.

How is stigmergy different from Ayn Rand’s objectivism? Both ideas seem to be closely related but there are minor differences which set them apart. I don’t think stigmergetic working or thinking leads to the type of laissez faire capitalism that Rand’s objectivism led to. I think stigmergy translates to more horizontal production. There are similarities: if everyone just sort of does their own sort of thing...works on what they want then great things will be achieved. Collectively. I guess the difference is that with stigmergy people should work on what they want because they are experts in that given field, and the point is that you can just leave markers which indicate what you have been working on and others that see these markers can swoop in and start working, improving and moving your project forward . With the type of individualism that arose from objectivism. The whole impetus for work being generated is out of self interest and an individual pursuit of happiness that does not let others in. That’s the type of thinking that created this hell hole that we got ourselves into. Self interest. Thinking you are doing humanistic deeds but really you have just gotten lost. Look at Robert Moses. Le Corbusier. Communism.

I hate Giacometti

I also dont know if i totally understand the work that people are making in the northwest. like Jasper Spicero, Alex Makin Dolan and Brenna Murphy. It all looks nice but I really have no idea what they are thinking about or what i should be thinking about when i look at their stuff. Because right now i dont go anywhere. Jasper and Alex’s work have a similar feel to Iain Ball’s work. I suppose that their work is dealing with similar things but with Iain’s work it is easier for me to parse through and feel and think something. It looks very heady but i think its more about a feeling. Which i like. I don’t know if ive gotten that feeling from Jasper’s and Alex’s work..but at the same time they are still very young and will figure things out. It really helped to read that interview with Iain and emily jones.

--

If I have to hear about how airports are a sort of “non-place” and how that is an interesting idea I think i will die. Its interesting but not really that interesting. I would rather think about something else.

Maybe i should start stealing more things?

6/12/2013

video: “Which one is older? Sasha or Malia?” - answer Malia

6/11/2013

I wheat pasted another mural today. In someones house.

I got 475 dollars for it. That is pretty cool. At the same time i guess i need to find a job. Now that I have graduated. Something simple for now. It is the “next step”.  I really am dreading it. I just think it will kill me. working. Feel like the whole world is squeezing me right now. Post-grad. No one says. “you don’t need to get a job”. Why does everyone want to work? Shouldn’t everyone hate it?

“The English historian E.P. Thompson, in his classic book The Making of the English Working Class (1963), argues that the creation of the job is a relatively recent phenomenon, born out of the Industrial Revolution. Before the advent of steam-powered machines and factories in the mid eighteenth century, work was a much more haphazard and less structured affair. People worked, yes, they did ‘jobs,’ but the idea of being yoked to one particular employer to the exclusion of all other money-making activity was unknown. And the average man enjoyed a much greater degree of independence than today.”....”Capitalism has promoted the job as a religion; but so too, tragically, has socialism. The left have been brainwashed with the socialist dream of ‘full employment.’ But wouldn’t full unemployment be better? A world where everyone is free to create their own life, their own work, their own money. In his great essay “The Soul of Man under Socialism” (1891), Oscar Wilde pointed out the absurdity of the idea of full employment: ‘It is to be regretted that a portion of our community should be practically in slavery, but to propose to solve the problem by enslaving the entire community is childish.’ We need to be responsible for ourselves; we must create our own republics. Today we hand over our responsibility to the boss, to the company, to government, and then blame them when everything goes wrong.” (from How to Be Idle by Tom Hodgkinson)

I don’t want to work. Happiness is an admirable pursuit that should not be confused with laziness.

Why do I keep getting invited to linktin? linkdn?

6/10/2013

So on june 23 my look at this videos are being screened alongside Robert franks video call “one hour” where he just walks around the city for one hour.

it is being screened up in hudson ny in a place that is called the basilica.

im going up for the screening. they recently just let me know that i would be doing a Q&A after the screening. o shit. so we will see how this goes :/

walking around

lol at flanuer

like thats a history now but i actually like doing it

because its really exciting and alive

art like life manifests magically in front of us. a collection of matter that is organized in an improbable way. that works against the entropic tendencies of our universe. Life and the art we make within life rails against the spaced out, ultimate future that is the heat death of the universe.

if you look around at a lot of the art that is being produced now. A lot of it looks like it is being produced for the camera or for the image. There is this knowledge and it is something that gene mchugh has talked about and i guess has been coined as post-internet. It is essentially art that is produced with an understanding and recognition of the network that it is produced within or being distributed within, which nowadays is the internet. But the only way for people to see the art on the internet is through images, a camera. So what we have is really art that is made for the camera. While this whole idea of post-internet art seems like the newest hippest thing, it really is nothing new. In my mind it is just a continuation of an ongoing conversation about photography and art that began following the advent of the camera. Really, the only thing that is different is a slight change in how these images are distributed and viewed. It gets exciting for me to start thinking of all art being made for the camera. Because it sort of flattens things out. It puts art on the same playing field as anything else that can be photographed. So like, any boring photo you might see online is just as valid of an artistic photographic permutation as a picture of a painting on a white wall.

That is probably what tanner america came out of. This idea that these “art moments” are not just happening in a gallery but all over the place. In people's kitchens and backyards. At least that was what I was seeing when I would spend hours just looking through images online. There were these intense aesthetic moments happening within these photographs that I was finding. With tanner america we created our own.

The camera is technically only capable of shooting a certain amount of photographs. While its possibilities are vast, the camera is an apparatus that can only produce a finite amount of permutations.

I think if u asked a painter whether they thought what they were doing was working within a finite or infinite system i believe they would say that they are working with materials that are infinite. I believe it myself. There is no way for me to quantify the experience of actually playing around with certain materials.

I remember day gleeson. in her office she sort of just barely touched the table. sort of stroked it with her fingertips and said. This is a haptic moment. just touching something as simple as this. It is infinite and cannot really be fully described or accounted for. I believe that and feel that.

With a camera this is not the case. And it is a fact but it is also a feeling that when you are working a camera you are playing around with a closed system, a finite system. I think it is an inherent feeling with the camera. It is a device that captures the seemingly infinite world around us with such ease. I think we still have not come to terms with it. It is just so seamless. We have been under its spell and completely fooled by it since its invention.

The vast walled garden that is a camera. Artists are sprinting around in it. Playing within it. Nowhere near the walls but we are just beginning to come to a better understanding of the space we are in. We are starting to realize that while we have not personally encountered the walls of the garden. They are out there somewhere. We are beginning to see this. The internet has given us a birds eye view of the garden. We see that in the garden is a sea of images that we are completely submerged in.