[THIS IS A LIVING DOCUMENT]
It is a little embarrasing 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 hated 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. 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 critiques of the white cube. 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
finish herbert hoover catalogue
my rodi show
- figure out how much all the wood and shit will cost
- start making the images
- figure out when i want to have the show
- 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.
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.
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.
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’
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.
Let’s start having more of our own shows. Let’s have them outside, inside, in a closet, on a beach, on a bench, on a bitch, in the back of a truck, 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 and 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.
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.
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.
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
“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
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
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
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!
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
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
-throw it through laguardia statue
-make more “paintings” with shawn
-figure out panels
-nail down how to transfer images
-look into other technique
-fix bike brakes
-take photos for rodi
-buy new desktop?
-figure out vid camera
-email andrew weinstein for art history videos (firstname.lastname@example.org)
- 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
work with it
work with it...but critique it
besides the install shots look so fucking good
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
something will stick right?
work with the existing system but come up with our nice little critiques and wind turbines
we can’t think of a way to step outside system
its not worth it
what are the options anyway?
living off the grid?
in the woods?
sure that would work i guess
you can make your art out there
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
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
how else can we step outside?
well we can do it
like go outside and make our art in the streets
but that already exists
its sTrEeT aRt
destruction of property
that already has such a thing
such a name to it
such a stigma
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
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
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?
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
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.
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?
video: “Which one is older? Sasha or Malia?” - answer Malia
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?
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 :/
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.