Archive for the ‘art’ Category

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Thomas Hirschhorn’s Monuments and Displays

April 3, 2009

Thomas Hirschhorn’s work parallels elements of a project I worked on and developed for a number of years called the Tollbooth Gallery. The Tollbooth was a reclaimed hunk of concrete in a public space that housed a twenty-four hour outdoor video galley and paper-based installations (video, audio, and paper) in an urban setting. The exhibitions changed every six weeks and featured work from artists from around the world. One of the most exciting aspects of the project was the precariousness of the materials and equipment that were left in public spaces even in the most extreme weather. The project was always in danger of vandalism, theft, or weather failure, but that became part of the work and how it was received. In order to succeed the project had to create a relationship where it trusted in the casual passerby and chance encounters. Like the Tollbooth, Hirschhorn’s work often consists of hewn together spaces in public locations that house an idea or event.

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Letter From Sol LeWitt to Eva Hesse

March 10, 2009

M and I were talking about this, so he sent me a copy of it. I thought I’d put it here, because it’s good advice:

Dear Eva,

It will be almost a month since you wrote to me and you have possibly forgotten your state of mind (I doubt it though). You seem the same as always, and being you, hate every minute of it. Don’t! Learn to say “Fuck You” to the world once in a while. You have every right to. Just stop thinking, worrying, looking over your shoulder wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itchin, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rumbling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose sticking, ass-gouging, eyeball-poking, finger-pointing, alleyway-sneaking, long waiting, small stepping, evil-eyeing, back-scratching, searching, perching, besmirching, grinding, grinding, grinding away at yourself. Stop it and just DO!
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Process Letter to My Advisor 5.2

March 1, 2009

Dear XXXXX,

How have you been? I’ve been in LA for almost a week and spent my birthday somewhere in Oklahoma. Working on this packet while sitting next to the hot tub has been a nice change from Buffalo winter…er… as that’s not my usual practice. Now I’m at the conference and finishing up. Today was mostly people presenting papers on panels and Friday is Robert Irwin. I’m staying at the Biltmore for the next several days, which I have come to discover was the site of a couple of early Oscars ceremonies, oh and the last location the Black Dahlia was seen alive before her murder. It’s kind of glamorous in an old hotel way with elaborate ceilings and fountains (the sphinxes have very large breasts… which led me to realize I am indeed in LA), but the rooms themselves are rather lackluster or standard I guess. After the conference we go back to staying at M’s parent’s place to the south of the city.

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Agnes Martin’s Writings

February 4, 2009

Agnes Martin’s Writings read like art torah, striving towards an inner perfection and finding a place of honesty in one’s efforts. In my work I am at a crisis and wish I could spend more time wrapped in her process. Her ideas are profound, yet resonate with the dailiness of life, as she seeks an underlying awareness of perfection. I found myself wishing I had some Agnes Martin chip I could have installed in my head (keeping these ways of thinking at the forefront of my thoughts about art and writing). She is wise in exactly the way I am not.

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General and Annotated Bibliography

January 29, 2009

For those that are interested I’ve finally posted my general bibliography and annotated bibliography as their own pages (link to the right). All of these books are from the past two years and correspond to the manuscript I am currently working on and art writing/essays that I have done during this process.

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Remix Inner Space and Op Art Revisited

October 28, 2008

A little over a week ago the Buffalo News ran my review of two shows at Albright-Knox. If you’d like to read it in its entirety, check it out at: Buffalo News.

Pair of shows out of spotlight at Albright-Knox

As the Albright-Knox Art Gallery prepares for the February opening of “Action/ Abstraction, ” perhaps its most important show in years, two other exhibitions on view through January sit quietly under the radar, each worth a look in its own understated way. (Read More at: Buffalo News)

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Process Letter to My Advisor 4.3

October 28, 2008

Dear XXXXX,

Greetings from the road. How are you? The image of pregnancy in Pucci made me very happy. I think everyone should be required to wear Pucci when pregnant, well not everyone. Yeah, I love thrift stores in small towns. I was a clothes scout for years after high school, back when I was more stylish, buying vintage crap and selling it off to the clothing stores. I managed a vintage clothing store and bought for them too, so who knows what I’ll find. I’m just happy to get a trip before winter sets in and to see A LOT of art (kind of an insane amount actually). As of now the itinerary is: Pittsburgh, Philadelphia, NYC, DIA Beacon, and MassMoCA. I’m sending this out mid-trip. We just started.

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Process Letter to My Advisor 4.1

August 21, 2008

Dear XXXXX,

How have you been? Are ready to do it all over again? Things have been going well on this end. Our house finally sold at the last minute, so we averted the foreclosure. Pretty amazing. I still have a hard time believing it all worked out, because it was looking pretty dire for a while.

We are planning a trip here pretty soon before the weather turns bad again, probably October. I want to see the Carnegie International before it comes down and my boyfriend needs to see something at DIA Beacon and MassMoCA, so we’re making a grand circuit of it all. The plan is: Pittsburgh, Philly to visit friends, Baltimore for a day, a couple days in New York, then up to Beacon and MassMoCA. I’d like to get some good writing out of the experience, but it’ll also just be nice to get out and see the East Coast (haven’t really done much of that since moving here).

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Schjeldahl: Let’s See

August 19, 2008

The New Yorker format of a three to four page column allows Peter Schjeldahl to leap into subjects, look around, and amass a glittering pile of insights for each installment. In these essays on art he seamlessly blends high and low language to bring descriptions and ruminations to life where phrases like “drag queen cheek” cozy up with arcane words like “inchoate” and “fungible.” In addition the scope and range of Schjeldahl’s knowledge and history is daunting, but in spite of all this, his writing comes across as generous, accessible, and possibly even hospitable. His style invites the reader into subjects even if they have no previous knowledge of the sometimes-obscure topics, but his approach leaves the ramifications of these posited notions up to the reader to discover. That’s part of the beauty of this diving-in short format I mentioned before.

Schjeldahl gets right to the point. In his first essay from the collection Let’s See entitled America, he takes a rather worn theme of a lack or hole being at the center of American identity, but transforms it into something fresh.

Americaness is nobodiness. Deep down, I feel like nobody; and this void in me is the earnestness of my belonging. A hole in my heart pledges allegiance to America. (14)

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Robbe-Grillet: Jealousy

August 17, 2008

After reading Alain Robbe-Grillet’s Jealousy, it’s apparent why his writing is so closely aligned with visual art, as his approach embodies a sort of object based conceptualist mise-en-scène. The reader is bound meticulously to the cataloguing and scrutinizing of objects in rooms and nurtures a relational system based on distance, proximity, and difference.

Jealousy is a compulsive observation of interactions between the implied narrator/character’s wife A… and a neighbor Franck. The novel is set on a banana plantation and documents the narrator’s growing suspicion that A… and Franck are having an affair. The language focuses on extreme surface, chronicling objects, proximity of things, and disembodied individuals treated as bits and pieces; relational. All is static, purgatorial, and repetitive in this world; change and growth come through revisiting the flood of surfaces and exterior observations. What is different? What changed in how the narrator decodes the tableau of objects as he seeks to confirm his suspicions? A slightly damaged and subjective empiricism is at work here. Sitting on the veranda the narrator observes:

A…’s arms, a little less distinct than her neighbor’s because of the color—though light—of the material of her dress, are also lying on the elbow-rests of her chair. The four hands are lying in a row, motionless. The space between A…’s left hand and Franck’s right hand is approximately two inches. The shrill cry of some nocturnal carnivore, sharp and short, echoes again toward the bottom of the valley, at an unspecified distance. (49)

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