Co-author of Glitch: Designing Imperfection http://www.beflix.com/
31 October 2010
28 October 2010
Dr. Timothy Leary, photographed by Dean Chamberlain.
I'm reading "The Molecular Revolution" by Timothy Leary right now in Timewave Zero: A Psychedelic Reader, catalog of texts curated in relationship to an exhibition curated by Lionel Bouvier and Jean Michel Wicker at the Grazer Kunstverein, in Graz, Austria, from Oct 7-Nov 4, 2001.
25 October 2010
24 October 2010
19 October 2010
18 October 2010
Marshall McLuhan - Understanding Media:The Extensions of Man, 1964
I forgot I owned this! Excited to read it again.
16 October 2010
movies lately - watched and lying around waiting to be watched
Let Me Die a Woman, 1977.
The Beaver Trilogy, 1979-2001
Strip Nude For Your Killer, 1975
Faster, Pussycat! Kill! Kill! (Russ Meyer), 1965
Corpse Fucking Art, 1987
Don't Torture a Duckling, 1972
Death Laid an Egg, 1968
(Sean Penn as Olivia Newton Dawn in Beaver Trilogy)
The Beaver Trilogy, 1979-2001
Strip Nude For Your Killer, 1975
Faster, Pussycat! Kill! Kill! (Russ Meyer), 1965
Corpse Fucking Art, 1987
Don't Torture a Duckling, 1972
Death Laid an Egg, 1968
(Sean Penn as Olivia Newton Dawn in Beaver Trilogy)
13 October 2010
seth price's calendar paintings
(middle image not a calendar image, actually video manipulation still)
Images courtesy Reena Spaulings Fine Art, New York.
Press Release:
For his third show at Reena Spaulings Fine Art, Seth Price presents selections from an older body of work. Price’s ‘calendar paintings’ were executed in late 2003 and early 2004, but have not been widely exhibited. The graphic design of each calendar was composed by Price, centered around images taken from several sources: American painting between the World Wars, obsolete computer graphics illustrations, and out of date magazine advertisements.
In his video lecture Redistribution, (2007-2008) Price discusses the calendar paintings, some of which were recently exhibited at the Kölnischer Kunstverein:
“All artworks carry their dates around with them. It’s information extrinsic to the piece, but you can’t shake it, it will shadow your work forever. A year calendar poster, with a theme picture and a grid of numbers, seemed interesting, because its aspects kind of cancel each other out. Supposedly function is the main thing, with the art smuggled along in this package that’s about utility, but then the little grid of dates is often so tiny that it’s useless, and you wind up with pure decoration. So the utility is more like a frame for an aesthetic decision: you like cats, you get a cat calendar, you like dogs, you get a dog calendar… Some of these calendar paintings feature obsolete computer graphics, or advertisements made with computers, but mostly American painting between the wars, from before the Americans supplanted the European avant-garde. Where there are signs pointing to the post-war boom in American art, but they’re buried. It’s a kind of odd period in American art, there’s something melancholy about it… It falls outside the normal progression, anyway. It’s almost a kind of Socialist Realism, with the WPA, the New Deal, and those attitudes. So, this is a slide of the calendars as posters glued to the wall. I also had started printing them on canvas, as paintings, but I never showed those; I didn’t have a gallery when I did them, and when I had one later, I was doing something else, and they slipped through the cracks. So showing them here in Cologne is interesting, now that they’re out of date. Sometimes it’s good to go forward and then double back, and circle around again. To those who turned their feet around so that their tracks would confuse their pursuers: why not walk backward?”
http://www.contemporaryartdaily.com/2009/02/seth-price-at-reena-spaulings/
http://www.distributedhistory.com/Reena09.html
Images courtesy Reena Spaulings Fine Art, New York.
Press Release:
For his third show at Reena Spaulings Fine Art, Seth Price presents selections from an older body of work. Price’s ‘calendar paintings’ were executed in late 2003 and early 2004, but have not been widely exhibited. The graphic design of each calendar was composed by Price, centered around images taken from several sources: American painting between the World Wars, obsolete computer graphics illustrations, and out of date magazine advertisements.
In his video lecture Redistribution, (2007-2008) Price discusses the calendar paintings, some of which were recently exhibited at the Kölnischer Kunstverein:
“All artworks carry their dates around with them. It’s information extrinsic to the piece, but you can’t shake it, it will shadow your work forever. A year calendar poster, with a theme picture and a grid of numbers, seemed interesting, because its aspects kind of cancel each other out. Supposedly function is the main thing, with the art smuggled along in this package that’s about utility, but then the little grid of dates is often so tiny that it’s useless, and you wind up with pure decoration. So the utility is more like a frame for an aesthetic decision: you like cats, you get a cat calendar, you like dogs, you get a dog calendar… Some of these calendar paintings feature obsolete computer graphics, or advertisements made with computers, but mostly American painting between the wars, from before the Americans supplanted the European avant-garde. Where there are signs pointing to the post-war boom in American art, but they’re buried. It’s a kind of odd period in American art, there’s something melancholy about it… It falls outside the normal progression, anyway. It’s almost a kind of Socialist Realism, with the WPA, the New Deal, and those attitudes. So, this is a slide of the calendars as posters glued to the wall. I also had started printing them on canvas, as paintings, but I never showed those; I didn’t have a gallery when I did them, and when I had one later, I was doing something else, and they slipped through the cracks. So showing them here in Cologne is interesting, now that they’re out of date. Sometimes it’s good to go forward and then double back, and circle around again. To those who turned their feet around so that their tracks would confuse their pursuers: why not walk backward?”
http://www.contemporaryartdaily.com/2009/02/seth-price-at-reena-spaulings/
http://www.distributedhistory.com/Reena09.html
yeaaah...http://www.jehnhoward.com/index.php?/projects/pastel-and-brass/
Something increasingly popular in the last few years: the representation of books through dispassionately photographed spreads, often with the surface on which they rest peeking around the edges. An almost clinical approach to a historical overview, and one used by this essay. A little precious, maybe, but a natural reaction to what has happened to images in the last 15 years: a conscious choice not to use scanners, and also a striving to represent the book as object, rather than one more pit stop for images as they zip from one place to another. It does make it hard to read the text and enjoy the pictures, which is an interesting wrinkle, until it gets over-used. This is from The Purple Anthology, 2008.
-Seth Price, Teen Image
11 October 2010
06 October 2010
04 October 2010
RHIZOME
I finally became a Rhizome member. I also added the collaborative project A/S/L that I worked on to Rhizome's ArtBase project archive. Excited to be involved more in that community!
http://rhizome.org/profile.php?1074724
http://rhizome.org/profile.php?1074724
03 October 2010
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