Sunday, October 30, 2011

New work: OffeRings from Corner-rings series

Here are two images, in 2 lighting states, of a recently completed work, OffeRings. This work is part of the Corner-rings series/body of work.


Sunday, October 23, 2011

Fine Artist of the Month: Contrapuntal poem for Judith Murray

Each month I am adding to an on-going series of writings and works about Fine Artists who work, or are primarily working in the NYC area. This month I made a linked polyphonic/contrapuntal poem, meant to be recited by 2 people (to be read aloud at the same time, full instructions at the bottom)  for NYC Fine Artist, Judith Murray.

The intimate along the right.
The flock of light gathers 

Like melisma: solid then liquid
Lay on the linen, over air

The square states context
Stretch and extend the flux  

Dialogues in various dialects
Variation of dimensions in proximity

First hard then soft
Last micro than macro

Flowing orchestration in the primaries
Stoppages in the sensation growing

Local stellar parallax to ground us
The architectural frame vibrates

A line that ties and bonds
A fragment of lattice

A never ending shift in our perception
The perception of a never ending shift

Converging form from many
Pieces of pieces to many

A current but not from water
The wave and air went

A difference or relationship
Neither symmetry nor asymmetry

Variants and commentary are inclusive
Percent and proportion are unique

Shapes in the movement 
Movement out of shapes

A breath still from silence
Always from its own speech

The fluid strokes unknown 
Stoking the states of a soul

Please note/directions:
The text in regular style is meant to be read by one speaker/musician and the text in italic is meant for a different one speaker/musician, both are to be spoken at the same time. This can also be achieved by recording one of the voices then playing back or recording both voices then playing.

The hyperlinks are to be examined afterward.

For information and documentation of Judith Murray's work please go to her website

Sunday, October 16, 2011

The Answering Machine (Questions and Answers) - part 3.75

Following my last "The Answering Machine (Questions and Answers)" post I received a number of questions wanting clarification and further explanation.

Your early works are very conceptual (needing almost not to be physically produced), why did you abandon this?

I believe many early conceptual works were the basis for most, if not all, of the current marketing/advertising tropes (see: Conceptual Art and the Politics of Publicity). The Con(temporary) fine art world has a sort of trickle down method that gets out to society via collectors, gallerists, etc. I am against the creation of  "pure" conceptual work and thus marketing and some other business strategies (yes, this is hyperbole, I am writing to you from my own blog/website), that summarize, limit, and obtain for their own self congratulations/self promotional/interest use.

Some of your Fine Artist of the Month posts are unintelligible, confusing, and/or offensive to the Fine Artists you are trying honor.

The main goal of the Fine Artist of the Month (FAOTM) is to honor the Fine Artist (note: not the work of ) who I am usually extremely familiar with. I believe I am giving their work new dimension and extension. I want people to find out more of who they are and to those who are familiar, give them a new perspective or reading of their work. I try to pick a medium and style that helps extend their work. Most of the posts now have many hyperlinks to help clarify certain ideas, my suggestion is to click and read all of them. Some of these ideas and attributes might go against the given Fine Artist's core values. For the most part many of the Fine Artists have expressed their happiness and are grateful, I am still waiting on some to acknowledge the entries. I try not trophitize (if you examine/consider all the details) nor to limit their work, but this happens with any public admiration, critique, affection, writing about, etc...

Why don't you write or post everyday on your blog?  I love your writing, why don't you write more?

Like I have posted before and above I am not interested in "pure" marketing/interneting/consuming. I only have X amount of time in this world, just like you. I am interested in interacting with the world much like Glenn Gould did in the 2nd half off his life. I don't feel anyone (regardless of their profession) should be posting more than once a week, maybe even that is too much... maybe it should just be a really great post once a month... maybe once a year. All joking aside, I am much more interested in producing, than consuming (similar to Gabriel Tarde and Liam Gillick).

As for the second question, writing has come as a sort of necessary addition and extension of my own work. I remember reading in an interview in a Mike Kelley book that he started writing because most critics dumb-downed his work and understanding of the scope of the work. I also feel my writing is essential to publicly clarify the context, nature and scope of my work. I have little interest in writing much outside the context of this website (though I do, and about other topics as well). Please note I wish not to fetishize writing, or have my work rely solely on writing like other fine artists.

What's your deal with the color combination: red, green, and blue?

Great question, I find them to be our global current/(con)temporary colors, RGB colors have been my long time fascination, which I like to think of as the primary painting colors of our time, as opposed to the RYB colors of the 20th century Modernist/formalist fine art era. Though this color combination has been in use for the past few years, I am only trying to use this combination sparingly and exclusively for my more social interventions and installations.

Sunday, October 9, 2011

New studio work: Our Common Future

Below is a photographic documented image of recently completed work, Our Common Future. I hope this work will make a public debut soon.

Our Common Future, 2011 
Laser*, recycled cardboard*, recycled plastic bags, rechargeable batteries*, solar panels*, and an empty 1gallon household paint can*. Variable/scalable dimensions (installed here: 25' by 30' on the floor. 25' by 9' on the wall

Sunday, October 2, 2011

The Answering Machine (Questions and Answers) - part 3

I keeping getting a number of really great questions. For some past questions and answers go here. I have some questions that will be answered when I have a double interview with my friend, and NYC Fine Artist, Brian Higbee. Below is part 3 of this on-going posting of answers:

The digital drawings go against your tactile or physical approach to Fine Artwork, right?

Yes and no, I love that when I send a digital drawing to someone that when they have the file open on the digital tablet, monitor, digital frame,etc... of their choice and it will create a source of heat, they can touch the screen and it will give them a heat sensation on their skin. This is something that you could get from any monitor, but I love the fact that it is the same or similar feeling I get from my digital tablet when I am creating the drawing.

I have seen your post about toxicity in Fine Artists Studios' and you mentioned sustainability. Sustainable ideas seems to be a major concern with your lasers and light work as well? Doesn't creating any physical Fine Artwork of any kind go against your Carbon Neutral ideals? Aren't you a conceptual artist, couldn't you just make your work more conceptual based?

Yes and no, I think in the future being carbon neutral with your work will be much easier. I don't believe in making false attempts at carbon neutrality nor to ideologically/physically isolate myself in order to have a false sustainable living situation. At this time I am focusing on making (a majority of my) work that scales and expands into an architectural space. I am interested in creating systems that are self reliant and do not need outside sources of power to maintain their energy. My definition of sustainable (which is very close to the universally accepted one) includes human sustainability, and prosperity. 

I am not a Conceptual Artist, I believe some of my work does need to be physically produced, and I believe in a layered Fine Art experience (which includes pure experience, pure concepts, among other things). Like I have said before, I think and create from a lineage of Conceptual Art and Systems Art (particularly open-systems and the early work of Hans Haacke)

Do you see your digital drawings as a lineage from 1960's Mail Art or Correspondence Art?

Yes, very much so. I really enjoy that history and work, especially the Mail - Correspondence Art ,of Ray Johnson and other Mail Fine Artists. Though I am not interested in a "tit-for-tat", exact exchange between Fine Artists (though they are who are mostly who ask me for the drawings). I am very much interested in just giving away the drawings, and making very specific rules about how they are presented. I enjoy that it works in many different art tropes: digital and conceptual art (the actual work) mail art (getting the certificate) and it works as internet art (getting the digital drawing). To me it shows what the 21st Century (Fine Art) may bring.