Two year anniversary for website/blog: Unlimited digital drawings this week

Again, I am giving away an unlimited batch of unique, digital drawings. This give-a-way will roughly last for one week (through next Sunday, November 4th, 2012)

Do you have questions about the drawings? Why would I give away a work of Fine Art that I truly believe in? Read here.

For those who already have a small drawing, you are entitled to upgrade your participation in the project: Now you will receive a large digital drawing... and those who already own a large digital drawing, are entitled to a small or large drawing.

I have received many questions about the content (and the scope of context) for these drawings. I have a long held interest in the difference and similarities between maps and landmarks, in both a very abstract sense and a literal sense. I also have an interest in the speed and dynamics of how the drawings are delivered and the speed in which they are delivered through the internet and through the postal mail service. I  believe that the above listed interests are reflected in my digital drawings  The key to the drawings is is that they are unique, and are expressing multiple aesthetic sensibilities.

How do I get in on the drawing give-a-way? Email me here, and please include your name and postal address (for officiating certificate). As stated in an earlier post: I will NEVER sell, lend, trade, share, give out any information sent to me.

Fine Artist of the Month: 7 linked texts in 7 fonts for John Fekner

Each month I am adding to an on-going series of writings and works about Fine Artists who work(ed), or are primarily working in the NYC area. This month I produced a text work: 7 separate linked texts in 7 different web fonts for NYC Fine Artist, John Fekner

Ripples, echoes, shadows, and decays that inspire even those ignorant to its own history. In p(l)ace: before this/that time. A story within history.

Work anyone can afford to make. In a place that anyone can make it. In a context, made by everyone by everything that was or will ever made by anyone.

A style and imagination beyond ideology and lexicon. Hierarchic and/or kaleidoscopic shifting systemically and/or systematically.

An Inventor of heArt for the Street, not str(wee)t t(arts). StArted from (sub)text, sorted with (your)-(ur)text, never for (pre)text.

Like the (A) message: meaning, communication, and modesty are key. Unlike the (A) message: critical thought, activism, and cri de coeur are apparent (from the inside and outside).

Not a street brand, or bland, though sometimes a band, a bond, a bend or a blend.

Sometimes an object, always an objective. Always a subject, never a subjectile. Rockets over Martian trails: A future and a memory.

Oceans and Parks v.2 - post show

Thanks to all who participated and gathered for the very intimate, esoteric, group fine art show that I curated, known on this journal/blog as: Oceans and Parks. Below are a few images of the works included. Stay tuned for other posts relevant to this show.

1920s image of "the Vale"

My work and contribution to the show: Relational Data Based, 2012. Wood, paint, led lights, solar panels, etc...


Below are some other images of Fine Artists' work

Brian Higbee and Future Living Project's An Object for a Future I'll Never See, 2012. Wood and Acrylic Latex

Christopher X J. Jensen's meditations on what it means to live a life worth being proud of, 2012. Wood frames, collage, etc...

If you would like a free, interactive, digital catalog for the show: please email me, note whether you want a link to download or it sent via e-mail.

The Razor: I will never do a music video ever again

Back in the Spring of 2005, my friend Craig Bonich was in the band Head Automatica. I believe that  Daryl from HA came up with the idea to make an updated version of Godard's Sympathy for the Devil.

So I was recruited to be the "Modernist Painter" in the music video of their track The Razor.

I came up with a layout for the painting installation and the director, Doug Finch approved. I bought some plexiglass to paint on. The idea was to have a sort of Pollok 51 (the film by Hans Namuth) vibe, tight intimate video of painting.

At the end of the 14 or so hour video shoot everyone was pretty loopy. Needless to say production fell apart: with everyone doing impressions of rock stars, maniacal laughter, etc...

The end result is a commercial music video that has little to no resemblance of Sympathy for the Devil. I was pretty happy with my part and the painting installation. I am sorry more didn't get to experience it. Some of the painted foamcore was saved, mounted onto wood, and is now in storage.

Below are some color images from the video shoot. Though this work is past the 2002 date, I still feel it is in the category as older work. There are a few links at the bottom of various versions of the video.

Running around "prepping the walls" before shooting.

Close up of the end results

The end result with parallel foamcore squares taken away.

Larry (with Craig and Jarvis) with foamcore squares on the ground

The band and I (I'm in the way back) again with foamcore squares on the left


Here is the final version (?) or directors cut: first link on the left side of the main page

Youtube video: 1

Youtube video: 2