Happy Holidays to all. Click on the image to see it larger. Please note: As always, due to the process and thinking in my creation of this: I consider this Graphic Design, not Fine Art; hence the color.
Sunday, November 27, 2011
Happy Holidays
Happy Holidays to all. Click on the image to see it larger. Please note: As always, due to the process and thinking in my creation of this: I consider this Graphic Design, not Fine Art; hence the color.
Saturday, November 19, 2011
Fine Artist of the Month: Linked phrases in many languages for Liam Gillick
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 linked phrases/idioms in many languages for NYC Fine Artist, Liam Gillick.
Mae'r byd yn fach! De onde você é? 누워서 떡먹기.
Скажи 'изюм!' ตอนเซเว่นปิด. 讓世界停下我要下車!
Missä on vessa? З'їхав з глузду. ¿Cuánto cuesta?
ከኔ ጋር መደነስ ትፈልጋለህ። জয়! أقف! حريق! اإلحقني!
Είσοδος, Εξοδος. Vietato Fumare. ཧ་གོ་མ་སོང་།.
Ukwazi ukukuthi futhi na? Otevřeno, Zavřeno.
Je suis enchanté. კეთილ მგზავრობას გისურვებთ.
Не съм те виждал много време. Pardonu!
Stół z powyłamywanymi nogami. Škof v škaf skoči.
Pitumpú't pitóng putíng patíng. Bagai pungguk merindukan bulan.
ಹುಛುಛಗಿ ಪಲೆ ಬರ್ಥ ಎದೆ Zer moduz? Låt bli mig! Ej rör mig!
هاورکرافت من پر مارماهى است ᑎᑎᕋᖅᑑᓗᐊᖅᐱᐅᒃ?
Fa'amolemole. Nighty night. Wanawake Wanaume.
પોલીશ ને બોલાવો Vorbàis Gott! ເຈົ້າປາກພາສາລາວໄດ້ບໍ່?
Buen prubechu. Selamat Tahun Baru. तोहार का नाम ह?
Maopopo iaʻuʻole Quomodo dicas?
If some of the fonts are not displaying properly, for best results please use a current PC computer (not Mac) or install the fonts based on the languages given in the links.
Mae'r byd yn fach! De onde você é? 누워서 떡먹기.
Скажи 'изюм!' ตอนเซเว่นปิด. 讓世界停下我要下車!
Missä on vessa? З'їхав з глузду. ¿Cuánto cuesta?
ከኔ ጋር መደነስ ትፈልጋለህ። জয়! أقف! حريق! اإلحقني!
Είσοδος, Εξοδος. Vietato Fumare. ཧ་གོ་མ་སོང་།.
Ukwazi ukukuthi futhi na? Otevřeno, Zavřeno.
Je suis enchanté. კეთილ მგზავრობას გისურვებთ.
Не съм те виждал много време. Pardonu!
Stół z powyłamywanymi nogami. Škof v škaf skoči.
Pitumpú't pitóng putíng patíng. Bagai pungguk merindukan bulan.
ಹುಛುಛಗಿ ಪಲೆ ಬರ್ಥ ಎದೆ Zer moduz? Låt bli mig! Ej rör mig!
هاورکرافت من پر مارماهى است ᑎᑎᕋᖅᑑᓗᐊᖅᐱᐅᒃ?
Fa'amolemole. Nighty night. Wanawake Wanaume.
પોલીશ ને બોલાવો Vorbàis Gott! ເຈົ້າປາກພາສາລາວໄດ້ບໍ່?
Buen prubechu. Selamat Tahun Baru. तोहार का नाम ह?
Maopopo iaʻuʻole Quomodo dicas?
If some of the fonts are not displaying properly, for best results please use a current PC computer (not Mac) or install the fonts based on the languages given in the links.
For information and documentation of Liam Gillick's work please go to his website.
Sunday, November 13, 2011
Quotes - Fine Art. Part 2
I posted a collection of quotes over the summer. Since I got such a great response, I decided to post more that have been kicking around and gathered.
“Good art should elicit a response of 'Huh? Wow!' as opposed to 'Wow! Huh?'”
“Every time I have had a problem, I have confronted it with the ax of art.”
“Young artists of today need no longer say, “I am a painter” or “a poet” or “a dancer.” They are simply “artists.” All of life will be open to them.”
“We invite everyone to question the entire culture we take for granted.”
“Only the man who says no is free”
“The mental space left by the reduction of our needs is taken up by those talents – artistic, poetic and scientific – which multiply and take deep root. They become the true needs of society. They spring from a necessity to produce and not from a necessity to consume.”
“The word 'art' interests me very much. If it comes from Sanskrit, as I've heard, it signifies 'making.”
“Everything is expressed through relationships.”
“If you look at the size of the art world in terms of the money that is being transacted compared to other parts of the 'consciousness industry,' it is minuscule. But if you look at what happens in this small sector, how it rubs off on the rest of it, it is astonishing.”
“What gets an artist out of bed is the possibility of actually making something with infinite meaning.”
“Theory is when you have ideas; ideology is when ideas have you.”
Sunday, November 6, 2011
One 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 last for one week only (through next Sunday, November , 2011)
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.
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.
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
A breath still from silence
Always from its own speech
The fluid strokes unknown
Stoking the states of a soul
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 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.
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.
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