Thursday 29 April 2010
Hiked characteristics of a schism, insolent and wishy-washy.
They divided microphone time up with
ants covered in ankles, leg hairs black and tickled,
socks wrinkled and soaked in alcohol and xylene.
They pictured themselves in their best clothes,
radiating maple leaves and long x-rays.
For rayon salty skin,
un-delicious and beachcombers with gasoline fumes,
derision's formalities and proper grammar.
Mostly frosted flakes and spider veins, the lake wasted darkness in rumbles
worldly burnings carved frozen orbits along flat edges
and bits of plastic a storm.
safety in the earth uprooted by fallen trees, discussed and snakes and
maybe yr eyes sting.
Delicious its wet and green transparency loves the sun
networks throb silence in a million delicacy tilted
and then balanced upon agonizing self-aware a finger
fixed hair and that.
Where's whammy's ampersand's clastic, campy,
and candy waffle candor. Tantamount two
a fountain's spouse, transparent caster flax perhaps
and acid laxatives.
List them and ballasts flabbergast a guttural rump
and soporific dolorous
musty nights of sleep.
Here are words generated by a simulation of the (simulation of attention to) the same unattended growth that(once engaged and courted- or honored) takes place in a public bathroom frequented by creative types. An observation of the process of valueing as well as the process of observing itself.
randomness acts alike in waves of hand held devices.
once a computer, a clown, torn in wages forlorn to maybe
and she busted out a graph
tornado tonight sez: "cradle laughter with fifty fingers"
garbage with words
neurosis sweaty sheets
the place beneath the stairs and
examine the beginning of the edge and
yrslf w/ an other.
Incubator Rabies suffers analytic depth charges and pings.
it's often the camera follows just out of the line of vision.
is wishing for a certainty into that edgeless space is
laura barfed and picked up a brick.
with sounds and captions in the sidewalk
slade, dangerfield, and japanese love apples
so many stains and answering machines.
metal grids and dark resin on rain hot asphalt
carl grabbed his uvula with tweezers.
gathered matchsticks and tiki torch fluid.
(bastard files rock ford fidget fjord)
Layered and wet refractions drip green through white,
edged with gold and felt inspiration.
a horizon, a lookout and a memory for words
wanting is a color and an ambiguous almost
catchy mamby pamby banter mandibles with
botox mombo soma blunder
shint stumble grunts
gravid lax on saturn emasculated manuscripts,
plastic mastic treason. Since
labia and werebear crisis slimes pink ice with itself
glitched chasm's electric tambor razes fancy infant fantasies
into grimace fission and mucus poopy
amongst blast shield guest hosts and ghost custodians
Monday 26 April 2010
be sure to visit the eyedrum bathroom & gallery
with work by eggtooth & john otte and who the fuck ever else.
photos taken by john otte
words significantly inspired by him as well.
just friendly enough to let you punch it.
dynamics keep push n pull alive as they rest
over and over. back for more.
eviscerate while feeding a fancy meal.
honoring it by turning it inside out,
as a custodian he says,
as we would wish to free it from its death, its loss of meaning, he says,
in museums-where reasons have long since disconnected themselves.
honor by gutting. make something happen.
trashed while kept in immaculate working order. efficient at what it does.
but never claiming, always in flux, as necessity as it
really pulled it out of itself, its own natural state, and showed it to itself.
Like how certain outside elements were introduced-made to make eye
contact w each other,to recognize their shared basic elements. The
"evolved" meets its maker
I don't think maker is sentient tho. Just is.
Speaks to beginnings and ends that dissolve or fuzz edges into
everything. Including the human experience that discovers it.
guest plus host equals ghost, he said
what i dont know about as much as what i do know about
Sunday 18 April 2010
School of Visual Artshttp://artcriticism.sva.edu/index.html
MFA Art Criticism and Writing
The practice of criticism involves making finer and finer distinctions among like things, but it is also a way to ask fundamental questions about art and life. To pursue both of these functions requires a grounding in art history and aesthetics, as well as a wide-ranging knowledge and curiosity about contemporary culture.
(I'm going to write thru this a bit, drawing comparisons within the context of Atlanta- specific to this. "Like things" - common denominators, as if a computer chip that were pre-written set the model, the pattern. the same way children are brought up within a religious belief system. the common denominator being a preconceived notion of an environment that exists-if only these people could be informed about the arts existence. "like things"of course is a brilliant opening, in that it encapsulates a sense of experience on terms of time as well as specific to things, works themselves in any given moment. adjacent to each other and like one another by proximity. or like each other by a felt memory, optical muscle memory as much as a greater undefined or unteachable level. this is the art and life aspect. a presumed goal and way to achieve something is part of the "like things". the active participation of when art has crossed from life. the reference to the image and how powerful it is seems an obvious reference to Internet and all forms of community packet switching.
We live in a conflicted time, when the need for criticism and critical thinking is greater than ever, but the practice of these arts is more and more constrained. To avoid a post-critical future, when public matters are decided by fiat and force rather than by deliberation and debate, the critical faculty and ethos must be vigorously pursued.
(fiat and force vs. deliberation and debate have for so long starbelly sneeched their routine, there's no way to tell which is which anymore. this is an absurdity to suggest. not even trying to make reference to where criticism plays its role (( as if criticism exists in atlanta anyways)) in a larger sense of where say, robert hughes in his mona lisa curse youtube available video suggests the direction and influence of the over-all art experience exists. the silly charade level we keep ourselves within is due to the fact we refuse to admit that we as artists are the only ones watching ourselves. as a way to begin considering the process of applying honest expectations. the critics could do this -even as they show they are learning about history and aesthetics-not before-the process exposed would be honest and invest in future works and future attitudes raised in the environment. instead many cow-tow to hopeful money opportunities and the few rich patrons with no taste and silly business engineered ideas of what they can do with the arts. we do live in a conflicted time and the constraint is something the art itself as a pure thing will crack through. among other factors, the constraint would seem to be the obligations to the art market- in conjunction with the increased pace/power of visual information. The public factor is mentioned as a given. the sense one gets when public is considered in Atlanta feels often more like a government funded scholastic health book than any idea of investing in genuine risk-taking ,exploritative, or otherwise about telling us about ourselves in a forward-thinking way .
We also live in an age when images have an inordinate power over us—the power to influence public opinion, to create and direct desire, to comfort and inflame. The critics of tomorrow must study the image in all its manifestations in order to better understand how we are subject to them. An underlying principle of this program from its inception has been that the image should begin to occupy a place in the understanding of life comparable in importance to that occupied by the humanities and sciences.
(Implications are clearly with regards to anything from/to Internet-cellphones and perhaps future better designed /realized developments in the area of complete virtual experience. The better use of these images,the self-realizing use of the power it has in terms of leveling a playing field. Of revealing the hyper-personal in a more immediate fashion. Of restructuring in a way that is healthy, ways to see ourselves. the hurried implications seem maddening and conjure future shock thoughts...but not necessarily. scientific method applied to placing the idea of our movement of an image along with its meaning cannot seem to separate from not having something one is set out to prove. would it ever be able to sincerely seek while saying it "doesn't know". still feel belief that art's word for itself implies something naturally much bigger....it will find a way thru..this is not an end to culture,or a devo sermon, it is change. critical viewing of it precognitive as much as foreshadowing- and maybe a little self-fulfilling. sometimes feel the circuit has closed and there is no distinction between art or critic or world or gallery or patron...)
The School of Visual Arts has a long tradition of employing practitioner/teachers, and this will continue in the Art Criticism and Writing program, where courses will be taught by those who have made significant contributions to the field. We will focus on the essay as form, as well as on shorter forms of review, and learn criticism by doing it.
This program is not involved in “discourse production” or the prevarications of curatorial rhetoric, but rather in the practice of criticism writ large, aspiring to literature.
David Levi Strauss, chair
a book of poetry(and a wandering night through you)
a curated visual poetry show (shared fingertips and smiled bleary wondering)
a white glove (wetness burnishes beginnings and endings)
a collection of people with words ( burned in my memory yr perspective)
an environment in our peripheral made a contradiction (blurred forever always a thing wonderful)
:duchamp, bok, spicer, twombly
weird plastic accidents
cy twombly research (to be announced) see krog street and the bathroom...
Wednesday 14 April 2010
Thursday 8 April 2010
serve others,think of others. and what you can do. examples like chris filling in potholes story. children's art walks. community and culture.
notions of falseness with regards to commercialism. presuming a goal towards a command of respect and value in a high society or historical marker sense of accomplishment,evolution etc....
the usefulness of art.
two separate overlapping ways that art can be "bigger'.
disconnect in community.
lack of earnest feeling in art in galleries.
art is bigger than galleries. trends into
which is first?....both point to same direction but for different reasons.
the real. life itself . actually caring. to effect social change.
as if before art. or so connected that you and your art are one as it overlapps with anothers oneness and so on and so forth.
community and sense of self.
as defined by what? "im for the good of the community"-okay....that statement says more to question who you are as a person than anything else.
education and community defined by what feels like a government funded 8th grade health book.
fundamentals are always nice,they can never be forgotten.
they are pure and need to be visible as much as participated in.
we do challenge on another in healthy ways. and always have.
at some point.
relevance of in the flesh community is good in reaction to so much life taking place in the internet. the public space.
a bathroom in an art community's corner. revealing a sort of honest ugly truth. bare and without expectations. there is no wrong. a private place for personal experience. your moment to be quick with.
in some cases, to express the self like one normally does not have the opportunity.is a way of perceiving the self in a moment that is transitory. is ugly and ridiculous. is nobody's. (well..the property is owned by somebody)
but the experience. the public environment created is like the blog's comment section. with built in anonymity protection.
from this place sprouts
alchemy and 4th dimensional shadows cast.
the Norwegian boheme.
sweet auburn and the 4th ward
real dental insurance.
be ourselves w each other. shared. expectations become established. the unframed freedom to experience something and perhaps even feel involved.that connection between art n life. (makes me think of krog street tunnel’s bathroom and comment sections on art blogs.)
public space awareness as a way of being and then taking a sense of awareness to a removed place, art. so that it can reach back in. chasing itself in a circle.
only aware of tail.
or as a dynamic sphere.
reminds me 404ekopus’s idealism.
and an 8th grade health book.
and beuys planting trees.
WHAT WILL YOU DO?
- Characteristic Grammarisms
- VISUAL POETRY AT EYEDRUM may 1st.
- Amongst Guest Hosts & Ghost Custodians.
- Atlanta's most relevant installation with martinis...
- Striving in the South (to dethrone the Genius of R...
- Art Criticism and Writing
- I dont wanna talk about it (honor it)
- like a mall (in terms of art in public space)
- cheery... oh.
- no other choice
- ▼ April (10)