Filed under: Uncategorized | Tags: Artists&Fleas, Astali, Brooklyn Dry Goods, bullets, censorship, critic, Friedrich Petzel Gallery, Jerry Saltz, jewelry, Milk Gallery, Museum of Modern Art, No. 3 Magazine, Photography, Redistribution, Rhizome, Seth Price
This past week has been a maddening, but in the upheaval of thoughts comes lots of distractions!
Several RIDONK photogs in this show, I’m looking forward to checking it out tonight. It’s open until December 31st, don’t miss all these budding virtuosos.
Brooklyn Dry Goods: I discovered these guys at the out-of-control Artists&Fleas market this past weekend. Looking to style comfy American boys in flannel, wool, and masculinity a la Eddie Bauer and 1990’s GAP, I couldn’t have been happier to find them. Check out the website and friend them on facebook!!
I also found Astali jewelry at the Flea Market and fell in love (despite not buying anything). Who would have thought bullet casings were so aesthetically pleasing, all shiny and golden and tubular? Also, the snake vertebrate bracelets are to DIE for.
I’m working on a collaboration with No. 3 Magazine and had to do some research on Seth Price, a stunning New York artist who reminds me a bit of Richard Phillips in his attempts to re-format modern memory and connective threads in art as they are related to culture. In my research I found this great interview he did with Boško Blagojević in 2009 for Rhizome. I particularly liked that they had worked together in the studio, and that the interview in itself showed a real curiosity in Price. A favorite quote of mine from it:
“Working for yourself does mean it’s difficult to clock out, and when you produce in a lot of different ways it becomes possible to always work. To have a work for any occasion. “Evenings and weekends” can cease to exist as a category. But this is nothing to complain about, it’s a privilege, because ironically it comes out of being the master of one’s time. I guess I mean that when work is harnessed to autonomy and self-expression it can lead to a diffusion of work into every part of life.” ((Truer words…))
He has a show opening up January 7 that will be showing Redistribution (2007 – present), which focuses on his splicing of his own footage of a lecture he gave at the Guggenheim in 2007. Pedagogical and cinematic simultaneously, I’m looking forward to sitting myself down in one of Friedrich Petzel’s showing booths garnered especially for this show.
‘Untitled,’ 2009, UV-cured inkjet on high-impact polystyrene vacuum-formed over ropes, 96 x 48 inches.
“Dear Messrs. Kantor and Boehner:
Given your censoring of David Wojnarowicz’s video of ants crawling on a plastic crucifix with a wooden human figure meant to represent Jesus Christ, a literary character penned by numerous authors over several hundred years and now worshiped as God, and your threatening the Smithsonian’s funding if it did not comply with your wishes, I would like you to know about a similar threat to decency.
Right now, during the season when many children are passing through the Metropolitan Museum of Art on their way to see the Christmas tree, there are on view numerous Greek vases that depict men with erections, many of them cavorting with one another; paintings of children standing on their mothers’ laps and urinating; multiple depictions of mothers breast-feeding infants; scores of Oceanic wooden sculptures that depict male figures with enormous multiple penises; Rene Magritte’s painting showing only pudenda covered in a damp mat of dark pubic hair; Francis Boucher’s naked woman alone in bed rubbing her vulva on the bedsheets, and another holding a dog between her legs; Picasso’s woman with her anus directly at the center of the portrait; Papua New Guinean sculptures showing full-on vaginal penetration; multiple sculptures of figures in flagrant coitus in the Indian wing; Balthus’s young girl posed so that you can see her underpants, stained with red; Roman images of bestiality; a Greek vase made in the shape of a fully erect male member complete with curly pubic hair; a headdress effigy of a female with legs spread and vulva visible; Lorenzo Lotto’s painting of an ecstatic woman caressing her own breasts, squeezing flower petals between her legs, and being urinated on by a small child. I think that any public funding to the Met should be curtailed until all of these items have been looked into and removed.
Senior Art Critic, New York”