February 28, 2014

Down by Law


Tom Waits in Down by Law (1986) a B+W independent film written and directed by Jim Jarmusch. 



November 22, 2013

Paleolithic art : a proto-cinema

This animation by Marc Azéma & Florent Rivére France demonstrate that 30,000 years ago, 
humans animated their drawings with torches. Azéma found at least 53 examples of running 
animals & moving heads.

July 10, 2013

DOROTHY IANNONE





Born in Boston, Massachusetts in 1933, Iannone graduated from Boston University in 1957 with a B.A. in American Literature. She went on to study English Literature at the graduate level at Brandeis University. In 1958 she married the painter James Upham and the couple moved to New York City. The following year, Iannone began to paint alongside her husband. Iannone exhibited her work frequently between 1963 and 1967 at the Stryke Gallery, an exhibition space she ran with her husband in New York when they were not traveling and working in Europe and Asia. On a trip to Reykjavik, Iceland in 1967, Iannone met the artist Dieter Roth. She and her husband separated and Iannone lived with Roth in Düsseldorf, Reykjavik, Basel and London until 1974. She spent two years in southern France before relocating to Berlin in 1976 where she continues to live and work today. 
(excerpted from Wikipedia)
Look At Me , 1970– 1971
Acrylic on linen mounted on canvas
190 x 150 cm (74.8 x 59 inches)



Let Me Squeeze Your Fat Cunt, 1970– 1971
Acrylic on linen mounted on canvas
190 x 150 cm (74.8 x 59.06 inches)
DOROTHY IANNONE is represented by PERES PROJECTS in Berlin.
And a review from the NY Times HERE.

June 14, 2013

Rudolf Stingel at The Palazzo Grassi




Palazzo Grassi presents the exhibition Rudolf Stingel, curated by the artist himself in collaboration with Elena Geuna. The project, conceived expressly for Palazzo Grassi, unfolds over the atrium and both upper floors, a space of over 5.000 square meters.

For the first time, the museum devotes the whole exhibition area to the work of a single artist.The exhibition includes previously unseen paintings as well as creations from the past years and a site-specific installation. This is Stingel’s largest ever monographic presentation in Europe.

Many of these works were created in the studios of Merano and New York specifically for this project, which spreads over all the rooms of Palazzo Grassi, where carpeting based on an oriental rug covers the entire surface of the walls + floors.


HERE to see more photos

June 12, 2013

Venice Biennale 2013




Below is link to my photos from the The 55th International Art Exhibition entitled Il Palazzo Enciclopedico (The Encyclopedic Palace), curated by Massimiliano Gioni.

HERE for more photos

Casa Susanna photo album (from the collection of Cindy Sherman)

Jeremy Deller

Eugene Von Bruenchenhein (1910–1983) Milwaukee, USA

Carol Rama

Dieter Roth, Solo Scenes, 1997-98. 131 monitors, 3 wooden racks, 131 VHS cassettes

Hilma af Klimt

Jeremy Deller

Ryan Trecartin from “Not yet titled” (2013), 4 HD videos.

Valentin Carron

January 28, 2013

Matisse + Gertrude


Henri Matisse (French, 1869–1954)
Notre-Dame, 1914
Oil on canvas; 58 x 37 1/8 in. 
Matisse

One was quite certain that for a long part of his being one being living he had been trying to be certain that he was wrong in doing what he was doing and then when he could not come to be certain that he had been wrong in doing what he had been doing, when he had completely convinced himself that he would not come to be certain that he had been wrong in doing what he had been doing he was really certain then that he was a great one and he certainly was a great one. Certainly every one could be certain of this thing that this one is a great one. 

Some said of him, when anybody believed in him they did not then believe in any other one. Certainly some said this of him.

He certainly very clearly expressed something. Some said that he did not clearly express anything. Some were certain that he expressed something very clearly and some of such of them said that he would have been a greater one if he had not been one so clearly expressing what he was expressing. Some said he was not clearly expressing what he was expressing and some of such of them said that the greatness of struggling which was not clear expression made of him one being a completely great one.
Henri Matisse (French, 1869–1954)
Le Luxe II, 1907–8
Distemper on canvas; 82 1/2 x 54 3/4 in.

Some said of him that he was greatly expressing something struggling. Some said of him that he was not greatly expressing something struggling.

He certainly was clearly expressing something, certainly sometime any one might come to know that of him. Very many did come to know it of him that he was clearly expressing what he was expressing. He was a great one. Any one might come to know that of him. Very many did some to know that of him. Some who came to know that of him, that he was a great one, that he was clearly expressing something, came then to be certain that he was not greatly expressing something being struggling. Certainly he was expressing something being struggling. Any one could be certain that he was expressing something being struggling. Some were certain that he was greatly expressing this thing. Some were certain that he was not greatly expressing this thing. Every one could come to be certain that he was a great man. Any one could come to be certain that he was clearly expressing something.

Some certainly were wanting to be needing to be doing what he was doing, that is clearly expressing something. Certainly they were willing to be wanting to be a great one. They were, that is some of them, were not wanting to be needing expressing anything being struggling. And certainly he was one not greatly expressing something being struggling, he was a great one, he was clearly expressing something. Some were wanting to be doing what he was doing that is clearly expressing something. Very many were doing what he was doing, not greatly expressing something being struggling. Very many were wanting to be doing what he was doing were not wanting to be expressing anything being struggling.
Henri Matisse (French, 1869–1954)
Nasturtiums with the Painting "Dance" I, 1912
Oil on canvas; 75 1/2 x 45 3/8 in.

There were very many wanting to be doing what he was doing that is to be one clearly expressing something. He was certainly a great man, any one could be really certain of this thing, every one could be certain of this thing. There were very many who were wanting to be ones doing what he was doing that is to be ones clearly expressing something and then very many of them were not wanting to be being ones doing that thing, that is clearly expressing something, they wanted to be ones expressing something being struggling, something being going to be some other thing, something being going to be something some one sometime would be clearly expressing and that would be something that would be a thing then that would then be greatly expressing some other thing than that thing, certainly very many were then not wanting to be doing what this one was doing clearly expressing something and some of them had been ones wanting to be doing that thing wanting to be ones clearly expressing something. 

Some were wanting to be ones doing what this one was doing wanted to be ones clearly expressing something. Some of such of them were ones certainly clearly expressing something, that was in them a thing not really interesting then any other one. Some of such of them went on being all their living ones wanting to be clearly expressing something and some of them were clearly expressing something.
Henri Matisse (French, 1869–1954)
Apples, 1916
Oil on canvas; 46 x 35 in. 
This one was one very many were knowing some and very many were glad to meet him, very many sometimes listened to him, some listened to him very often, there were some who listened to him, and he talked then and he told them then that certainly he had been one suffering and he was then being one trying to be certain that he was wrong in doing what he was doing and he had come then to be certain that he never would be certain that he was doing what it was wrong for him to be doing then and he was suffering then and he was certain that he would be one doing what he was doing and he was certain that he should be one doing what he was doing and he was certain that he would always be one suffering and this then made him certain this, that he would always be one being suffering, this made him certain that he was expressing something being struggling and certainly very many were quite certain that he was greatly expressing something being struggling. 
This one was one knowing some who were listening to him and he was telling very often about being one suffering and this was not a dreary thing to any one hearing that then, it was not a saddening thing to any one hearing it again and again, to some it was quite an interesting thing hearing it again and again, to some it was an exciting thing hearing it again and again, some knowing this one and being certain that this one was a great man and was one clearly expressing something were ones hearing this one telling about being one being living were hearing this one telling this thing again and again. Some who were ones knowing this one and were ones certain that this one was one who was clearly telling something, was a great man, were not listening very often to this one telling again and again about being one being living. Certainly some who were certain that this one was a great man and one clearly expressing something and greatly expressing something being struggling were listening to this one telling about being living telling about this again and again and again. Certainly very many knowing this one and being certain that this one was a great man and that this one was clearly telling something were not listening to this one telling about being living, were not listening to this one telling this again and again.
Henri Matisse (French, 1869–1954)
Interior in Yellow and Blue, 1946
Oil on canvas; 45 11/16 x 31 7/8 in. 

This one was certainly a great man, this one was certainly clearly expressing something. Some were certain that this one was clearly expressing something being struggling, some were certain that this one was not greatly expressing something being struggling.

Very many were not listening again and again to this one telling about being one being living. Some were listening again and again to this one telling about this one being one being in living.

Some were certainly wanting to be doing what this one was doing that is were wanting to be ones clearly expressing something. Some of such of them did not go on in being ones wanting to be doing what this one was doing that is in being ones clearly expressing something. Some went on being ones wanting to be doing what this one was doing that is, being ones clearly expressing something. Certainly this one was one who was a great man. Any one could be certain of this thing. Every one would come to be certain of this thing. This one was one, some were quite certain, one greatly expressing something being struggling. This one was one, some were quite certain, one not greatly expressing something being struggling.

January 7, 2013

Male and Female


Jackson Pollock.
Male and Female1942-43.
Oil on canvas.
6 feet 1 1/4 inches x 4 feet 15/16 inches (186.1 x 124.3 cm).
Philadelphia Museum of Art.
Gallery 173, Modern and Contemporary Art, first floor.

November 10, 2012

Lucebert

Frank's Team, 1978, Ink on paper, 13.375 x 18.5 inches
Dutch Fisherman with Wife, 1980, ink on paper, 12 x 18 inches

Chemist with Mad Hatter, 1982, Pencil, colored pencil, ink, and collage on paper, 10.625 x 8.25 inches

Bad Smells, 1983, ink on paper, 9.5 x 13.375 inches

more information about Lucebert HERE

October 6, 2012

July 26, 2012

Linoleum (1966) / Robert Rauschenberg


Throughout his career, and particularly during the 1960s, Robert Rauschenberg became involved in several collaborative ventures that moved him outside the confines of his studio. Rauschenberg's approach to art as an inclusive form engaging all the senses led naturally to his work in performance. Between 1954 and 1964, he designed sets, costumes, and lighting for both the Merce Cunningham Company and the Paul Taylor Company.



His early stage designs included free-standing Combines such as Minutiae (1954) and The Tower (1957), as well as what he called "live decor," in which human action became "scenery." In the early 1960s Rauschenberg worked closely with the Judson Dance Theater, a collective comprising such dancers and visual artists as Trisha Brown, Robert Morris, Steve Paxton, Yvonne Rainer, and Carolee Schneemann. Its primary objective was to liberate movement from all formal conventions. 



Between 1963 and 1967, Rauschenberg choreographed and performed in at least eleven documented performance pieces. Eliminating the customary division between performer and scenic element in these works, which ranged from Pelican (1963) to Urban Round (1967), he emphasized the interaction with specially designed costumes and stage props. In his ensemble pieces, such as Spring Training (1965), Map Room II (1965), and Linoleum (1966), disparate actions - some intentionally dancerly, others entirely pedestrian - were performed simultaneously. The pieces were often accompanied by audio collages made from electronically amplified noises, compilations of prerecorded music, and found sounds.


HERE to watch Linoleum (1966)
this post excerpted from UbuWeb.com

PEAKING LIGHTS


July 25, 2012

101 Spring Street, NYC



Donal Judd bought the entire 1870′s industrial building at 101 Spring Street NYC (above) for $70,000 in 1968 and moved in with his family.


a photographic "cross-section" of all five floors at 101 Spring Street

Judd’s concept of “permanent installation” centered on the belief that the placement of a work of art was as critical to its understanding as the work itself. Judd’s first applications of this idea were realized in his installation of works throughout 101 Spring Street. His installations of artworks, furniture, and museum-quality decorative objects in this historic building strike an admirable balance between respect for the historic nature of this cast-iron landmark and Judd’s innovative approaches to interior design.

All works on view at 101 Spring Street remain as they were installed by Judd prior to his death. Throughout his writings, Judd identifies the installation of 101 Spring Street as the true source of permanent installation as a practice. In his essay “101 Spring Street,” he wrote, “I spent a great deal of time placing the art and a great deal designing the renovation in accordance. Everything from the first was intended to be thoroughly considered and to be permanent."

excerpted from the Judd Foundation...click here

July 11, 2012

ROBERT SMITHSON Incidents of Mirror-Travel in the Yucatan (1969)


"I'm using a mirror because the mirror in a sense is both the physical mirror and the reflection: the mirror as a concept and abstraction; then the mirror as a fact within the mirror of the concept. So that's a departure from the other kind of contained, scattering idea. But still the bi-polar unity between the two places is kept. Here the site/non-site becomes encompassed by mirror as a concept- mirroring, the mirror being a dialectic. 

The mirror is a displacement, as an abstraction absorbing, reflecting the site in a very physical way. It's an addition to the site. But I don't leave the mirrors there. I pick them up. It's slightly different from the site/non-site thing. Still in my mind it hasn't completely disclosed itself. There's still an implicit aspect to it. It's another level of process that I'm exploring. A different method of containment.

From Selected Interviews with Robert Smithson: 'Fragments of a Conversation,' edited by William C. Lipke.



The following is excerpted from Robert Smithson's Incident's of Mirror-Travel in the Yucatan (1969)

"...Looking down on the map (it was all there), a tangled network of horizon lines on paper called 'roads,' some red, some black.  Yucatan, Quintana Roo, Campeche, Tabasco, Chiapas and Guatemala congealed into a mass of gaps, in a neat row: archeological monuments (black), colonial monuments (black), historical site (black), bathing resort (blue), spa (red), hunting (green), fishing (blue), arts and crafts (green), aquatic sports (blue), national park (green), service station (yellow).  On the map of Mexico they were scattered like the droppings of some small animal.

The Tourist Guide and Directory of Yucatan-Campeche rested on the car seat.  On its cover was a crude drawing depicting the Spaniards meeting the Mayans, in the background was the temple of Chichen Itza.  On the top left-hand corner was printed 'UY U TAN A KIN PECH' (listen how they talk) - EXCLAIMED THE MAYANS ON HEARING THE SPANISH LANGUAGE,' and in the bottom left-hand corner 'YUCATAN CAMPECHE' - REPEATED THE SPANIARDS WHEN THEY HEARD THESE WORDS.  A caption under all this said 'Mayan and Spanish First Meeting 1517.'  In the 'Official Guide' to Uxmal, Fig. 28 shows 27 little drawings of 'Pottery Found at Uxmal.'  The shading on each pot consists of countless dots.  Interest in such pots began to wane.

The steady hiss of the air-conditioner in the rented Dodge Dart might have been the voice of Eecath - the god of thought and wind.  Wayward thoughts blew around the car, wind blew over the scrub bushes outside.  On the cover of Victor W.Von Hagan's paperback World of the Maya it said, 'A history of the Mayas and their resplendent civilization that grew out of the jungles and wastelands of Central America.

'In the rear-view mirror appeared Tezcatipoca - demiurge of the 'smoking-mirror.'  'All those guide books are of no use,' said Tezcatipoca.  'You must travel at random, like the first Mayans; you risk getting lost in the thickets, but that is the only way to make art.'"


"...While in Mexico, Robert Smithson created the Yucatan Mirror Displacements (1–9) by installing 12-inch-square mirrors on dispersed sites. The resulting series of nine color photographs was published in Artforum to accompany Smithson’s essay “Incidents of Mirror-Travel in the Yucatan” (1969). The mirrors reflected and refracted the surrounding environs, displacing the solidity of the landscape and shattering its forms. Part Earthwork and part image, the displacements contemplate temporality; while the mirror records the passage of time, its photograph suspends time."     
Nancy Spector