Archive for January, 2010
TRIPTYCH.TV: eVeΔ○◊◎◉⦾ / jimpunk 2010 ◌ ◯ δ c4t north r€|\/|:x h:+(h(°(k
TRIPTYCH.TV: /-\ / i ( e / jimpunk alice 2010 ★ [__]
TRIPTYCH.TV: /-\\//-\+/-\® / jimpunk b&w avatar [__] 2010
TRIPTYCH.TV: ®°9e® °. †|-|°®/V|-|:// 4|≤4 6e°®6e |≤4p/4/V / jimpunk h:+(h(°(k cary 2010 δ north
TRIPTYCH.TV: 8||_|e |e4)e® / jimpunk [__] 2010 tron
TRIPTYCH.TV: F8: +®ip skfu||5u(ks / jimpunk [__] 2010 fbi trip ☠ triptych.tv ↔ palindrome
TRIPTYCH.TV: |-| 4 |_ / jimpunk hal 2010 ◯ [__] alice triptych.tv
TRIPTYCH.TV: 0102 / jimpunk 2010 [__] ? ★ satellite space
TRIPTYCH.TV: Retourofthejedi / jimpunk lynch jedi 2009 [__]
TRIPTYCH.TV: Ǫ Ʋ Ȝ Ʃ Ɲ ℉ ⒯ Ｈ Ȝ ℂ ℜ į ⽖ ⺕ / 2009 [__] jpg lucy japan jimpunk crime k:ll
TRIPTYCH.TV: ƦƎƉ / jimpunk animgif red 2009 [__] blood
TRIPTYCH.TV: field trip (2 / jimpunk trio trip jpg 2009
TRIPTYCH.TV: just£$))))))))))))))))))))))embed / jimpunk $€4/2(/-/ video [__] 2009 triptych.tv ☠ jpg
TRIPTYCH.TV: (Untitled Post No. 666) / mrtamale cutandpaste jimpunk mash-up r€|\/|:x 6l:+(|-| 2009
TRIPTYCH.TV: 8€+4 8!/V9 $€4/2(/-/ / jimpunk [__] 2009 triptych.tv video $€4/2(/-/
TRIPTYCH.TV: CT+RIPTch.tv / banners jimpunk 2009 b&w triptych.tv
TRIPTYCH.TV: /</_/n9-------------f/_/ / 2009 jedi jimpunk video r€|\/|:x kungfu [__]
TRIPTYCH.TV: $!_!/2/2°64+3$ / 2009 jimpunk surrogates [__]
TRIPTYCH.TV: ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥ / 2009 ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥ michael guitar jimpunk [__] video
TRIPTYCH.TV: doc.wrt #2 / jimpunk video random 2°°8 abelinkoln mrtamale flash ♫ [__] $°u|\|[) gif jpg png
TRIPTYCH.TV: On Summer ≈ ∞ / ≈ ∞ sea l°g° jimpunk surf triptych.tv
TRIPTYCH.TV: ▤ off spring / jimpunk banners r€|\/|:x spring ▤ off abelinkoln triptych.tv l°g° 2°°8 video [__]
TRIPTYCH.TV: [▭] paint:n6 / jimpunk velvet underground michael \/\/4r|-|°l [__] r€|\/|:x 2°°8 video debb:eharry
TRIPTYCH.TV: ☞ / jimpunk hand trio ma6neticlass° video 2°°8 [__]
TRIPTYCH.TV: pink flamingo / jimpunk 2°°8 video diptych [__] pink seconds hand red
[Post copied and pasted from jimpunk's blog--a collection of posts he made on another site, Triptych.tv, plus an assortment of del.icio.us tags linking there.]
Create Digital Music weighs in on the iPad. It sounds horrible (closed platform, no standard ports, tied to iTunes, Apple controls distribution of media). Permission to go to the bathroom, Mr. Jobs?
Excerpt of the CDA post:
As with the iPhone, you can’t use the iPad’s drive as a drive. You can’t connect it to a computer and put on it what you like. You’re limited to using third-party apps as conduits or servers – and even then, you’re limited; critical files for media and reading are controlled by Apple’s market-dominating iTunes app. It’s a storage device you own, but that someone else controls. Maybe that’s acceptable for game consoles, but, again, the iPad has the appearance of a computer. (Except, of course, it’s actually not.)
MSPaint, screen capture
this is a lazy man's Markus Linnenbrink, I suppose. Oh well, there are many paths to the same jpeg.
One difference between artist/bloggers and mainstream journalists is the former talk about matters of substance and the latter mainly want to dissect your finances. They are worse than your parents: "How do you make money doing that?" they love to ask. This serves two purposes: avoiding talking about your art/blogging, which they don't understand, and reducing your life's work to the common currency of America (money and griping about money).
If the artist/blogger interviewed by the mainstream journo confesses to having a day job, the journo will structure the article on the job and the "dual life" of the artist. (An avant garde musician I know had a Time Out piece called "Avant Garde Musician and Permatemp.")
If the artist/blogger says "I don't know how I'm getting by" the journo will write about the plight of the starving artist/writer in this rich land of ours.
So, if you rise to the level of these folks' attention, how do you deal with their questions to keep them focused on your work? "None of your fucking business" isn't polite, so I suggest joking evasion such as "I'm making in the low billions, thanks for asking."
(hat tip to mark)
Update: Schwarz explains the problem with the Minus Space press release well:
to elaborate on moodys point: minus space fails to point out that regardless of the deserving museum quality presentation of albers graphic package design, he was functioning as a hired gun (hired by light for his self released projects) to put a highbrow face on elevator music schlock. light blended hammed up stereo effects, symphonic hi-fidelity and faux beat-nick bongo sensibilities for the wanna-be audiophile market of the day. a questionable direction now appreciated in the mostly ironic terms of the current retro "lounge-music" listening genre. not those of a violin master as stated. no properly contextualizing mention of that cultural value disconnect in product and package.
Guessing the Minus Spacers are too young to have lived through Enoch Light but that's no excuse for rewriting history; this info is all available--fortunately Masheck's review politely set them straight.
Time Out New York reviewlet:
Skyler Brickley, “Wall-to-Wall”
The digital is rendered with a gestural touch in these large-scale paintings, which, hung together, constitute a chromatic environment within the gallery.
Two missing words: Andy Warhol. But seriously, these paintings grow on you after you stand in the gallery a while. Two artists from Texas, John Pomara and Tad Griffin, have done similar work: their paintings have more tasty and considered surfaces but don't attempt the ambitious wraparound environment Brickley's show does. Not sure how much "the digital" really has to do with this project--it could refer just as much to xerography and Muybridge. Possibly there's something in the back story of the artist's process but it seems more likely the reviewer wants to make the work sound current by invoking 0s and 1s, even though this is old fashioned smeared/squeegeed paint on canvas. (Some screen printing might be involved--would have to delve into it more--but nothing resembling ink jet or other digital printing a la Guyton/Walker.)
Art critic Joseph Masheck puts Josef Albers' 1960s record cover designs in context in an essay for the Brooklyn Rail:
Almost all were done for Enoch Light (1907-1978), a classical as well as “easy (all too easy!) listening” musician and techie hi-fi fanatic. Light was the mover behind both Command Records and his own performance group, the Light Brigade, which specialized in music often built around an instrument I as a youth hated even more than muted trumpet: the vibraphone, with its nagging call to bop cheerfully along. There’s something lily-white about it too. Anyway, middleclass culture has limits that Albers managed to live with without evident compromise on the art’s part. After all, Rembrandt too paid the rent by purveying graphics to the middle class. So instead of describing the covers in the kind of detail that we would probably not even want to devote to seven Albers “Homage to the Square” paintings, I’ll comment on some cultural connections that they make for me —connections of a kind usually provoked only by fine art. (I have been told that the jacket designs make no attempt to caricature the music.)
Was a bit relieved to read this after the Minus Space press release announcing its show of the covers, which described Enoch Light as "a classical violinist, bandleader, and sound recording engineer" without any hint that he was a known schlockmeister. The slide show accompanying the press release gives a good overview of the exhibit (closing Jan 30), which includes other period jacket design along with Albers' rather slim output (seven covers).
Masheck, who was editor-in-chief of Artforum in the late '70s and now teaches art history at Hofstra, actually critiques the covers!
Persuasive Percussion (1959; in this case not the Light Brigade but Terry Snyder and the All Stars) shows a tightly packed grid or lattice of small black disks from which a few wander up and out like stray molecules of some light gas; or better still, like the diagrams from a classic essay in which Cyril Stanley Smith would show how natural lattice structures are surprisingly tolerant of irregularities (“Structural Hierarchy in Science, Art, and History,” 1974-75, 1978). Persuasive Percussion Volume 2 (1959) features a Judd-like stack of short green horizontal stripes down the center, asymmetrically punctuated by black disks. Then Provocative Percussion (1960) is Lissitzky-like with its larger black rotated squares and single smaller ones. Provocative Percussion II (1960) has smaller and larger disks, bobbing about singularly and paired in the field, very much like the red disks in the paintings of Paul McMahon (as in The Pictures Generation at the Met last spring and summer). Another cover with an evenly spaced lattice of dots, Provocative Percussion III (1961), has exceptions of different sorts, with some dots lighter, some darker, and others missing, resembling the spots of an LED sign, which help it appear pleasantly loose and improvisatory.
This short-lived project was not like Rodchenko doing candy wrappers with Mayakovsky writing the label copy, because the albums weren’t supposedly of “low” music, though from the avant-garde point of view the middlebrow is often more aesthetically objectionable than whatever is authentically low. Well, even as to musicality: one has definitely heard worse. Here Albers was doing a job, and took it seriously. At least he wasn’t doing a number.
collage of screen capture
Paddy Johnson has posted her thoughts on the Boris Groys lecture at SVA, linking some of his rhetoric to the surf clubs and other artists working on the internet. Agree his ideas give those activities some theoretical heft (this blog is all over the "weak repetitive gesture" and "low visibility" as strategems, avant garde or otherwise) but it may require some creative misinterpretation since he doesn't seem to actually read blogs.
Last August Johnson tweeted a Frieze article quoting Groys ("Reflecting on the profusion of the blogs and the mysteries of the readership, Groys mused, 'I am convinced they are being written for God,' later clarifying, 'who, of course, is dead.'") which I made fun of ("meaning no one is reading me"). In his lecture he noted the author of personal cat site A never commented on personal cat site B but seemed OK with that; at least they weren't watching TV.
SVA's press release claimed he would be talking about "artistic rights [beginning] to manifest themselves as general human rights" which seemed ridiculous but that was not part of his talk. Elsewhere he differentiates between artists using the "weak" sign subversively and political agitprop-ists (or terrorists) pursuing the "strong" sign but overall his critique seems to be that politics have left art, which is the opposite of what SVA was saying he would say.
Frieze called him an “imp of the perverse” dispensing “nihilist irony” so his actual beliefs may not be that easy to pin down. Will read his recent book Art Power and report back.