comment of the week

from vc on the AFC "angry painters" thread, talking about an article by David Joselit on so-called transitive painting (as in "it's not just painting, see I have a band/zine/website/video"):

I thought it was strange how Joselit in October began with painting/installations that effectively tweeked how we see paintings as IN a network, and then bestowed transitiveness onto Sillman because she depicts diagrams. I don’t know if this weakens or strengthens his argument.

Weakens. The thought of a critic "bestowing transitiveness" upon artists needy for a theory for conservative work doesn't stop being funny.

Minuet McArdle

A music piece of mine is on a web compilation by Marc Weidenbaum on his site Disquiet.
Seven musicians were invited to respond to a reactionary article in the Atlantic about music "freeloaders."
The illustration accompanying the article has a freeloaded, pardon me, appropriated score by Ernest Bloch (the "Suite hébraïque"), which looks like modernist sheet music as drawn by Jeremy Traum (it's supposed to be two urchins stealing notes from the staff):


Weidenbaum asked musicians to imagine what that tonal catastrophe would sound like. I took the assignment literally and tried to recreate the score as faithfully as possible in a midi score editor, played on a piano (sampler).

The web album, called "Despite the Downturn," can also be heard on the Internet Archive, accompanied by more detailed writing by Weidenbaum about the project.

Here is "Minuet McArdle" [1.5 MB .mp3] named after the miscreant who wrote the Atlantic article, Megan McArdle. The other invited musicians are C. Reider, Steve Hamann, Joseph Luster, Mark Rushton, Nils Quak, and Erik Schoster. More interpretations may be on the way...

ink jet "vermiform" drawings


Photo by JR Compton of some work I showed in Dallas' And/Or gallery a few years ago. He wrote that the show left him cold but I really like the photo he took.

This was all done with a PC and home printer, so it is not painting in the sense we've been discussing over at Paddy's. It's in that tradition, but with a different set of problems than what type of pigments to smear across what surface, whether to use stencils or collage, whether to avoid or cop to other painters' stroke technique.