This summer while I was in Greece I re-read one of my favorite books, Mount Analogue by Rene Daumal. Mount Analogue is an unfinished novel of 4 and one half chapters, that details a group of people who are on a journey to visit a mountain that connects earth to heaven. Lets not dwell to much on the idea of connecting heaven (whatever that might be) because there is no religion (dogmatic religion) in the book to speak of, there is however the idea of some kind of spirituality that is connected to the present.

The image of the mountain is cast in numerous cultures and Duamal uses this to a great advantage, gently coaxing different approaches of the symbolic significance of the mountain, while expanding the culture and classism of the mountain and the villages that surround the mountain.

One of the great themes of the book is the idea that to move forward, you must also have moved back. This idea of give and take is handled quietly and graciously, it is to me the idea that allows the book to reach its loftier approach.

As for it's relationship to art? I think the book could also resonate as an allegory of studio practice, not so much as a guidebook per se, but as a meditation on process and artists working.

Labels: books, thoughts

New York Times reports: City May Seek Permit and Insurance for Many Kinds of Public Photography.

"Some tourists, amateur photographers, even would-be filmmakers hoping to make it big on YouTube could soon be forced to obtain a city permit and $1 million in liability insurance before taking pictures or filming on city property, including sidewalks.

New rules being considered by the Mayor's Office of Film, Theater and Broadcasting would require any group of two or more people who want to use a camera in a single public location for more than a half hour to get a city permit and insurance. The same requirements would apply to any group of five or more people who plan to use a tripod in a public location for more than 10 minutes, including the time it takes to set up the equipment."

(The city recently extended the comment period until August 3rd)

For some reason I don't see this as a good sign - usually when things like this become laws in NY or CA the rest of the country tends to follow suit. In this climate, could Garry Winogrand or a new version thereof exist?

If not, that's a real shame.

Labels: Photography, thoughts

I've had quite an exciting month with Artomatic. I initially entered into AOM with the thought that it would be nice to hang a few pieces together and enjoy the experience of hanging a small show inside a show and maybe meet some like minded souls.

First a word about AOM - it has been great, yes I know I don't like all the work there (and neither do you - that's ok) but, I've been happy with a few artists I've not seen before. Organization wise AOM is near perfect. When I graduated from the Corcoran, there were 28 of us and we couldn't do something in unison if we had to, with +/- 300 artists AOM is like a well oiled machine. So kudo's to the management.

With a simple email and some cards at the space I'm in, I've been able to reconnect with a few friends I have not talked to in years - one from over 20 years ago, and if that wasn't enough I've sold 2 of the 3 paintings. Yes, I've met a few people that seem pretty cool as well. I have one last AOM post coming - a simple slideshow of some things I liked. Expect that some time week after next.

New Subject
I found a box of records this week I didn't know I still had - "new music" for me. If your interested here's some of what I've been listening to this weekend;
Tom Verlaine - Self Titled
Tom Verlaine - Flash Light
Alan Vega - Just A million Dreams
Suicide - Dream Baby Dream
Urban Verbs - Self Tiled
Robyn Hichcock - Groovy Decay
Eno Moebius Roedlius - After The Heat

Labels: thoughts, Washington DC

In the composition of Fontana Mix, John Cage utilized chance operations to suspend the flow of time. The sounds for Fontana Mix were determined by the chance intersections of lines and dots on a series of transparencies. Transparencies with dots and curved lines were superimposed with a 100 x 20 matrix, also on transparency. A transparency with a single straight line was then laid down in a way that 1) two dots were connected and 2) the line intersected both of the long sides of the matrix. The intersections of the straight line and the curved lines determined the taped sound sample to be used for a given sound event. The absolute horizontal distance between the points of intersection of the graph and the straight line determined the duration of a single sound event.

The "Fontana Mix" that is delivered from this blog (on a random basis, I might add) is named in homage to Mr. Cage. My "Fontana Mix" is simply random events under a single headline or posting.

Labels: Fontana Mix, general notice, thoughts

I had written two of them (new artists and favorite shows). I was initially drawn to top ten lists by Greil Marcus, who for years did a monthly column - Artforum still runs to this day (only now with different writers every month).

Every blog and magazine in the known universe right now is running lists like there is no tomorrow, and frankly they have all become white noise - that even when well written, are frankly just not terribly insightful.

So I'm going to sit this one out.

Labels: general notice, thoughts

Archie Comics has decided to "update" the look of Betty and Veronica. While I'm sure this is viewed as a great idea, in execution it is quite a poor one. Dan DeCarlo's drawings have been the source for these american icons for years - well since the mid sixties. I feel DeCarlo's drawings have always set the standard and basis of style for a number of comics - from the Hernandez brothers (Love and Rockets) to the newish Disney stuff. Increasingly the older drawing style works in both a "High" and "Low" style, this might be due to its more iconic approach - less like a young persons take on what they might look like. I guess its like seeing a movie made of a book or comic you have known forever. And hating it.

Anyway. this is not the usual artblog stuff, but I thought it was worth noting. By the way, the new issue is on the left.

Labels: Bad Review, Comics, general notice, thoughts

Jack Flam highlights the above mentioned Matisse painting in Saturday's Wall Street Journal (page P12) and makes the audacious claim that it was truly the beginning of 20th century art. He cites a few facts, they include (but not limited to); the numerous studies made for this piece, the full size cartoon, its size (6 x 8 feet), color and rhythm. There is certainly enough knowledge about this painting to warrant serious thought and I thank Mr. Flam for that, but I don't agree with his proclamation.

"Le Bonheur" certainly has a great provenance - previously owned by Leo and Gertrude Stein - where it was seen by practically every artist who was in Paris including Kandinsky and Picasso. After the Steins split - it landed eventually in the Barnes collection/foundation (this is in Philadelphia - and if you follow the art world at all - I assume you know of the Barnes foundation). The painting really wasn't seem by the public until the Barnes Collection went on tour in the mid 90's - and really by then the genie had been out of the bottle since the early 20th century.

It's debut at the Salon des Independants was the only image Matisse presented at that show - and he always framed to image to be seen as a masterwork - and historically it is a shocking painting due to its color use and rhythmic lines. Of course the painting was panned by the press at the time - as was all of impressionist artwork. So that alone can't be the reason for it's greatness. It is a masterpiece of modern art - make no bones about it. I just don't see it as the flashpoint of 20th century art - I also don't know what would be. Some might suggest that it would be Picasso's "Les Demoiselles d'Avignion" but I'm not sure I would accept that either.

I'm thinking that "Le Bonheur" is a spectacular painting by a true genius - the trouble is - calling it the best is like trying to decide who invented rock and roll. So many people were around and so many great ideas were swirling around - we as viewers (or listeners) can only look and learn.

I do believe that there is some serious thought yet to be done in the Matisse versus Picasso vein. However that writer is not me.

Labels: Museums, thoughts, Wall Street Journal

Earlier this summer I took a photo of a boat that was turned into a sign for a marina. I was told by my local authority figure (my friend Haleh - who has a house nearby) that it had been there "forever" and wasn't really going anywhere. Well guess what - its gone. I did take the picture, and while it's not the best thing I've ever taken - its not a bad image.

The real thought lies not so much with the story of the boat/sign but with the permanence of art objects versus art experience.

Try as I might I have no real answer for this - although a lot has been written in the past about matters such as this, I'm trying to find a way to find my words for it. More and more though I am coming to a thought that art for the most part is a temporary thing, to be embraced and remembered. Even owning an art object is not really owning art - to actually own the art you would need a way to capture experiencing the art object and the viewer. Effectively owning a piece of art is really only owning the object that produces art in the first place. It is not the same as owning the art experience - it simply makes the owner a gatekeeper of sorts.

I think this is closer to the truth, but I'm not 100% convinced. I really don't want to sound like a three year old trying to rationalize this, but like I said, words are really failing me on this one.

Labels: thoughts