February 26, 2015
Of Course, Of Course
Of Course, Of Course
2014
12"x10"
Oil on Paper
February 20, 2015
Robert Storr on Louise Bourgeois
Robert Storr spoke tonight at Stony Brook, Manhattan "On Louise Bourgeois and the Privilage of Sublimation".
February 18, 2015
February 16, 2015
Grandpa's (Last) House
Tennessee, not far from Kennett. Papa took us on a road trip, just the guys. Grandpa was struck with wanderlust and he gave all his money to the church, a tough combo. So he ended up in a modded chicken coop in the middle of a field of... onions? Don't remember the crop. He was bedridden there, bible in his grip. The walls were papered with Playboy centerfolds, my first sight of them, quite an impression.
February 15, 2015
February 12, 2015
Juan Bufill Soler in the Vanguardia
Galeria Miguel Marcos has just sent me a copy of Juan Bufill's review of my recent show in Barcelona.
A note on Miguel's archiving practice: the second jpeg here, the full page of the LA VANGUARDIA is how he documents press clippings. Miguel has published two volumes -soon to be three- of his gallery's history, pulling together various ephemera (announcements, reviews, opening photos, etc) back into a chronicled context. Art reviews are saved full page, so we can see the context of the review. He sees himself, as a gallerist, the first guardian, the prime historian.
So proud.
P de M at the NY Studio School
These are notes taken from a talk by Philippe de Montebello at the New York Studio School. The talk was interesting enough, but not as electrifying as it could be. "The Lives of Artworks" was delivered as if a sack of ideas were dumped on a table. P de M examined each in turn and did little else with them, a disappointment that was tempered by his residual and unaffected charisma, exuded effortlessly. He looks as if he was genetically engineered for his occupation. Perhaps the ease of fitting his role so perfectly relieves him from the burden of making his role fit him instead (flag this, Dennis: there is something interesting here- a role, wrought = a historical agent of change).
(A caveat: my observations here are provisional. One encounter in person and several via the media is not enough to derive any conclusions. This blogpost is a first impression after all.)
As he talked, I marveled at the simultaneous fragility and robustness of meaning in art and within artwork, the former indicating the artist and the latter society at large. He said: "Art walks on paths to veneration or destruction". I was glad to hear him say this, I've always thought that artwork automatically migrates in one of two directions, either to the landfill or a museum. It was satisfying to hear it come from such an art world éminence gris.