Anodyne
Saturday, June 23, 2007
 

Free (42), 2007


Free (43), 2007


Free (44), 2007


Free (45), 2007
 
Someone writes to ask about Free.

1. Found, accepted or claimed as opposed to made.

2. Probably 144, enough for a 12 x 12 grid.

3. Two states: a collage maquette, unique (graph paper; beeswax; oil paintstick; graphite; colored pencil; charcoal; coffee stains) and an editioned photograph. Both commodity objects, offered for sale.

4. There might also be two or three individual 5" x 7" or 4" x 6" images, out-takes from the larger collage. Also editioned photographs, also commodity objects, offered for sale.

5. I wanted to make a work very quickly, in pieces, in the gaps and breaks of my day. And to blast though the whole thing ASAP, a la Husker Du's Land Speed Record. I admire lots of art that takes time to make, but I don't think that time expended is neccessarily a guarantee of aesthetic quality. And I think that working quickly is, in some respects, to work "against the day": against the kids laboriously drawing abstract patterns or ultra-detailed landscapes with blue ballpoint pens; against rehearsal, "production shots" and library research; against art conducted as business, by control-freak MFAs pretending to be control-freak MBAs.
 

Free (38), 2007


Free (39), 2007


Free (40), 2007


Free (41), 2007
 

At Bay View State Park:

CJB reclines on the grass near sunset, alternately reading a microeconomics textbook and watching a small brown rabbit work its way across the lawn maybe twenty feet away. Bright black eyes, twitchy nose. Richard Scarry city!

A red-tailed hawk plunges like a meteor, claws extended, and nails the rabbit right in the neck. Abrupt crack! of breaking bone.

The hawk digs into dinner, long beak rooting in blood-soaked fur. Red in tooth & claw, & etc.
 

Sun Trap for Jack, 2007
 

On the beach, Dungeness National Wildlife Refuge, Sequim, WA


"Reality -->" New Dungeness Light, Sequim, WA. A 5-mile walk along the world's longest natural sandspit.


Coastal rain forest and understory. Approaching Cape Alava, WA


Looking south toward Sand Point, WA


Non-resident wildlife, Sand Point, WA


Momentos of travel: third-degree sunburn and $2.99 Goodwill shirt
Friday, June 22, 2007
 
Cubano Chant -- old Art Blakey tune performed by the 2003 EMG Studio Orchestra, Keith Carlock and Ted Baker the standouts, Donald and Walt sauntering on-stage at around the five minute mark.
 

The Incredible Talking Cats and the Legacy's replacement, Bay View State Park, WA
Tuesday, June 19, 2007
 

Off-line. Back soon.

I have come to listen for the sound
Of the trucks as they move down
Out on ninety-five
And pretend that it's the ocean
Coming down to wash me clean
To wash me clean. . . .

 

Free (34), 2007


Free (35), 2007


Free (36), 2007


Free (37), 2007
 

Free (30), 2007


Free (31), 2007


Free (32), 2007


Free (33), 2007
Monday, June 18, 2007
 

Free (29), 2007


Free (30), 2007


Free (31), 2007


Free (32), 2007
 

Free (25), 2007


Free (26), 2007


Free (27), 2007


Free (28), 2007
 

Neil Strauss:

"Mingering Mike's lack of an actual [music] career, or even an attempt to have one. . . .has taken the bedroom dreams of every eight-year-old -- the ones dashed against the rocks of reality when homework, social hierarchies, and premature pick-up-a-job-or-starve pressures set in -- and extended them into adulthood. He has made a classic childhood pop-star fantasy real and tangible, yet almost entirely inaudible. It is a world as fragile and transitory as the cardboard and marker it was built with. By neither shedding his youthful dreams nor taking any steps to actualize them, his mock albums stand as a triumph of the imagination over reality, rationality, and responsibility."
 

Free (21), 2007


Free (22), 2007


Free (23), 2007


Free (24), 2007
 
Grey overcast, more October than mid-June. Archer Prewitt on the deck, cold wind riffling branches out on the street, green leaves, the pages of the paperbacks on the bargain rack. Filing: weekend arrivals; cash sheets; correspondence with all and sundry. Packing: sleeping bag; trekking poles; razors; Old Spice; hiking boots; BCAA North America mapbook; Nikon; stuffed cats.
 

Rodney Graham, Main Street Tree, 2006
 
Recent reading:

Neil Strauss, The Game: Inside the Secret Society of Pickup Artists
Michael Chabon, The Yiddish Policemen's Union
Mary Doria Russell, The Sparrow
Gregory Mankiw et al., Principles of Microeconomics (Third Canadian Edition)
 

Free (17), 2007


Free (18), 2007


Free (19), 2007


Free (20), 2007
Sunday, June 17, 2007
 

Even More Than I Pray For

 

On the road for a few days next week, cats, tent, Nikon & etc. in tow, to produce my half of an upcoming Grace James project that's been in development limbo since 2000.
 
Things to Do on The North Pacific Coast

"[K]eep in mind that towing is not available on most of the North Beach. Once your car or truck is stuck in a creek bed or the surf, you may join the ranks of the hundreds of other visitors that have watched as their vehicles sank out of sight into the sand."
 
Today's soundtrack: Beach Boys, Passing By
 

Barry Le Va, Continuous and Related Activities; Discontinued by the Act of Dropping (1967/90). Felt and glass, 26' x 20'




Constantin Brancusi, Bird in Space, 1928


Yve-Alain Bois and Rosalind E. Krauss, Formless: A User's Guide (Zone Books), 1997

The obligation not only to make work, but to create a context for it. Doesn't the work create its own context? Not in my experience. The work generates indifference, polite bafflement, head-scratching, total silence. And these are just my responses to the estranging and uncomfortable experience of reviewing my own "production." So, for the record: #12 (below) vis-a-vis Brancusi's Bird in Space (above), vis-a-vis pricing books donated by someone in the neighborhood and putting them up for sale. Consumer surplus. Marx's Capital beside Graham and Dodd's Security Analysis beside Mankiw's Principles of Microeconomics beside Bois and Krauss' Formless on my bookshelf. The four year part time post-graduate certificate program I just enrolled in (not art history, not an MFA, MBA, or security analysis). Smithson's Non-Sites, their implicit critique of the frame of the gallery as a container of experience. Misunderstandings. Trash stratum. Sitting on my parents' Bowen Island dock, ligia scurrying round below, watching the fifteen and a half foot tide rise and rise, seawater brown with spring run-off. Stuff bumping along the shore: bottles, styrofoam, a soggy ball cap. Out on Deep Bay, a white swan goes from boat to boat in the last light, mooching handouts. On the far side of the bay, Dinghy Guy grounds out on the narrow strip that remains of the sand beach. His kitten bails out of the boat in a blur of grey fur, disappears among the logs jackstrawed along the high tide line, chases ducks.

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