Thursday, November 29, 2007
Posted to


Vancouver artist-photographer seeks half a dozen individuals for paid participation in an upcoming public performance. Any regular reader is welcome to apply, with the following provisios:

1. Performance will take place in downtown Vancouver on six successive Mondays. If you are not available mid-day on Mondays in December and January, please do not apply. (Each individual will only perform once; you do not need to be available for six weeks in a row).

2. Performance will consist of reading a book of your choice outdoors in a busy public place for sixty minutes. The performance location is sheltered from rain and/or snow, but I cannot guarantee balmy weather. If you will be uncomfortable standing (or sitting, in the case of mobility-impaired individuals) outside for sixty minutes, please do not apply.

3. Your performance will be surripticiously photographed by someone previously unknown to you. Your image will subsequently appear in a sequence of photographs presented in a contemporary art context. If your representation in an art context concerns you, please do not apply.

4. Each participant will receive $40 for their sixty minute participation, and, if requested, a proof print of the final photo sequence.

5. If you are still interested in applying, please respond to this ad in writing. Please include your name, contact details (phone, email), age, the titles of the last two or three books you've read or are currently reading, and any other information you think is important. The objective here is to ensure that the final "cast" is as diverse as possible, in reading taste as well as in age, gender, ethnicity, etc.

Thanks for reading; I look forward to hearing from you.

Jeff Wall, Cold Storage, Vancouver, 2007

Jeff Wall, Tenants, 2007

"Hi Christopher.

Lee Bacchus signing in again. Can I ask where you're finding these latest J. Wall shots? I realize [where] you found Searching, but the Fortified Door and another (not sure I saw it on your blog or another), which depicts a '60s or '70s era townhouse complex that you might find in the cold shadows of the Metrotown towers, are both news to me.

I really like Searching. Talk about disarming! Following the cool elegance of After Spring Snow this cell phone shot sent a shudder though me. Wall seems always to be turning things on their head (formally and conceptually), so here instead of technology delivering stock quotes or text messages the artist and his phone act like a contemporary colporteur, hand-delivering images of the destitute instead of bibles or newspapers. I think Searching works both on this level and on another, which speaks to the 'searching' of those emptied people (like me at times) who find themselves both addicted and dominated by technology and its searching behaviors. There are probably ten more layers to excavate within this modest-looking photo, but this is as far as I got. Sorry for the long winded addendum."

All the Wall images posted to Anodyne have been found lodged in the internets' tubes. Fortified Door, for instance, is available on White Cube's website as a teaser image for an upcoming London show.
Wednesday, November 28, 2007

Jeff Wall, Fortified Door, 2007

Still Life for Adam and Steven, 2007

Tuesday, November 27, 2007

"Q: Eno's name came up earlier. Someone wrote in and asked 'What exactly did Eno do on The Lamb Lies Down on Broadway?'

TONY BANKS: It was really more like gimmicky effects on a couple of things. He used that Echoplex and he just wiggled it on the introduction to the whole album. He did the vocal effects on Grand Parade and In the Cage. But he didn't play anything, it was just effects. And it all happened the day I wasn't there. I was ill.

PHIL COLLINS: I got sent upstairs as payment (laughter). Because Eno was bigger than we were, you know with Roxy Music, and so Peter must have said to him, 'Well, thanks for doing this, how do we pay you?' And he said, 'I need a drummer,' and I was sent upstairs and he was doing Taking Tiger Mountain by Strategy, so I played on that track."
A woman walks out of the budget smokes-and-novelty shop opposite my front window with a package marked FANTASY WINGS.

Still on the deck: Ellington's great New Orleans Suite (1970). Music as old as me!
The two-land road descends plumb-straight through trees, traversing the side of the hill. Roofs flash by: small houses; sloping yards. Past the yards' low ends a salt marsh stretches west to a narrow spit where even smaller houses -- shacks, really, some not much larger than RVs -- sit facing the low grey surf. Clabbered sky, the peninsula's distant mountains remote behind curtains of snow.

A dogleg curve. The road runs perpendicular to the ocean, marshes stretching off on either side. Russet on brown on gray. Birds lighting and flickering and lighting again in the shallows, the water's surface pushed here and there by the wind.

Out of the car. The wind slaps against my canvas coat like a solid hand. Rolling green "lawn" pockmarked by rabbit shit and thistles. Along the cliff-edge. Heaving breakers on the narrow cobble beach below. Out in the channel the passenger ferry explodes through clouds of spray, narrow vees of white foam cleaving off its blunt wedge-shaped bow. A bulk carrier executes a slow turn on the horizon, its squat grey presence brooding at vision's edge like an Imperial Star Destroyer or the military bulk lifter that executed its final approach above the Taurus' roof, making me think I'd blown a tire.

Unmade photograph: the consonance of the turnaround's green grass oval against a bulge of silver sky.
Sunday, November 25, 2007

Via New Guy -- James N. -- who clearly understands how my mind works:

"Tyrone: Robot overlords don't give Scooter Libby pardons. No rich man can bribe his way out of the robot overlord court. You telling me you don't want to see the robot overlords kick in Dick Cheney's door --

John: I would buy that DVD. The two disc box set, with robot overlord commentary."

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