Saturday, November 06, 2010
Dan Graham in conversation.  I totally disagree with one of the opinions presented as fact below, which, to his credit, Graham recognizes -- if honestly reported -- as ridiculous, correctly opposing Donald Judd's example, though he could have just as easily named Smithson's, or Ian Wallace's, or Fairfield Porter's.
Metro Sources

1.  Curb Your Enthusiasm

2.  The full-page details in Jeff Wall: Transparencies (Rizzoli, 1987)

3.  Fat City, dir. John Huston, cinematography Conrad Hall

4.  "I went to LA. I love the space and light and architecture and vegetation there." (Stephen Shore in conversation)

5. Owen Kydd, esp. Night

6.  My shyness

7.  Dan Graham on Dan Flavin's post-exhibition returns to the hardware store

8.  Pete's trees

9.  Bodies moving in space

10.  The way my depression lifts in sunlight

Metropolitan (10a), 2010
Hey Judith Griggs!  I want my tuna-surprise recipe back!
Friday, November 05, 2010
Kaputt's breezy faux-70s burbling ebb and flow; late white sunlight in the sky above the bakery; double rainbow out over the harbor.
Edge of Town at the Equinox, Robert Adams at the VAG and Stephen Waddell at Monte Clark: an uncommon amount of good photography on display around town right now.
Thursday, November 04, 2010

Seth on Doug Wright, beloved weekend cartoonist of my childhood, kindred spirit:

"In one memorable panel [Wright] drew a large complicated vista of a strip mall, the parking lot, the street behind the parking lot and finally the hills beyond – all of which perfectly captured the essence of just such a mid-twentieth-century location. Looking at this drawing is practically the same as visiting the place. As his backgrounds grew in complexity so did their 'sense of exactness.' The environment of the strip was, undoubtedly, his own house, his own neighbourhood and his own town. Wright was drawing the very world that I grew up in – the south-western Ontario of the sixties and seventies. Every carefully rendered detail is perfectly familiar to me: the ranch-style homes, the school yards, the corner stores – even the little things like the screen doors.


Earlier I used the term 'sense of exactness' to describe Wright’s drawings. That sense was never more acute than in his drawings of the post-war suburban environment. They evoke the very experience of being there. I can think of nothing else, not even photographs, that brings that world of my childhood back to me with such deeply felt longing. As I peer into his strips I see the essence of an era that no longer exists. The last breath of the early twentieth century mixing with the new world that is to come.

On occasion, Wright would focus his great rendering skills on a small poetic moment of everyday life such as a snowy winter morning or a dusky evening of fireworks or a sudden sun shower. These images never drew undue attention to themselves. They never slowed the strips down. Still, if you stopped and took the time to take them in you would feel their subtle beauty."
Monday, November 01, 2010

Metropolitan (11), 2010
Sunday, October 31, 2010

Processed Meats Declared Too Dangerous For Human Consumption

"If sodium nitrite is so dangerous to humans, why do the FDA and USDA continue to allow this cancer-causing chemical to be used? The answer, of course, is that food industry interests now dominate the actions by U.S. government regulators. The USDA, for example, tried to ban sodium nitrite in the late 1970’s but was overridden by the meat industry. It insisted the chemical was safe and accused the USDA of trying to 'ban bacon.'"

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