Anodyne
Saturday, December 19, 2015
 



Friday, December 18, 2015
 

ACT (Aesthetically Claimed Thing): Maegan Hill-Carroll, Ghost Child Smoking Field, 2013
 
Paula Fox, via John Latta, still alive:

"On weekends, he drove miles from the city, staying at an inn if he could find one, but more often at motels where he watched television programs, or, if there was a bar, nursing one drink for hours, or walking in any kind of weather until he was tired enough to sleep. But then, at least, he was away from the ceaseless din of publishing, out of reach of the culture experts, many of whose manuscripts ended up on his desk, and whose juices flowed, he had come to believe, for no other reason than the excitation of maintaining their names in print, who performed, deaf to their own failing voices so like the voices of aged singers, lest they faint into the sickness of anonymity, who could never be still but must add their own noise to the universal screech of opinion, their oppositions or agreements equally meaningless since both were only advertisements of their will to persist."
Wednesday, December 16, 2015
 
"[Y]ou have the capacity to be moved by countless things all at once, both in your senses and your intelligence, and in such a way as to give your assent to some, and to reject others, or to suspend judgement; and to preserve in your mind so many impressions from so many diverse objects, in such a way that when moved by them, your mind comes to conceive ideas that correspond to the impressions that were originally made on it, and so from these countless objects, you derive and preserve the arts, one after another, and also memories."

(Epictetus, Discourses, trans. Robin Hard)
Tuesday, December 15, 2015
 

Image Speed

Capitalism likes everything fast; it increases its' subjects marginal propensity to consume and creates dissatisfaction with what they do consume.  Case in point: the nitwit who no longer buys print books, preferring his Kindle and the cloud:

 -I have over 800 books on this thing!  I could load your entire store onto it.

-How many of them have you finished?

-What's your point?

It takes time to choose physical objects, whether books, record albums, shirts or paintings, and time to interact with them.  Some times, as with fancy new-wave French food or remote cactus gardens, things that exist, as Benjamin says, "at a unique point in space and time," one has to physically go to them to interact with them, and that journey becomes part of what I'll call, for lack of a better phrase, an attending process.

But:

"You travel all the way to Olympia to look at the work of Phidias, and all of you regard it as a misfortune to die without having seen such sights; and yet, when no journey is required and you already have the works in front of you, have you no desire, then, to view them and to understand them?" (Epictetus, Discourses, trans. Robin Hard)

Twitter, Instagram, Flickr etc. are meant to be ephemeral. There will always be a new community-favorite cat picture tomorrow.  But I think it is at least theoretically possible to use these new "fast" forms for critical ends, to chip away at the mandarin autonomy of the worst "slow" high art.  (Compare with Pop's challenge to second- and third- rate Abstract Expressionism). I think it is also worth considering the notion that whereas early-modern capitalism supported the exhibition, if not always the development, of autonomous, "slow" works (Louvre; MOMA; Pasadena Museum of Art), late capitalism actively impedes "fast" autonomous art by maintaining an infrastructure only meant to support slow art.
Monday, December 14, 2015
 

HDS, friend to kittehs
 

Tickets to the sun booked.  Here comes the next show.

I'm so live with it, look how I did it
Been bullshittin' but I finally arrived with it
I know it's late and I took all year but
You can stop complainin' 'cause I'm finally here.

 

"I don’t see my work and approach as having been very much affected by the accelerated image traffic situation. I don’t circulate my images on the Internet, and I have no website.

Museums or galleries put them online in connection with exhibitions, or else they get posted by those elves and genies who are responsible for putting things on the net — who are these people? How do the most obscure things get put up? When do they do it?"

My best guess at a culprit depicted above. Meanwhile, over here: Stephen Shore's Instagram
 
Gal Gracen's Soundcloud
Sunday, December 13, 2015
 
"I have been denied what our men are supposed to do. So I do what I want, which is to navigate."
 

ACT (Aesthetically Claimed Thing): Andrew Wyeth, Sycamore Tree and Hunter, 1943

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