12 minute drum solo
Saturday, August 15, 2015
Sunday, December 14, 2014
ironic year-specific footnote to that long sprawling and unrelentingly subjective thing about folk, bluegrass and etc that some people said i should write, but never did. but proly should've.
Sunday, September 14, 2014
From one of Matt Collings's 'Diary' columns, c. 2007:
"Ideas are the false idols of current fashion in art. They exist so people in art circles can feel comfortable with political issues they don't really believe in, to make up for feeling uncomfortable with art. Art bores them but they don't realize it. [...]The first part gave me a part-shudder/part-chuckle of recognition, if only because it describes about 2/3s of my grad-school art history professors.
"With the usual shallow market art you know exactly where you are. You know it's elitist and decadent. The pain is for the outsiders who don't understand, unless they're rich outsiders who can be pseudoinsiders by paying -- they can skip the 'understanding' square on the board and go straight to 'feel good about yourself,' maybe even pick up a 'boss everyone else around' card on the way."
Wednesday, August 6, 2014
"Marshall McLuhan's distinctions between 'hot' and 'cool' media, and his notion of the television-created 'global village,' seem to be without much meaning, except on a trivial level. (If anything, thbe spread of wider comminication nets tends to bring about the disintegration of larger socities into fragmentary ethnic and primordial units.) But there are real consequences for the cohenence of a culture in the relative weights of print anfd the visual in the formation of knowledge. The print media allow for self-pacing and dialgue in comprehening an argument or in reflecting on an image. Print not only emphasizes the cognitive and the symbolic but is also, most imprtantly, the necessary mode for conceptual thought. The visual media -- I mean here film and television -- impose their pace on the viewer and, in emphasizing images rather than words, invite not conceptualization but dramatization.In the emphasis televison news places on disasters and human tragedies, it invites not purgation or understanding but sentimentality and pity, emotions that are quickly exhausted, and a pseudo-ritual in pseudo-participatio in the events. And, as the mode is inevitably one of overdramaitzation, the responses soon become either stilted or bored."
Have long heard of Bell's book; and, finally reading it now, have to wonder what all the honoraries were for. A simple (yet incisive) core thesis, reiterated again and again, to the point of redundancy. And swathed in pages of sweeping cultural generalizations that are constanl;y fatiguing in their lack of nuance.
And, despite his merits, McLuhan's a fairly easy target.If his metaphors and conceptualizations seem off the mark; well at least he deserves the credit for venturing into territory that no one before him thought worth critiquing, etc.. Still, I have to admit that Bell's bit cited above proved exceptionally prescient; considering how things have played out since,*
* Except for "ethnic" and "primordial" [sic, 2x], substitute maybe ideological and (extremely) localized.
Friday, April 18, 2014
MK: In the preface to your 1971 portfolio of editions, Grafik des Kapitalistischen Realismus, you described Capitalist Realism as explicitly political, a form of social intervention, and expressed disappointment in the participating artists later ‘fleeing’ to the fine arts. Do you still hold this perspective?
RB: When I published Grafik des Kapitalistischen Realismus,...we already had some distance from this term. It was a concept of the mid-‘60s, after the Berlin Wall had been erected. Nevertheless, it was important for me to have a section in the book in which images of works of artists of the Kapitalistischer Realismus were juxtaposed with works from East German artists who worked in the style of Socialist Realism. This was a very interesting confrontation, done for the first time. And it demonstrated that Capitalist Realism was also a kind of political statement. So yes, I expressed disappointment that the artists from the West by then seemed to have fled to the fine arts, seemed to have given up their inimitable position. That this worry was without reason, however, became evident in the later works from the ‘80s and ‘90s of Brehmer and Polke, and most certainly in Richter’s Baader-Meinhof cycle, October 18, 1977.
From an interview with gallerist René Block, Artforum, April 2014
Monday, September 30, 2013
IB: Have you always known that those things are what you want to make? Or that this is the space you want to make work in?
AS: I've always been extremely drawn to things that were problematic. I liked painting because supposedly painting was dead, and I liked the idea of being a female and painting because everyone was saying that painting was a male language. Or I like the idea of formalism, which seemed verboten when I went to art school.
IB: You didn't necessarily like them because you wanted to resuscitate them, you just wanted to figure out why they were in the place they were.
AS: Yes, because difficulty is interesting.
IB: You are a contrarian.
AS: Not a contrarian, a scrapper.
IB: What turns you on about that?
AS: To go into the middle of a knot is a form of integrity to me -- and to investigate the area that seems like the worst thing you could do is kind of exciting.
Amy Sillman, interviewed by Ian Berry, c. 2007
- ► 2011 (44)
- a journey round my skull
- a sound awareness
- airform archives (steve roden)
- and what will be left of them?
- click opera
- digital poetics
- judge a book
- our god is speed
- rejectamentalist manifesto
- stopping off place
- the art of memory
- the original soundtrack
- this isn't happiness
- this long century
- wood s lot