Friday, February 25, 2005
whip to the beat of a jazz pianist. via show and tell (the al wilson song has been going through my head today. maybe this is why.)
mix pleasure with a different kind of pain: chipmunk drag via copy comma right (it leaves a vision of Alvin as Marlene Dietrich that will not soon wash from the brain).
for pleasure without pain, hear trains of winnipeg. via zombizi
The job responsibilities for the Vice President, CMT Dukes of Hazzard Institute are:who among us is not passionate about the dukes?
* watch The Dukes of Hazzard every weeknight on CMT;
* know the words to The Dukes of Hazzard theme song, 'Good Ol' Boys,' written and performed on the series by the legendary Waylon Jennings;
* serve as media expert on The Dukes of Hazzard for the CMT Dukes of Hazzard Institute: must be available for TV, radio and newspaper interviews to share passion for The Dukes of Hazzard on CMT;
* write the CMT Dukes of Hazzard Institute online blog for cmt.com;
* be passionate about The Dukes of Hazzard on CMT;
* make appearances at special events such as Dukesfest 2005 in Bristol, Tenn., (June 4-5, 2005).
During his trip to Germany on Wednesday, the main highlight of George W. Bush's trip was meant to be a 'town hall'-style meeting with average Germans. But with the German government unwilling to permit a scripted event with questions approved in advance, the White House has quietly put the event on ice. Was Bush afraid the event might focus on prickly questions about Iraq and Iran rather than the rosy future he's been touting in Europe this week?via the washington monthly
Wednesday, February 23, 2005
Tuesday, February 22, 2005
I make music that is simple, direct, but layered with subtext. I aim to bring challenges and rewards back to the listener, through subtle melody and explosive energy. Free of irony, innocence is restored, reverted to its primal state, and any further notion of style or genre is flushed away.'via cake and polka parade
Saturday, February 19, 2005
Thursday, February 17, 2005
Tuesday, February 15, 2005
Originally uploaded by a nameless yeast.
ed ruscha lecture @ national gallery of art 2/13/05
notes towards almost timely art blogging.
Ruscha drolly commented on slides of his own work and work that's inspired him.
some names are approx.
A slide of what looked like a chrome sphere on a stick was projected on the screen while we waited. Ruscha began his talk from that slide, which after the lights dimmed he id'd as the gearshift of a 1950 Ford. Contrast that with the next slide, the gearshift of a 1950 chevy - a knobbier shape painted off-white, that doesn't strike him the way the ford does. Either pic could be considered boring (Rushca's one of the inspirations for my foray into boring photography) but at the macro level they're practically abstracts.
A bottle of higgins india ink. He admired it as much for the bottle design as for the versatile substance inside it: good for fine lines, dripped into blotches, poured on so thick it cracks, etc.
Spike Jones. Ruscha was a gofer for Jones and his City Slickers when they'd come through Oklahoma. They might send him to buy a dozen eggs, which he'd bring back for Spike and Co. to hurl at each other.
Arthur Dove's 1925 abstract Goin Fishin.
Kurt Schwitters (one gripe I have with the new Moma is that some walls are hung so densely that a Schwitters collage is placed at eye-level to a giant)
A dada ink drawring by Johnannes Barguild. Ruscha admired the mystery of it - that there was no answer to the questions posed: is it a musical score? bugs at the gate? this drawring inspired his own bugs at the gate, in the form of automobile parking lot lines (a theme he'd pick up again in his photographic studies of parking lot oil stains and sundry).
Jasper Johns flag 1958 (Ruscha is a distinctly American artist, and many of his signposts, from auto design to the 20th Century Fox logo to word drawings like BABYCAKES, are very American).
Walker Evans, cars parked on a residential street. (When I saw the Ruscha and photography show at the Whitney last year, it occured to me that Ruscha was the source of banal, deadpan photography, but the lines seem to come from Walker Evans, and maybe Atget before him). For Ruscha, Evans's pictures are completed by the viewer's sensual experience, adding sound and smell (which distinguishes him from some of his odorless successors).
Edgerton's picture of a bullet going thru an apple. Made for scientific purposes but also = art.
Imperial war museum object: a bedpost? Bertelli's "Endless Mussolini." It "broke the sound barrier for me."
ANVIL! "It's American," a theme he brings up again. "It's what people ask you to carry upstairs. Endless Dumbo."
Ali by Kersh - American hero.
Clark Beyers "Barnyard Rembrandt" - painted advertisements on roofs. "never passed up a good roof."
Marilyn Reese - designed clover leaf interchange.
Lichetenstein sneakers. Showed a "total disrespect for aesthetics." "it was repulsive, then appealing, then profound - it made a convert out of me."
word paintings: BOSS HONK OOF ICE
"Course of Empire" Thos. Cole, a series of paintings that charted the rise and fall of a civilization, marked by the same mountain peak in the distance; reminds me of a sequence of drawings in CRUMB where the artist traced the devolution of a country lane into succesive layers of "progress" that ended in a horribly homogenous (yet darkly beautiful) array of chain stores and telephone wire.
zoom of fox logo as train photography: standard gas -- > zoom painting, lower left to upper right diagonal.
1850 Millet's Ophelia--> LA museum on fire: tragedy in serene setting. as opposed to Guernica, all tragedy (he didn't denigrate Picasso but that hit on why I find that the more Picasso I see the more he annoys me)
Urich - Withdrawal from Dunkirk?
clinical "little military figures ... frozen in an landscape: ENGINEER SURGICAL HYDRAULIC
broken glass - a 2-d taxidermy
organic paintings - stained moray and satin
SHE DIDN'T HAVE TO DO THAT (blood on satin)
'39 ford=elephant climbing up hill fuzziness, out of focus
AN EXHIBITION OF GASOLINE POWERED ENGINES: the light comes through a window at such a hard angle it "slams like a pound of bacon."
mountain backdrops: BLAST CURTAIN, PORCH CROP (palindromes)
paintings of ideas of things rather than things themselves.
CLARENCE JONES 1906-1987 REALLY KNEW HOW TO SHARPEN KNIVES (from dream)
redesigned US currency. Andrew Jackson's face was one of historical dignity; now he looks like he could be somebody "babbling on his cellphone in starbucks"
the perfect face of contentment: Mr. Maple.
Saturday, February 12, 2005
Friday, February 11, 2005
Thursday, February 10, 2005
Eventually all advertising will seem strange. Brad Stockshot and Cindy Clipart, modelling chunky knitwear on the beach, will look like absurd freaks. The 2005 Audi A6, as sleek as an arrowhead up on that billboard, will seem as archaic as a crossbow. When the endless repetition of these images stops, when the things they're referencing are forgotten and arcane, their power to define what's normal will stop too, replaced by an intriguing quirkiness. As they slip further away from their original purpose, the distinction between these commercial images and art will start to decompose. They'll hang in museums alongside art. Their power to evoke a lost Pompeii will be just as great, sometimes greater. And they'll seem as strange as art, sometimes stranger.
Originally uploaded by fortune cookie.
Bagels och lemonad is an Icelandic (?!) site that catalogues lip balms of the world. Dig the bib record:
MÃ¤rke: lotta luv, Cheetos
Vikt: 4,2 g
Pris: 17 kr
InkÃ¶psstÃ¤lle: Claire's Boutiques, Middlesboro, USA
Tuesday, February 08, 2005
Monday, February 07, 2005
Friday, February 04, 2005
Thursday, February 03, 2005
I've been getting hits (thirteen to date) lately on the new Eggleston documentary, so the least I can do is share vague thoughts two weekes and counting later.
Director Michael Almereyda (HAMLET, NADJA) was there to briefly introduce the film. He said it's a rough cut, and it shows, particularly in the sound. The video footage that constitutes the bulk of the film needs a lot of audio work - so much so that Eggleston's speech is often subtitled. His sandpaper baritone, combined with a Memphis accent and less-than-ideal recording conditions, may have been rough going for some. But the titles distracted more than clarified.
The film follows Eggleston around Kentucky (where he was on assignment), Memphis (home), and other locations, over the course of several years. You see him scouting and shooting, hanging out with and sometimes arguing with friends and family; and making the odd appearance to accept an award or give a (laconic) talk. This is intercut with stills of his most famous pictures, and a framework of his career to date.
I was fascinated by shots of Eggleston at work, setting up a tripod outside a small Kentucky grocery store and shooting the rows of pastel-colored tissues that advertised the week's specials. (I think I saw a print of that one offered on eBay a few yrs ago.) I couldn't readily id. what he was shooting with. Could have been a bulk-loaded Leica, could have been some medium format rangefinder - it looked a bit unwieldly for street work. The only camera I could clearly identify was a Contax G-1.
I love the Eggleston aesthetic: finding beauty - color, composition - in the ordinary and neglected; sometimes finding tension in same. But I don't know if Almereyda has sold that aesthetic, or Eggleston the character, to a larger audience.
an article in the typographic magazine Baseline led me to the 1885 ed. of the Barnhart Bros.' Pony specimen book and price list, a catalog for printers. the sample texts are wonderful concrete poems, and recall Bern Porter as well as the spam I've been getting lately:
(DBL. SM. PICA CLARENDON CONDENSED, $3.55)
PINCH CLEAN BABIES
LAMENTATION OF THE ESTHETICS
34 FATHER IS BALD NOW 56
(PICA VULCAN, $2.15)
(DOUBLE PICA ECLIPSE SHADED NO.2, $7.25)
One wonders whether the text was cribbed from extant print jobs, devised by copywriters of an unusual mindset, or simply designed to best show off a given typeface.
(GREAT PRIMER ECLIPSE SHADED NO. 2, $6.30)
Wednesday, February 02, 2005
Disco fever is a prevention project for the avoidance of traffic accidents with young people and young adults. The action wants these young people on emotional level to address and without prohibitions attitude and changes of behavior reach. Major task is the activation of the target group, which is to develop even projects and actions. Here a substantial difference to other clearing-up campaigns lies. Under the slogan "we need you also tomorrow." it concerns also to obtain a positive life feeling.
Results of the action, in which in the last years in Schrobenhausen over 3.000 pupils and pupils took part, are e.g.. * Songs * homepage * poster rows * dance performances * Szeni performances
Disco fever understands itself as dynamic process, which acts including as large a number of interested persons and groupings as possible flexibly and situation. The project is promoted actively in the context of the health initiative "Bavaria" the Department of State for nutrition, health and consumer protection for two years. In May 2003 the starting signal for the Bavaria-far conversion was given.
ubweb mp3 of the day: bern porter, whose visual poetry is brilliantly deadpan, contributes "the last acts of st. fuck you," which brings to mind a ranting alcoholic reading from the phonebook. has that been done?
type specimens from the quadrat, 1874
Subject: Livingstone Roxane
Date: Mon, 31 Jan 2005 06:20:47 +0600
jaünty góod-looking married W0MEN
I was apprenticed to Venner & Matheson; the well-known firm; of Greenwich. anothertotalitariancohortampere possibly leave until I have seen the machine.
Subject: Higuera Hortense
Date: Sat, 29 Jan 2005 16:33:43 +0200
fíné néedy W0MEN
been my escape. I was recalled to myself by a frantic plucking at my wrist; and I found decemberpusansteelmakesonataaqueductbrentacquiescent
Well I found my plans very seriously menaced It looked as if the pair might take anprobable Ou et quand l eut-il fait construire
Tuesday, February 01, 2005
Goatwhore is currently looking for a new solid and permanent replacement on drums for the upcoming Metal Blade Records release and a ton of touring. If you or someone you know wishes to audition, please contact the band at firstname.lastname@example.org. The band will then arrange a time for you to meet up with them in New Orleans for auditions. It will be your own responsibility to get to the audition! Serious inquiries only! Must be able to play everything as played on the albums and handle an extensive touring schedule. You may also submit your demo for consideration to the following address:
P.O. Box 5991
Metairie, LA 70009-5991
The list of songs to learn for the auditions:
01. All The Sins
02. The Serpent That Enslaves What Is Worshipped
03. Baptized In A Storm Of Swords
04. Blood Guilt Eucharist
05. Graveyards And Dead Angels
06. Vengeance of Demonic Fury
Kelli Malella - Director of Publicity
Metal Blade Records
2828 Cochran Street
Simi Valley, CA 93065