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| Mel Bochner |
"The frightening edge of looking (often a derailed or demonic voyeurism), as well as abstracted visual pleasures, came with the risk of misrecognition, of seeing and being seen, of not being able to identify the scene, of the realization of the split between the camera and our eye, of the physical disparity between sound and image. Outside the rules of intelligibility and pleasurable placement within memory created by story and repetition, we were shocked, ecstatic, confused, irritated, bored by these films. By reminding us that our eyes must work, that we are desire's source and impossibility, that the text was not located on-screen but was a process with and not for us, these works engaged film's material apparatus, including the disruption of the comfortable place of the spectator at the movies and within culture."
--Patricia Mellencamp, Indiscretion: Avant-Garde Film, Video, & Feminism
"Situated between aggressive electronic media and two hundred years of industrial vandalism, the long held
idea that a tiny output of art objects could somehow 'beautify' or even significantly modify the environment
was naive. A parallel illusion existed in that artistic influence prevails by a psychic osmosis given off by
such objects. Accordingly lip service to public beauty remains the province of well-guarded museums. Through
the early stages of industrialism it remained possible for decorative media, including painting and sculpture,
to embody the esthetic impulse; but as technology progresses this impulse must identify itself with the means
of research and production. Obviously nothing could be less true for the present situation. In a society thus
estranged only the didactic function of art continues to have meaning. The artist operates as a quasipolitical
provocateur, though in no concrete sense is he an ideologist or a moralist. L'art pour l'art
and a century's resistance to the vulgarities of moral uplift have insured that.
The specific function of modern didactic art has been to show that art does not reside in material
entities, but in relations between people and between people and the components of their environment."
Etienne O'Leary, “Homeo (aka Homeo: Minor Death Coming Back From Goin' Home)"
ATTN: PHILADELPHIA:
(bummed to miss this.)
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| http://thezenmafia.tumblr.com/post/27650662614/a-casual-blog-by-ooga-booga-is-your-leisure-time |
(stoked for this, however.)
one of my new favorite artists (postmodern choreographer), Trisha Brown. Most performance-photos taken by Babbette Mongolte. (Some of Brown's abstract drawings were made using charcoal + her foot.)
A N N E G R E T S O L T A U
Environmental sculptures, by Alice Aycock
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| "Ten thousand and one nights in the mansion of bliss" |
Michael Heizner:
Kishimoto Sayako
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"CNN: SITUATION ROOM"
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