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THE THING Has Landed (Redux)

Maiden Lane View
Wolfgang, Darrel and I moved THE THING from Death Star to Maiden Lane on Thursday and the above is the view from our window. Not quite Soho or Tribeca but there are no SUV-sized baby strollers hogging the sidewalk so that's a plus. However there are hedge-fund managers galore so maybe they are the new babies. They take up a lot of room. Too bad they'll be broke in a few years and artists will be able to afford their "luxury lofts."

Goodbye Death Star

 Goodbye Death Star

Attack of the Schmoozebeasts


In an unusual attempt at self-preservation I've tried to avoid the current revival of feminist furor in the art world being stirred up by Roberta Smith and her consort, (buddy boy) Jerry Saltz, but my curiosity was sparked by this Artforum Diary posting on a recent panel on "Feminism" by Rhonda Lieberman.

(I'll give you time to read it. Trust me, it's funny).

Schmoozebeasts? Have I been sleeping or am I behind in my Yiddish? Will this replace the increasingly tiresome "hipster"? Please? It rolls off the tongue like a boiled pierogi. And I'll take anything over the repulsive "art fag"; it wasn't funny the first time around and it's not ironic now. It's just sad. Really really sad.

About the panel: I thought Joan Snyder drank herself to death in France years ago. Oh, right, that was Joan Mitchell. Sorry, my mistake. And, yes Joan, men are to blame for everything bad in the world but can we also take some credit for the good things? We're not all Julian Schnabel, you know. Some of us are sensitive pussycats like, say, Richard Serra? Why is it that a bonehead like Schnabel is always the target. Too afraid to take on the real tough guy, hey?

When Collier Shorr first appeared everyone always referred to her as Richard Prince's boyfriend so I'm not sure how much sincerity is behind her statements of admiration for Snyder, or anyone.

Barbara Kruger is, of course, always right (just ask her!) and though "direct address" is out of style right  now in favor of all that relational stuff I hope she'll dump academia and be back on the bullhorn soon. Kruger designed commercial book covers early on in her career -- I had an Aldous Huxley paperback  with a cover by her at one point  --  and she definitely knows what she's talking about in terms of media. Po-Mo princess Cindy Sherman, on the other hand, watched movies. She's right: Victim/Aggressor are absolutely two sides to the same coin. I guess you could say I'm a Kruger butch rather than a Cindy Sherman femme.

Tamy Ben-Tor's work I don't know so it's hard to decide whether she or Joan Snyder made the dumber statement.

My question is: Why did four intelligent and respected artists let Roberta Smith set them up like that?

A more considered and thorough (but much less funny) account of the panel by Mira Shor is here along with a piece on an earlier panel with Vanessa Beecroft.

ARCHIVE: Keith Sanborn on Wolfgang Staehle's "Untitled" (2001)


Keith Sanborn's catalogue essay on Wolfgang Staehle's "Untitled" from 2001:


Keith Sanborn

Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order.

  —Walter Benjamin, The Artwork in the Age of its Technical Reproducibility



Wolfgang Staehle’s installation, 2001, ran at Postmaster’s Gallery in New York City from September 4 to October 11; by means of the events of September 11, it seemed to pass from interesting to extraordinary.

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Interview with Roxy Paine from ARTINFO


Roxy Paine
Misnomer, Roxy Paine

The AI Interview: Roxy Paine
by João Ribas


New York-based artist Roxy Paine makes computer-driven machines that mechanically produce paintings and sculptures; he also creates hand-crafted replications of nature that are startlingly realistic. His work toys with assumptions about nature vs. culture and organic vs. artificial; it often confounds the distinction between the man-made and the natural.

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Panorama of Paine's studio by David Kelley


Candy Factory at Printed Matter, NYC



Printed Matter Inc. is pleased to present a screening of internet projects from Japanese artist collective *candy factory this Saturday, January 14 from 5 to 7 PM. The screening will feature *candy factory's most recent release,  Tokyo Rose Advertising along with other work from the past few years. Join us to meet *candy factory's Takuji Kogo, who will be present to answer questions. Printed Matter is located at 195 Tenth Avenue at 22nd Street.

Mute Magazine -- new publishing, networked economy


Mute Magazine - new publishing, networked economy +++++++++++++++++++++++++++++++++++++++++++++++++

We've crossed oceans of time for you to find us.

Summary =======

For years, it has been Mute's dream to conduct its publishing on a more participatory platform. Starting with our mini-manifesto Ceci N'est Pas Un Magazine (Sept 2001), we plotted the project as it moved through various developmental stages and now, after years of planning and building, it is  alive and kicking at brand new site

June 26, 1989


June 26, 1989
Monday, 8:50 am

On Saturday there was a re-creation of the Stonewall Riots that nearly turned into a riot, too. Two men were found stabbed to death on the piers the night before so activists stormed the 10th precinct in response. Some stupid straight kid tried to run everyone over so they trashed his car. The Post headline said "GAYS BASH BACK." It was the best thing that could have happened. Very satisfying for a little while at least.

Bourriaud Relational Aesthetics Glossary


Bourriaud Relational Aesthetics Glossary

From "Relational Aesthetics" by NB, published by "les
Presses du Reel", Dijon, France
2002 english version 1998 french version.

1. An attitude that involves clinging to the defunct signs and forms of one's day and rendering these aesthetic.
2. synonum: pompous (pompier)
-And why wouldn`t he do something pompous, if it pays off` (Samuel Beckett)

Happy New Year 2006!



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