Wednesday, November 12, 2014

"the work of jacqueline humphries"—a poem by David Joselit

Humphrey silver 



Digitally packed like digital interference or snow
Distinct border zone
Delicate dripping carefully marked lines
Ready made matrix of the canvas itself
Logic of GPS navigation
Closely spaced geometrical rosters
Systems of systems interrupted/
Disruptive passage of bright color

Powerful agents of doubt

Humphries' doubt

A disruption in the system of systems

Asymmetry introduces a... situation

Painting as gestural practice
Painting as conceptual practice 

Painting leads is back to life by breaking down the opposition between gesture and picture, the gap between which is CRITIQUE

Painting as a world to be OCCUPIED rather than a prison of spectacle

The picture is a guide or a score for the painter to make marks

Maybe this is the spectacle but if we re gonna say that, let's be sure, ok?
The mark is a way to mark time---and again...

I'm willing to admit that taste is, like, 
always there

The Anthropocene and the concept of resilience in the movie "Godzilla"—by John Beeson



Monday, November 10, 2014

username: neinnein_nein password: Squareone

Who are you especially keen on?
These days, Charles Mayton, who is a painter showing at David Lewis Gallery. He makes conceptually rigorous abstract paintings. Carissa Rodriguez, who showed in our project space recently. Michael E. Smith is a really interesting sculptor who works with organic materials in a profound way. And Sam Pulitzer and Mathieu Malouf are artists I’m very interested in.

Where do you think contemporary art is going?
I think that we are coming out of the obsession with abstraction and moving back towards a more conceptual type of art. That is not to say that the art of the future is going to ignore the visual. I think the aesthetic is probably going to get more and more difficult to digest, because that is where art needs to go. But this aesthetic will age very well, although it might not immediately be defined as a pleasurable experience. 

Friday, November 7, 2014

Catherine Taft: It seems very clear that the catalog’s language adopts the language of its own production. Surprisingly, some reviews of the first installment of “The Production Line of Happiness” alluded to a spirit of obfuscation in the show—for example, the wall labels being dislocated from their work—which prompts me to ask if there is a degree of illegibility operating in your work, either intentionally or not?
Christoper Williams: Illegibility? No, I am actually not interested in that idea at all, although the idea of disarticulation and methodologies of separation are of great interest to me. With regard to the book, I can’t imagine one that is clearer about its economic and material realities.
The history of photography as art in the 20th century is the history of the illustrated press or the photo book, and no one stands as a better example of this than Walker Evans, who embraced the roles of photographer, editor, graphic designer, typographer, and copy writer. In his books, but especially his magazine work, no one element took dominance over the others. In fact, he used each element as a device to open up rather than reduce the possibilities of the entire network. Evans possessed an acute sense of context and many times used his position within a publication to criticize the ideology of its support structure. Making the jump to the context of exhibition and gallery display, it’s of course easy to think of the photographic practitioner extending their role to that of the curator, exhibition designer, etc.
Two things should be noted: Evans was criticized for the physical distance between his photographs and his texts, and it is well known that he locked himself in the Museum of Modern Art to arrange his own pictures, sometimes wheat pasting them to the walls so that they could not be moved.

Saturday, October 11, 2014

Thursday, October 9, 2014

Tuesday, October 7, 2014