Source: http://public.wsu.edu/~brians/errors/errors.html#errors
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Latest
From Easy Rider
“But I love to freak.”
“I’ve got an idea—let’s go outside!”
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Bias Fray
This new sewn venture. Click on photo for more.
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From Susan Kennedy
“FINDING THE GOLDEN MEAN IN 2013″
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Watch ‘Queen of the Sun,’ a documentary by Collective Eye
I saw this film the other day, and feel deeply led to share it.
“What is amazing—wax is made by bees that have never seen the light. But they have been nourished by light. Pollen is, so to speak, materialized light. And they have the ability to free the light they have ingested, making snow white wax. It is really a big wonder. And then, man can collect this wax, make candles, and—in the dark period of the year, towards Christmas—he can free the light again from the wax in the bee.” —Molecular biologist Dr. Johannes Wirz
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Image
Pine and Fray
Fabric(ated) Association
Ink, gouache and collage on paper mounted on board; bias fray textured fabric, 2012
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Diehl’s ‘Prism of Reality’ hits Los Angeles, the world
‘Prism of Reality’ Issue 1 is Travis Diehl’s latest literary venture.
Prism of Reality is a limited edition, daring new magazine out of Los Angeles, lovingly printed by my longtime collaborator, Artforum contributor Travis Diehl. Its Issue 1 features four articles, one by myself, and four reviews. I contributed “Diamond Dust et al.: A Monologue on Materials,” a consideration of the artist’s relationship to materials in art-making, musing on Damien Hirst, Dario Robleto, The Golden Spike, and New Orleans artist Muffin Bernstein. I also had the privilege of contributing to editing phases of the manuscript.
Travis did a great job, and has produced something uniquely “him”– P.O.R. is knowing, fresh, and limits-pushing. It’s no wonder Art21 Blog and Notes on Looking have taken notice. Travis’ consciousness of the magazine’s need for a delicacy of images was dealt with elegantly: postcards, the magazine’s illustrations, prettily pleat the pages. You could mail them, but there is a collect-them-all quality that will probably make you want to hold them close (it has me).
What’s more, P.O.R. is a humble $10; the only way to see inside its innovative pages is to support the magazine by purchasing one here. I promise you won’t be disappointed.
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Table My Dad Made
My dad just made this table for my brother, Andrew, to put his microwave on.
The tabletop is made of Canadian Maple that formerly comprised the floor of the giant warehouse that now houses the operations plant of the company my dad works for. The maple is from the 1930s. They used a machine to pull it up from the ground. Corkscrews had been sent through each board. Recently they poured a concrete floor and saved the wood. The plant is the largest interior structure I have ever known.
From Bart Kosko, “Cheap Cryonic Suspension of Brains”
“One silver lining of the numbing parade of comic-book action movies is how naturally the younger viewing audience tends to embrace the fanciful information and biotechnology involved in such fare, even if they lack a like enthusiasm for calculus.”
Bart Kosko, Essay, “Cheap Cryonic Suspension of Brains,”in This Will Change Everything: Ideas that Will Shape the Future ed. John Brockman
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“Multivalent Moon” in ‘Butter on the Sidewalk’
Butter on the Sidewalk at Antenna Auxiliary, 2114 St Claude, New Orleans, Friday, August 10, 6pm-9pm
An outdoor show dealing with the ephemeral.
Featuring the work of
Kevin Baer
David Hassel
Sean Hernandez
Georgia Kennedy
Morgana King
Nina Schwanse
Paulina Sierra
Put together by Amanda Cassingham-Bardwell and Natalie McLaurin
“Multivalent Moon,” 2012, original text, ink on paper, candles
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Abdellah Karroum quote
“Today the exhibition space is for the curator what the studio is for the artist: a nomadic mental space, more an imprecise field for ideas than a factory for objects.” Abdellah Karroum
In conversation with Georgia Kotretsos for art21 blog here.
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More Shakerag Fruits
Night Sky felt pelt (front)
Night Sky felt pelt (back)
Shibori techniques on shrunken wool gauze
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Hypaethral Pine, Formidable Peak
Silk, thread
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Super Moon Skin
“Super Moon Skin,” 2012, oil and gold leaf on unstretched canvas, 43″ h x 57″ w
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From Monica Moses, “When Beauty Is Suspect,” American Craft Feb/Mar 12
“That’s the role of criticism, of course, to push artists, and art lovers, beyond what they think is possible. And the more you know about an art form, whether architecture or fine craft, the more skeptical you tend to become of its seductive qualities.
“But I recall how affected I was by the work of a leading architect, before I knew very much. I was moved – and what is art for, if not to captivate us?
“The left brain parses and deconstructs, sometimes very impressively. But the right brain feels and wonders, and that instinctive, emotional response matters too.
“I want it both ways: not duped by the shiny object but not impervious to sheer beauty either. Can we have it all?”
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Wrightsville Beach, NC trip – works on paper
NC trip in late March/early April yielded these works on paper done in watercolor, charcoal, and ink. I painted while Zachary, my architect on vacation, built sand castles. Maybe to be assembled together in a 3-dimensional structure.
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Spring Oils – Lunar and Pines, Orbs and Symmetries
Star Oil
Pine cones, beaver tail, irises and other symmetries and forms (oil)
Studio view
And a winter pine painting on paper (ink and gouache)
Southern Pines Group
Manipulated digital photographs taken in Pinehurst and Southern Pines, NC.
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Travis Diehl at Anthony Greaney, Boston
Hey, check it out. My longtime friend and collaborator, Travis Diehl (Los Angeles), is showing his film Walk Thru Walls at Anthony Greaney Gallery in Boston on Friday, April 6, from 6pm-8pm in conjunction with a performance by Amanda Moore (Boston). I don’t know Amanda but her website is stellar and the two are a well curated, eclectic pair. I can’t wait to see the combo. I hope you’ll join me there!
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Venus and Jupiter “doing the dance”
Over the River Charles
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Terry Gross embarassing John Updike, yet backhandedly speaking the truth
GROSS: You said that an artist of any sort in our society and most others is a privileged person, allowed to stand apart from some of the daily grind and supposed to be closer to the gods and to have access to the divine sources of tribal well-being. What’s this, quite a responsibility. And I’m not sure if you think that’s an appropriate way of seeing an artist, or if you think that’s an absurd way to see artists?
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Aside
“Abstraction In Louisiana featured twenty contemporary Louisiana artists including Wayne Amedee, George Dunbar, Ida Kohlmeyer, Gene Koss and Pat Trivigno in an exhibition at the CAC in 1980. (Curator Terrington) Calas, in his introductory essay stated: ‘We seem, at least now, to need more. We seem to require that our metaphors are more ‘interactional,’ that both an image and its antecedent remain before us; that they both seduce us; that they, in the end, produce some new experience.’” –Visual Arts Department, Contemporary Arts Center, New Orleans
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