Vito Acconci.... my new favorite artist

Vaughn Bell at MASS MoCA... I was in heaven.

The Guerrilla girls were really amazing! Very smart and witty.

findings

some videos I found in my studio building... makes me chuckle.


info to mezmerizize
http://en.wikipedia.org/wiki/Spanish_moss

I really want every aspiring artist I know to succeed... one reason being is the simple fact that I want to shmooz with them at their art openings... how joyous life will be! There is no reason for this not to happen.

NYC

Went to NYC the whole weekend. My friend Fran came to town with her grad class so I had to make a visit. We lucked out in terms of art shows... there were more good than bad this time. I finally got to see a series of paintings by Cecily Brown in real; made me very very happy. Ernesto Neto's show was my favorite!

my batteries are charged and I'm ready to make some work! after I get all my reading done that is...

I don't know who the artist is but this is some creepy shit

Intonarumori

Noise Machines, intonarumori: Luigi Russolo 1914 (artist)

(me)
It's amazing (kinda sad) how unaware many artists/aspiring artists are of the fact that they are behind the times; un-innovative (including myself). Also, I find it a little curious that so many people think of artists as unrealistic narcissists (although there are some). It's becoming more and more apparent to me (due to many discussions with my fellow roommates that are history majors) that we are dealing with the same fundamental issues, and thus are "in it" for the same reasons ... most people just don't know that. I think art history should be a part of everyone’s curriculum. Most people (at least what I've experienced) don't realize how influential the arts are and how they have been for.... ever (thousands of years). People don't know the magnitude of the impact the arts have had on their lives. I do feel we need a more holistic view in terms of what is taught in art history though.... many many many other parts of the world and cultures are being ignored; I feel like I'm missing out on a HUGE chunk of information and perspectives (?).

YAY!

The Guerrilla Girls are coming to UCONN!!!! YAYAYAYAY... will write about promptly after

today was my birthday; a glorious day! One of the best of my life. It was also a very productive day.. Here are shots of what the studio is looking like so far (two of the four sides anyway)

went to NYC over the weekend... I would say this was the better of the first two grad trips. The Bronx Museum was the best! If you are in the area it's a must... "STREET ART STREET LIFE". It's up until January I believe. White Columns was great and so was zee Deitch (the experience as a whole was fantastic... hipster mania!!! tis fun).

Studio Visits

My Professors spend more time talking about this tape on my wall then my paintings... hm

Fin

I’m going to downsize my work for awhile because the scale is hindering my process.


This will be the last of my cut up paintings for awhile.

Things to remember

Richard Serra
Interview with Richard Serra

DS: With you in particular I suspect that what your work has been about above all has been curiosity, about your asking: What would happen if. . . ?

RS: Yes, I used to say that out loud: What would happen if...? And I think that’s one way to start a problem. For me, at least, that’s the case. WORK COMES OUT OF WORK. I CAN’T THINK MY WAY THROUGH A PROBLEM; I HAVE TO WORK MY WAY THROUGH A PROBLEM. AND THAT’S WHY I’M INTERESTED IN BUILDING THINGS, BECAUSE OFTEN WHAT HAPPENS IN THE PROCESS OF SUSTAINING THE EFFORT TO BUILD SOMETHING IS THAT YOU REALIZE THAT YOU COULD NOT HAVE FORESEEN THE CONCLUSION OF YOUR INTENTION. THE PHYSICAL FACTS COUNT FOR ALOT MORE TO ME THAN THE THOUGHT THAT DOESN’T TAKE A PHYSICAL MANIFESTATION. I NEED THE TRANSLATION INTO AMATERIAL SUBSTANCE, WITHOUT IT I WOULD DENY THE IMPORTANCE OF THE PHYSICAL EXPERIENCE. SO IT COUNTS FOR ALOT.

DS: You said in an early interview—it was in I973—and I think you’re saying it again now: “What I decided is that what I’m doing in my work right now has nothing to do with the specific intentions.” And the interviewer said: “What on earth do you mean?” And you said: “IFI DEFINE AWORK AND SUM ITUP WITHIN THE BOUNDARYOFADEFINITION, GIVEN MY INTENTIONS, THAT SEEMS TO BE A LIMITATION ON ME AND AN IMPOSITION ON OTHER PEOPLE OF HOW TO THINK ABOUT THE WORK.


Dave Hickey Quote
What advice would you give to emerging artists? Is there a difference between advice you might give as a teacher, as a curator, as a gallery owner, or as a critic/theorist?

My advice is always to make a lot of art; to make a lot of art, then look at what you have made and then think about what you have done. If you think first, you will never do anything or you will do something boring. Art doesn’t exist until the artist has finished making it. The differences between one’s responses as a critic, teacher, dealer and curator are as follows: As a critic I presume the art is finished and on purpose. As a teacher, I presume the art needs work. So the same work that I might like as a critic, I might find wanting as a teacher, simply because my rule for looking at student art is: if you’re not sick don’t call that doctor. As a dealer you’re looking for quality, of course, but you’re also looking for evidence of the artist’s work habits and commitment to a long-term career. As a curator you’re looking for what fits.



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