Weird. In the Jan 27th New Yorker, on page 70, there is a detail from the painting Hi by Michael Bevilacqua (this is at the start of the story Jon by George Saunders.) Clearly visible in the painting is Marybeth's El Teddy's logo.
No, there's no purpose to this post except to note that it's weird to see your stuff recycled and reflected back at you.
Anybody know anything about this guy?
Bevilacqua appropriates and mixes up a lot of stuff--CD covers, ads, photos. He's kind of '80s appropriation meets Peter Max--not very theoretical, though. Basically he's a big sponge, very Pop. I mentioned him in my post about Ryan McGinness' installation. Where was the El Teddy's logo published? An ad? Menus?
Yeah, it's all over the place: ads, postcards, menus, etc...
From what I've heard, Bevilacqua appropriates design that he thinks looks cool, so MB has his seal of approval. Kind of an old-media hyperlink.
Kind of an old-media hyperlink
Yes. Nice formulation.
i hope she sues the bastard. its a slippery slope from appropriation to downright theft. these image pirates have no place in decent society.
cambels never sued warhol because it was great free publicity.
Hey, check out MY new novel, I hope you like it.
In Watermelon sugar the deeds were done and done again as my life is done in watermelon sugar. I'll tell you about it because I am here and you are distant.
To the red country and part of the gray country of Oklahoma, the last rains came gently, and they did not cut the scarred earth.
In our power are thought, impulse, will to get and will to avoid, and, in a word, everything which is our own doing.
An hour before sunset, on the evening of a day in the beginning of October, 1815, a man travelling afoot entered the little town of D--.
There was no God in his heart, he knew; his ideas were still in riot; there was ever the pain of memory; the regret for his lost youth--yet the waters of disillusion had left a deposit on his soul, responsiblility and and a love of life, the faint stirring of old ambitions and unrealized dreams...
"It's all a poor substitute at best," he said sadly.
He stretched out his arms to the crystalline, radiant sky.
"I know myself," he cried, "but that is all."
I don't use logos to be cool. They are memory markers, like tying a string around your finger. My wife and I have celebrated many a birthday parties at El Teddy's. A couple of years ago they said that they were going to close. They gave me a menu and I added it to the painting.
Hi, Michael--thanks for posting. Just for the record, I didn't say you use logos to be cool, but rather that you use logos that you think are cool, meaning likeable. As opposed to, say, Ashley Bickerton, who hates/critiques commercial culture and uses logos for very different reasons. That's my reading (or misreading?) of your work. Surely your choice of subject matter involves the pleasure principle as well as just remembering, right?
ahhh, the pleasure principal. It's true, I love to paint and I paint what I want (this can be sung) I paint everyday and freak it if I do not. I just got back from Copenhagen and worked the following day. It was one of the best art experiences. the artists and people were fantastic. Lots of beautifully violent work. i was joking with them that my show was candy compared to the norm of Copenhagen. The show in Copenhagen is more image than logo. "I've made a rope of words and strangled this business!"
Hi Michael,
I came across your work, Two Potato 2014, spray paint on canvas and I was wondering who the quote refers to? "You made a rope of words and strangled this business."
I recently read read Rape of the Masters which shows how some art historians in academia have misrepresented artwork with their words.
Is there any connection between the two? If not I'm curious to know what your work is referencing.
Best,
Emily
Yes, those darn wordsmiths -- they ruin art every time. And painters never make anything with the idea that it might at some point be described in words. (Bevilacqua hasn't been on this page in 11 years but you never know what an artist might see in the way of internet, um, verbiage.)
I found the pics on artnet from your show in Copenhagen. The work looks great. Do you think the gallery could send a higher-res jpeg of Welcome Home, Brother to post on my page? If it's possible, I'll email them.
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No, there's no purpose to this post except to note that it's weird to see your stuff recycled and reflected back at you.
Anybody know anything about this guy?
- jim 2-01-2003 8:27 pm
Bevilacqua appropriates and mixes up a lot of stuff--CD covers, ads, photos. He's kind of '80s appropriation meets Peter Max--not very theoretical, though. Basically he's a big sponge, very Pop. I mentioned him in my post about Ryan McGinness' installation. Where was the El Teddy's logo published? An ad? Menus?
- tom moody 2-01-2003 9:15 pm [add a comment]
Yeah, it's all over the place: ads, postcards, menus, etc...
- jim 2-01-2003 9:24 pm [add a comment]
From what I've heard, Bevilacqua appropriates design that he thinks looks cool, so MB has his seal of approval. Kind of an old-media hyperlink.
- tom moody 2-01-2003 9:30 pm [add a comment]
Kind of an old-media hyperlink
Yes. Nice formulation.
- jim 2-01-2003 9:35 pm [add a comment]
i hope she sues the bastard. its a slippery slope from appropriation to downright theft. these image pirates have no place in decent society.
- dave 2-01-2003 9:49 pm [add a comment]
cambels never sued warhol because it was great free publicity.
- bill 2-01-2003 11:02 pm [add a comment]
Hey, check out MY new novel, I hope you like it.
In Watermelon sugar the deeds were done and done again as my life is done in watermelon sugar. I'll tell you about it because I am here and you are distant.
To the red country and part of the gray country of Oklahoma, the last rains came gently, and they did not cut the scarred earth.
In our power are thought, impulse, will to get and will to avoid, and, in a word, everything which is our own doing.
An hour before sunset, on the evening of a day in the beginning of October, 1815, a man travelling afoot entered the little town of D--.
There was no God in his heart, he knew; his ideas were still in riot; there was ever the pain of memory; the regret for his lost youth--yet the waters of disillusion had left a deposit on his soul, responsiblility and and a love of life, the faint stirring of old ambitions and unrealized dreams...
"It's all a poor substitute at best," he said sadly.
He stretched out his arms to the crystalline, radiant sky.
"I know myself," he cried, "but that is all."
- jimlouis 2-02-2003 6:22 pm [add a comment]
I don't use logos to be cool. They are memory markers, like tying a string around your finger. My wife and I have celebrated many a birthday parties at El Teddy's. A couple of years ago they said that they were going to close. They gave me a menu and I added it to the painting.
- Bevilacqua (guest) 5-13-2003 6:51 am [add a comment]
Hi, Michael--thanks for posting. Just for the record, I didn't say you use logos to be cool, but rather that you use logos that you think are cool, meaning likeable. As opposed to, say, Ashley Bickerton, who hates/critiques commercial culture and uses logos for very different reasons. That's my reading (or misreading?) of your work. Surely your choice of subject matter involves the pleasure principle as well as just remembering, right?
- tom moody 5-13-2003 8:33 am [add a comment]
ahhh, the pleasure principal. It's true, I love to paint and I paint what I want (this can be sung) I paint everyday and freak it if I do not. I just got back from Copenhagen and worked the following day. It was one of the best art experiences. the artists and people were fantastic. Lots of beautifully violent work. i was joking with them that my show was candy compared to the norm of Copenhagen. The show in Copenhagen is more image than logo. "I've made a rope of words and strangled this business!"
- Bevilacqua (guest) 5-14-2003 5:56 am [add a comment] [edit]
Hi Michael,
I came across your work, Two Potato 2014, spray paint on canvas and I was wondering who the quote refers to? "You made a rope of words and strangled this business."
I recently read read Rape of the Masters which shows how some art historians in academia have misrepresented artwork with their words.
Is there any connection between the two? If not I'm curious to know what your work is referencing.
Best,
Emily
- anonymous (guest) 11-12-2014 2:10 pm [add a comment] [edit]
Yes, those darn wordsmiths -- they ruin art every time. And painters never make anything with the idea that it might at some point be described in words. (Bevilacqua hasn't been on this page in 11 years but you never know what an artist might see in the way of internet, um, verbiage.)
- tom moody 11-12-2014 2:57 pm [add a comment]
I found the pics on artnet from your show in Copenhagen. The work looks great. Do you think the gallery could send a higher-res jpeg of Welcome Home, Brother to post on my page? If it's possible, I'll email them.
- tom moody 5-14-2003 6:57 pm [add a comment]