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Yes, I've used this cereal box and milk bottle before, but never in a corner piece! The bottle, by the way, is Hershey's chocolate milk. When you strip off the gaudy outer packaging (and it takes a while, the plastic wrap is tough) you discover this pristine, white, lathed-looking cylinder underneath. The atoms and "bonds" I draw in MSPaintbrush, print, individually cut out with scissors, then map-pin to the wall.
I guess my interpretation of this body of work would be as follows. A sort of cargo cult worships consumer packaging. In a bastardized version of science, their mystics try to chart the invisible bonds between products, and link the packaging to the larger world. The symbolic byproducts of this research become like graffiti tags, which the cult sticks on walls as territorial markers or signs of their faith.
Saturday I watched Laura Parnes' intense 2-channel video piece "Hollywood Inferno (Episode One)," currently on view at Participant, 95 Rivington, NYC. This multi-layered, disturbing work deserves a treatise but for the moment I just want to contrast it with the supposed "youthquake" of art championed by Roberta Smith in the Jan. 17 NY Times. Smith says that artist Scott Hug and others are "confident" and "free of ideology," which somehow defines today's "young," or young-wannabes. I missed Hug's show but his magazine K48, which I picked up at Throb (for the Electroclash sampler in the back), is kind of charming. It has an ideology--that sex and self-expression are good things. One piece in particular, about an artist who got a teaching job at his old high school and set up a photo studio for quirky individualized yearbook portraits, is touchingly sincere. Elsewhere in the mag, pages of bared flesh suggest Larry Clark, without the adult-looking-back consciousness.
Parnes' video advances the other, much darker view--that sex and self-expression are the ultimate commodities, and things don't always work out so nicely for the youthquake in our alienated, violent land. In Parnes' world all of us--no matter what age--march in the legions of the Damned. Her heroine, would-be actress Sandy, goes from sucking a lollipop in a suburban candy shop to working as a costumed mascot to being an accomplice to murder in a sleazy Hollywood setting. (How is this different from David Lynch? I suppose because there's never any "loss of innocence"--she's corrupted from the start.) Along the way she struts her stuff as a fashion model, with a black & white security-cam still of the Columbine killers as a backdrop (this sounds terrible, but it's actually a subtly creepy touch--the backdrop looks like a frame from a Tarantinoesque action flick until you notice the timestamp). Parnes' anger rivals Dante's--or at the very least, Todd Solondz's--in her description of affectless youth selling itself down the river, with only Satan (in various guises) serving as an adult role model. I'll be surprised if this gets a perky writeup in the Times.
One of my favorite touches is Parnes' Kathy Acker-like use of quotes lifted from media and art-critical sources as dialogue. At the climax, an evil film director, wearing a human-skin mask, spouts some amazing high-flown gibberish as he butchers one of the characters. Turns out this speech combines George Lucas pontificating to Bill Moyers about the so-called archetypes in Star Wars and a "jazzy" pseudohip spiel on Robert Mapplethorpe by art critic Dave Hickey. ("There you are, swooping back down, circling, inward on this image--and it's all flickery in this icy, glamorous--intersection--of moral suffering and spiritual ecstasy, where the rule of law meets the grace of trust. And you're on the verge of exploding from its own internal contradictions. Ahhhh....Yes.") It's hard to decide which makes you want to flee the room more: the gore on the screen or the dramatic but empty words.
A couple of paintings by Giovanni Garcia-Fenech currently grace the walls of The Project, 427 W. 126th St., NYC (in a group show, through February 2). This is intelligent almost-abstraction with a playful streak; imagine some offbeat combination of William Baziotes and John Wesley, rendered with a flat acrylic surface recalling Peter Halley's early, quirky paintings and you're sort in the neighborhood. Even though these images are baroque compared to Garcia-Fenech's earliest work, which looked like spare, airport pictograms, the key here is still economy: getting the most out of a few recurring elements.
The paintings in the current series all begin with a pour, or splash, which is then outlined with acrylic so it becomes a depiction of a splash. Element No. 2 is an eccentric, hand drawn shape or pattern engaged in some kind of conversation, or dance, with the splash: in Belt (right), it's a white shape that intertwines with a black splatter like a copulating doppelganger-skeleton. Element No. 3 is the John Wesley touch, some kind of doofus-y, twee cartoon thing that gently mocks, or threatens to undo, whatever seriousness the painting has managed to build up. In Belt it's--d'oh--a belt, that perversely joins the dryhumping bone-blobs in a consensual bondage fantasy. Other paintings feature evergreen trees, tiny flames, bugs, crowns, spindly trees: whatever it takes to make an already awry composition that much wryer. Clicking on the thumbnails on the artist's website is highly recommended, because as good as a couple of images are, seeing a lot of them has a cumulative effect towards appreciating how smart this work is. The titles--Backslider, Jane from Occupied Europe, Prone To, Prone Again--mirror the tone of skewed archness.
Saturday I went to look at a couple of shows before attending Ross Knight's opening at Team Gallery. Once again I'm made aware how provincial and behind the times the art world is in terms of technology, specifically weblogging.
I asked the desk attendant at Henry Urbach Architecture if the gallery had a website and if I could right-click, or otherwise save, an image of Marsha Cottrell's off of it. (Marsha's been promising me jpegs for eons.) He said yes, the gallery had a website, but he didn't know if images were save-able. I said, "Well, if I could save an image to my hard drive, I could pop it up on my page with a short review, within a day. Instant art criticism. Fantastic, right?"
I googled the gallery and couldn't find it, so I fished the printed invite out of my backpack, entered the URL, and got one of those Flash sites with slowly materializing letters. Uggh. It has an automatic, can't-stop-it-once-it-starts slide show of some pics from the show, but if there's a way to cap those, other than cropping a blurry screen shot, I don't know of it. You can't save by right-clicking. So much for the instant review. I'd post the link to the gallery here, but the site disables the "back" button, so you'd be trapped in Flash land. Macromedia is a menace.
As I made my rounds, people asked me what I was up to and I said, "makin' art, and workin' on my weblog, which is a way for me to be a critic without really bein' a critic, ha ha." More puzzled looks. "You know, weblogs? Started in the geek world, but now writers, political commentators, ordinary Janes and Joes have them? Becoming a potent political force? Brought down Trent Lott? Major social trend?" Puzzled looks, sometimes impatient looks, like, why are you telling me this crap?
A friend of mine who read my earlier post on this subject asked, "Yeah, what's up with that? How come more people in the art world don't have weblogs?" She didn't find my arguments--the art world worships print, etc--all that persuasive, and wanted to know the real reason. Why has no young critic used a weblog to put forward theories that rock the lazy status quo? I'm afraid it's because such people do not exist in the art world anymore. Everyone reads the Friday Times and Artforum recap-preview-recap-preview-recap-preview-recap-preview-recap-preview-recap-preview (etc) and that's art criticism, folks. There are no theoreticians except artists themselves, and they don't necessarily have the time or inclination to keep updating a weblog.
Simon Reynolds has finally traded the browser-filling text-blocks on his website for the semi-browser-filling text blocks of a weblog, and it's worth checking regularly. Currently up are his 2002 Faves. One of the best (practically only) writers on the electronic dance music scene, he helped me get a handle on all the breakbeat techno & hardcore I was obsessively taping off radio in the early '90s, so I was pleased to see I owned 3 discs in his Top Ten: Kaito and Boards of Canada weren't surprising, but I can't believe he endorses Recloose's Cardiology! In an earlier post I described it as "music to make street-purist Simon Reynolds curl up in the fetal position." I love that CD, of course, but what a shock.
He still maintains his homepage, and the articles there on the Electroclash scene and the movie 24 Hour Party People are both excellent.
I've decided to follow Cory Arcangel around on the lecture circuit (not really, but this was the second talk of his I attended this week). Last night he spoke at Dorkbot-NYC, a once a month gathering that meets at Columbia U's Computer Music Center. The theme of these events is "people doing strange things with electricity." Dafna Naphtali and Liubo Borissov also gave talks. (Photos of the event are here. On the top row, Cory is the third picture, in cap and sneakers; that's me in the second pic, holding a cup.) After the speakers I was privileged to see an amazing sight, a shrine before which all electronic music fans should bow in reverence: the original synthesizer, a pre-Moog (1950s) phalanx of hardware built by RCA that literally fills a room. It's a staggering, rack mounted monolith of vintage knobs, toggle switches, patch cords, and vacuum tubes, with keypunch equipment (to enter the music score) resembling manual typewriters holding rolls of player piano paper. The behemoth hasn't been fired up in about 10 years, but it is a thing of beauty.
What follows is something I rarely do, which is dump a bunch of raw notes on the lectures. I'll be reshaping these into an argument eventually. In a nutshell, Arcangel rejects current pre packaged software and makes art at the most basic level by getting inside a Nintendo cartidge and reprogramming it; the other two artists use state of the art digital tools taken straight off the shelf, either alone or in combination with other software. Either can be valid ways of working but in this instance I prefer Arcangel's end results. Because he's a good artist, NOT because he can program.
Cory Arcangel
video game systems - first proprietary code
6502 chip is key: runs atari, commodore 64, early apple
beige recording artists (arcangel, davis, bonn, beuckman) discover it also runs nintendo games
makes political, aesthetic sense to work on that level (reprogramming chips)
you don't rely on proprietary code
you don't rely on libraries
study of the limitations of the system
learned how to crack them thru "lots of emails to swedish kids"
mario bros. - earliest, crudest nintendo game
arcangel uses EEPROM (electrically erasable programmable read-only memory) chip burner - like cd burner - to make modifications to chip
used by "home electronics nuts"
shows ambient video of mario clouds: "that's kind of like the new style"
"actual factory-soldered mario clouds"
"not a copyright violation because not a copy"
it's important to do things down in machine language
assembly language is simple: "if______/then_______"
easier than java
audience member: "so what you're saying is, you don't have to know as much, you just have to do more work"
(UPDATE: I asked Cory by email how assembly language differed from development language (see below); he replied: "Well to put it most simply, one does not have any 'objects,' or routines to inherit from. On a new computer programming language you can usually write something like 'draw red pixel at 10 pixels down and 20 pixels across on the monitor,' and it will appear. In assembly language you have machine level access to the computer therefore you have to actually write the code that will place that pixel there because aside from routines built into the hardware, you are not forced to inherit code from other people. So on a Nintendo you have to wait for the electron beam to jump to the top of the screen [happens 60 times a second], and then put values in certain registers. Then in the brief period that this electron beam is jumping you can draw some sprites to the screen at the values you poked into the microprocessor. I like it because once you get down to looking out for the TV's electron beam, you know you are getting some low level access to the idea of 'video.'")
for super mario bros clouds piece, Arcangel used text editor to identify specific clouds
i shot andy warhol based on hogan's alley
less popular shoot em up game - "pre duck hunt"
cartridge has 2 chips - one for operating system, one for graphics
couldn't do it all in graphics; hogan characters were symmetrical and andy was asymmetrical so had to go into os to find mirroring (UPDATE: Super Mario clouds and Andy Warhol are diffferent types of hacks, per Arcangel: "[Andy] is a hack of the graphics chip
although I also had to modify the program chip a little bit because I had to change the colors, and also flip some graphics around because my new characters were asymmetrical. Clouds is just a program chip hack.")
to write the code for the chip, Arcangel uses a 6502 assembler running on a mac; the assembler's code is MPW (Macintosh Programmer's Workshop), a game development language, which runs on top of unix (UPDATE from Cory by email: "An assembler is a program that takes assembly language
[which is a kind of short hand] and turns it into machine code [which can be burned onto a chip]. My assembler happens to be a port of an old UNIX program that runs under MPW on a Macintosh. There are many different assemblers for many different platforms so the idea of it being MPW and from UNIX does not really matter. Sometimes I use an assembler that runs on DOS, and NOW I use one that runs on OSX called nesasm. Usually I would not get into that, but I suppose someone asked me a question and I had to explain exactly what I was using... Actually now I am trying to not use an assembler at all and just write the compiled machine code by hand in 1s and 0s. Just for a challenge. This is because Joe Beuckman and I kinda came up with the idea to be a
real BEIGE members one has to write in 1s and 0s.")
cartridge hacks done in rom, then tested in emulator (UPDATE: as Cory explained later by email: "an emulator is another piece of software that runs a compiled
program for the system it is emulating. They are mainly used so people can play games they grew up on, using modern computers. So for example with a Nintendo emulator, I can play super mario brothers on my MAC." His preferred one is RockNES)
"harder to reverse engineer than engineer" - one audience member takes issue
other project: collaboration with paper rad (Providence RI collective)
telling story with projection in background
(like puppet show?) no, 8-bit version of machinima
one more project: rave videos
writing programs with the mario software (demonstrates blinking geometric grids made from changing background colors - a high speed, better version of jeremy blake's early grids imho) taking advantage of mario's ability to sync up with the tv raster at 60 lines per second refresh rate, which is twice as fast as video (32 lines per second)
tag line: "twice the psychedelia"
audience member: will you ever work with game boys?
"game boy irks me"
Dafna Naphtali
"higher end audio"
uses MAXMSP music software
performance oriented
processing audio live
digital chamber-punk ensemble
Liubo Borissov
video synthesis from music
"making fire dance"
synthesized tabla drum - jerkily "dancing" flames (i did not like this - too new age)
music program used: reactor - modular synthesizer like maxmsp
edits "standard fire synthesis effect" in aftereffects, using parameters based on sound.
"communication" - looks like advanced early 90s rave video
ballet dancer with superimposed abstract painting
uses poser program for video of dancer
poser creates transitions between one pose (motion capture) and another
traces of shadow of dancer correspond to sound data
uses studio artist paint program for blue painting overlaying dancer
g-force moderates between studio artist and sound
poser option: "render as painting"
example of mapping sound to image: bass to physical size
Kristin Lucas, Joe McKay, and Buddy the Chinchilla driving to Dover, Delaware (photo: Kristin Lucas)