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another lunchbox from Kristin Lucas' Happy and Sad Sack Lunch Series 2005...
...and an inhaler.
YouTubin' by categories (mine)
* removed thanks to some dildo
**removed by user
Tornados
Near Attica KS, May 12, 2004 (watch house get sucked up into sky)
New Wave/Postpunk
Throbbing Gristle Discipline
Wall of Voodoo Ring of Fire (live)
Tuxedomoon Desire / Jinx / In a manner of speaking
Suicide Ghost Rider ("America, America is killin' its youth") ('77-'78) / Another version
King Crimson *Elephant Talk
Progressive/Psychedelic Rock
Gentle Giant Give It Back
Van der Graaf Generator A Plague of Lighthouse Keepers, Part 4
*Yes Astral Traveler
*Procol Harum Homburg
Anime
Wings of Honneamise Opening credits (music by Ryuichi Sakamoto--wish the resolution on the ink wash drawings was better)
Excerpt from Patlabor 2 (dialogue dubbed in German)
*Another Patlabor 2 Silent Tokyo
Gunbuster - Buster Beam / Die Buster
Film
John Carpenter Dark Star Trailer
*Deleted Bank Robbery Scene from Escape from New York
Tarkovsky - Stalker - the rail trip into The Zone
Art
Robert Smithson Spiral Jetty (excerpts)
"Prophet without honor" award to George A. Romero for his 1973 no-budget movie The Crazies. He lives in Pittsburgh and doesn't have Hollywood smoothies vetting his pictures so he gets to say anything he wants. The premise of this one: plane carrying US government-developed bioweapon crashes near a small Pennsylvania town. The pathogen--an "encephalitic mutation"--causes insanity that either comes on full strength or appears intermittently but eventually results in death, after several days. The bug gets into the town's water supply. The government is late on the scene and the best it can hope to do is declare martial law, round up all the citizens, and contain them in the local high school gym while searching for an antidote or an immune person. The Army, wearing hazmat suits, enters into pitched battles with the locals, crazy and not crazy, many of whom are armed and don't want to be "rounded up."
The main protagonists are a group of sympathetic townspeople, including two firemen who are 'Nam vets, who don't know the full symptoms of the virus or which of them might be infected but attempt to blow town. If they succeed, it means "breaching the perimeter" and spreading the infection to other cities. Suffice it to say, in a packed 90 minutes, everything that can go wrong does go wrong and the film is nonstop strife and carnage--but funny, too, that's Romero's gift. The main "villain" is the bumbling ineptitude of the Army and the utter callousness of the government towards the townspeople.
What seemed like overwrought science fiction in the '70s has become all too familiar in the '00s with the neglect that led to 9/11, the government's abandonment of New Orleans to chaos, the Washington sniper, anthrax, and the devastation in Iraq. What The Crazies does is wrap all this horror in one explosive package. A movie like this still could never be made in Hollywood--we have to look back 30 years for an unflinching portrait of our own present.
Found this photo on my hard drive; forgot I had it. Taken during my last open studio, when I still had a studio (that wasn't in my home). I had earlier posted an installation shot of this same work, but it's more effective with a human in it for scale. I was talking with M, an artist from Europe, about the relationship of work like this to Peter Kogler's, who is better known across the pond than in the States. In a nutshell, Kogler makes wallpaper of tubular, computer-modeled patterns and coats gallery floors and ceilings with it. It's hard to say what discourse is associated with it--it's his schtick, and M seemed to think it had slid into the realm of kitsch. "Computer-y" for people in the art world ignorant of computers, but too dumbed down for people working in new media with "generative art" models, etc. Screen saver art on an epic scale. Happily, M recognized that I was working in MSPaint(brush) and my work was a lo-tech goof and therefore not particularly comparable. I'm drawn to the "high school science fair" as a visual model, and the community museum Op art shows I remember from childhood, and I would hope the clunkiness of the work would make the irony and failed utopianism theme immediately obvious. Evidently it's not, though, to everyone. I actually backed off doing this type of installation because the response I was getting in my studio was lukewarm. Also I had to ask myself if I really wanted to go from show to show installing these things. The one above took about 8 hours of standing on a ladder--"I'm getting too old for this shit," as they say. I wouldn't rule it out as a component of a future show, so be forewarned.
"I Hate The Others" [mp3 removed]
An attempt to reclaim drum and bass for all that is nerdy (with anthemic prog chorus, robotic reggae under-rhythm and a cowbell). My aim is the musical equivalent of the sculpture in the previous post.
Related: Neurofunk.
Related: Lost thread.
Update: I decided the anthemic prog chorus was bugging me, so I changed the piece to:
"I Hate The Others (Ethereal Version)" [mp3 removed]
Raisin Bran Molecule Sculpture, 2006, product packaging, ink jet print on cut paper, tape, staples, pushpins, 42 x 30 x 14 inches
series
Attack of the clones, part 2
This item just appeared in Artnet News; apparently "anonymous" shows are happenin':
"ANONYMOUS" ART SHOW IN FRANKFURT The Schirn Kunsthalle in Frankfurt is set to roll out "Anonymous: In the Future No One Will Be Famous," Oct. 31, 2006-Jan. 14, 2007. Organized by an anonymous curator and featuring a selection of anonymous artists (they have agreed not to reveal their identities for the duration of the show), the exhibition is a reaction to what participants describe as the pernicious branding of artists in the contemporary art world.Harlem's Triple Candie gallery also did an "anonymous" series in 2004 and 2005, consisting of two shows by artists whose identities won't be revealed (ever, according to co-gallerist Peter Nesbett.) The curatorial intent was essentially the same--"reaction to pernicious branding of artists in the contemporary art world"--although Triple Candie framed it more thoughtfully as an issue of "how biography informs interpretation." The shows weren't obscure: one was reviewed by Ken Johnson in the New York Times and the gallerists mentioned them in an interview they gave in Flash Art interview in this summer.
The artists have even published "Notes toward a Manifesto" (of anonymity, presumably), declaring, that "Anonymous artists wish to wriggle the status quo into a status incognitus. Their aim is to remove the increasing barbarization of thought via short circuits and fast lanes created by the marketing of artists as brands whose works have become masterpieces in ignorance of philosophy." Also available is a 160-page catalogue, edited by "anonymous" and Max Hollein -- as well as a limited-edition run of 500 catalogues with pages that are completely blank.
While it appears the Schirn Kunsthalle either doesn't read the art press or is, um, appropriating another gallery's recently-promoted concept, the affront may not be all that severe. The fact that the Kunsthalle's artists will be revealed at the end of the show makes it more of a coy guessing game, or publicity stunt, than any kind of transgressive curatorial effort.
Attack of the clones, part 1
Update: from curating.info (the exact link is bloggered): "dear tom moody, see the catalog to the exhibition, page 19. in an interview, the anonymous curator cites this Triple Candie exhibition as being one of the many predecesors of this anonymous show. [...]" -- tom about Curated by "Anonymous" Sat, 11.11.2006 16:35
Recommended: this music video titled "domain" [YouTube] by Guthrie Lonergan. On one level it's documenting people's dumb pictures of their workstations and home entertainment centers posted to the web, a veritable consumer orgy of "stuff we need to be happy." But the slide show of nerd nooks keeps being interrupted by a mysterious geometric map flying across a computer-generated ocean, while sad, eerie strings play on the soundtrack. What is this "virtual ocean"? Is it where the gamers meet? The afterlife? And where are all the gamers? None of these photos have people in them, just gear. Are they dead? The camera following the map is perpetually approaching some signpost in the middle of the ocean. Is that it--the answer? Abrupt cut to black.