I‘m writing this because I note that Talk Back reports 0 comments. Maybe I can see why: I looked for pictures that is to say, art works and all I found were snapshots of happy artists partying. All very cozy and convivial, but what do they do when they’re working? I'll tune in again sometime in hopes of finding out.
Give my best to Jeff.
...see..I‘m in maine; cabin fevor 8, actually, as a native new englander I don’t mind (those 2 in the morning walks up b‘way by 107 are one of my fondest memories...big air trap...3 degrees baby...you can’t do it - hope the “girl friend” isn't getting to wierd...where ever she is."
Those people having fun? They‘re republicans. Basically deal wiith it; when and if the dems come in they will - perosnaly I thought the jimmy carter era was great - more money in my pocket than any other time, ussed alfa, pussy, The ford Pint is a dencent car, tighten up the stearing, decent shock...always can thow a formula ford engine in thee..needs a 5 speed; pretty reliable. I don’t want an LTD. Jags? I worked at a repair shop - I drove em as often as the owners did.
Basical...get heaviy into SI; muder incorperated without the bad taist.... (ie: no madona, they just happen to be assholes...)
Remember - field has 2 sylables...
nova - one wheel drive.
If there‘s no heaven I’d rather be dead.
Is Cleveland Moffet a real name?
there are also 0 comments under Blonde Ambition.
Yes it is, but Sister Wendy shouldn't be.
Cleveland Moffett (still)
ok = fine -. But my thought for the day (master loop - 16ths - when images like my big bird come through they have no choice) can you go back in time in a different demnsion; broken lkoop to the fourth; multiple dushamps; renegations/ you know...I spend a lot of time seriously screwing thingsup (as you well know) current goal (thrown out againt) see you in the movies -4; better yet, -5 or -6; at minus six we can do a theater of crualty and see “the real thing”
PS: when the do one of thsoiose “sorry, no coke, we only have Pespi” I always say "Thanks you - they sponsered the Kweck alfas in trans am in 71/72
You know you guys...here in the middle of no where (and you can still feel them going crazy when you go for a pack of smokes in the middle of the night) - I think we might be headed for a “double buhda” - this whole thing literaly sweaps around the nation... so...it could abduct itself at two points at the same time...
Rumour has it the mercer sighting on ebay sugested a terrible accident in the midwest and a number of emerging aliens (clean 924 manual) cut a deal, nice academic shows, and an under 4 year old nija not too disturned.. nivce house; squeeky clean blond - no divorce in sight...
remember - thats DB
remy is shooshy bye.
what does “academic” mean to yall to me it means an appoximation, something learned not experanced.
well - there is “aceademic” painting and which was authentic and even natural in the late 1800s (Manet/ or better yet...balzak) and very expenisive to reproduce now; academic in school - well, what is in fashion with the right foot notes or a big fight.
not academic (really ...this happens to people):
so i can keep up on ‘Alternative’ (formerly known as Progressive Rock, vomit) w/ which to program my iPod so i have good music to pound my body bag. It keeps my work light and airy.
painters and painting- were there realy so few painters who were painting or only so few painters who got attention? re:academic credentials, they open the door, legitimize the intentions of the candidate, establish the facts of a persons experience in fact academic experience is experience, the beginning of intellectual curiousity and investigation
think the notion of the “academy” is changeing as quickly as that of the “museum” ... and there is prob. a connection... lets call a spade a spade what we are dealing with here is Major Cooporations spewing mutilated marxism in a field which increasingly definds itself with econmic benchmarks and accessibility. all and all increaslly erodeing the “myth” of the “celebrity” of the Artist and reducing it all to the ultimate juggernot of production of the “aspiring”.
i'm down with work-alcoholics that are cloistered in their studios and obsessed with production-
do you think technology is changeing the notion of the studio and not all “work” is productive?
one of my coworkers just got back from Carnival... did you konw is rio prostiution is legal but pimping is not. and the cops make someone “dissapear” often just to keep people afraid.
challening or changing the notion of creativity or creative work? any material, machine, or technology can be used creatively, it‘s what’s going on upstairs (mentally) that is the food for fodder, the message that communicates the artists world view, i'm all for simplifying instead of complicating the dialogue
that's horrifying about rio, thank god i am an american, for better or for worse
different strokes for different folks,
i thought the prositution thing was kinda forward thinkin, i guess also beer is like 35 cents and if you see some one with an empty glass you fill it up... so everyone is always hooking each other up ..
just thinkn about how being a “product of a system” and community has alot to do with notions of authority and how “order” in implimented. concepts of isolation, torcher phyiscal/mental.. and how different social systems function, (also takeing in CNN for the past hour)
sorry ment changing the notion of a studio, certainly y-fi and laptops...
When Richard Serra arrives here in March, he'll be on something of a secret mission.
Publicly, America‘s most controversial — and arguably its greatest — sculptor will be on hand to complete the installation of his new work, Tilted Spheres (2002-2004), four spherical sections of weatherproof steel, 50 millimetres thick, at Pearson airport’s new Terminal One.
Privately — well, at least semi-privately — he'll be meeting with officials in King Township about the fate of a piece he finished in 1972, just when his career was taking off.
Shift (1970-72) might now be in jeopardy. Its ownership is in some doubt, as is its future. According to some scenarios, developers could well chuck it in the dump to add a few more suburban monster homes.
And you don't want to mess with Richard Serra when he feels his work is under attack.
Tilted Arc, a contentious work commissioned by the United States federal government, was eventually hauled away from Federal Plaza in New York in 1989 following years of enormous public outcry demanding its removal.
Office workers felt threatened by the 35-metre stretch of 3 1/2-metre-high Corten steel that leaned in such a way some walkers felt it might fall on them. Others found it blocked their way or thought its accumulating rust was an eyesore.
Before the trucks moved in, though, the sculptor launched a $30-million (U.S.) lawsuit that stayed in the courts for years, reaching a climactic three days of hearings in 1985 where a Who's Who of the New York art scene supported Serra.
To this day, the 65-year-old sculptor, who divides his time between lower Manhattan and Cape Breton, remains bitter about the government allowing the piece to be scrapped.
Shift, hidden on a patch of farmland just west of Dufferin St. near King City, was commissioned by Roger Davidson, a leading Canadian collector from a family of land developers who were also lifelong supporters of the Art Gallery of Ontario.
All of Serra‘s work is site-specific, although the settings involved are most often urban. In Europe, where there’s more of a public-sculpture tradition, his caustic anti-White House sentiments have found an eager audience.
For the Davidson property — never lived on and resold in 1979 to a local developer — Serra created a two-part work from cement crossing 13 acres. It is discreet, yet it manages to alter the viewer's perception of the land.
With trees and wetlands nearby, each section of Shift is itself divided into three sub-sections of angled walls, each 1.5 metres high and 20 centimetres thick, which follow the rise and fall of the land from one small hill to another.
The sections themselves extend about 275 metres, although they are largely hidden by crops, weeds and wildflowers in summertime.
Now there is encroachment from developers. King Township historical societies have sounded the alarm in recent weeks, attracting the attention of local government, some heavy hitters in the local art world — and Richard Serra.
“Since Shift presently lies in an environmental protection zone, there is some security from immediate land development, but the periphery is now under major development pressure,” Serra was warned by Fiona Cowles of the King Heritage Committee and Virginia Atkins of the King Township Historical Society.
“We think it is urgent to take pre-emptive action to resolve the future of Shift. Our hope is that it should be celebrated as a creative testament and made accessible to all who make the effort to visit the site.”
To put even more pressure on, Shift's protectors involved Margaret Black, mayor of King Township, in their petition. “And (Serra) has been very supportive,” says Black, who grew up in the area.
Triggering the initial alarm over Shift's fate was the relatively recent discovery by Bert Duclos, a researcher for the heritage societies, that a Land Registry search produced no mention of Shift in any of the deeds.
This is where it gets tricky. On one hand, Serra is quite clearly Shift‘s owner under Canadian copyright law. A case in point is Michael Snow’s dispute some years back with the Toronto Eaton Centre, which had bedecked Snow's flock-of-geese sculpture with red ribbons. Snow fought and won. His geese flew unadorned. Under law, he had the right to control how his work was exhibited.
Yet just how far do Serra's exhibition rights extend? Could he stop houses being built nearby? Indeed, just how big is the site of this or any other site-specific work? In cities, the volume occupied is defined by surrounding structures. A country site has far fewer external definitions.
And Serra thinks big.
“After the piece is created, the space will be understood primarily as a function of the sculpture,” he said about the reviled Tilted Arc.
The philosophy applies to the rest of his work as well.
But without any mention of the work in the deed, “the current owner of the land would own the work, if it is indeed something firmly attached to the lands, as a house might be,” says one lawyer.
Michael Snow, again, proves that the artist does not always win. Owners have clout, too.
When Ted Rogers decided he wanted to move Red, Orange and Green (1992), a tree-like sculpture Snow created for a specific site by the Confederation Life building subsequently bought by Rogers, the cable king simply had the piece moved. Snow complained to no avail. Site-specific “Red, Orange and Green” was yanked from its site.
“So something could happen to Shift,” worries Virginia Atkins. "Shift takes up 13 acres but the land itself is about 50 acres.
“We want the township to recognize this as a historic site, and we want the owners — and everyone else — to know about it.”
taking it into the virtual realm- i still see the similarities- i go online (email and chat) for inspiration, and to spar with other folks about ideas, the days movements, and to share news. i can send digitals of my work instantly to get feedback, but there is no substitute for slogging it out between work and muse, materials and results, to arrive at a satiation point (moment of elation) with my work- how is the notion of the studio changing for you?
i think you're grappling with issues of legitimacy not the studio and the legitimacy or definition of the work an artist does or makes
also issues about authorship- individual versus collective works- benefit of working in a community on a dialogue- those are semantic issues, no?
n/imortalised (=-3) = anti academic.
jee, maybe visit a book store?
it expands and contract, modular depending on what equiment i need and i can set up almost anywhere ... also where ever i shoot.
sorry, just saw this, i am talking about not needing to have much of a physical space in which to work.
historical undertones/overtones ie the advantages of plein air versus studio painting- what else?
ok huge blaze is going to slap me for this one ((it is social sculpure ..)
Having spent a lifetime of moments late nights talking in studios, arguing, the good speakers would spend a lot of time countering, trying to make this point over that, the bad speakers communicated on another level. It was an insider level. And at this level there usually is clear communication and much less point making going on. I think in this situation the best conversation is not about language, though does employ snippets of language and fragments of the collective real to break stereotypical thought processes down to get at something more important, and much more worth sharing. These kinds of chats, such as at AF are useful sometimes when those in chat let the barriers down and stop making sense for someone elsefor the audience.
Re: virtual stuff.
If the laptop is the studio then the space were the laptop is is a working space, whether it be the toilet, or the loft, or the loft's toilet.
Over here not many have the choice to much such lofty discernment.
For those who think proving something that they think they have already proved have proved on one thinga bad concept takes up a lot of words.
Back to the mIll..
“Desire urges us to posses, to go do something; loathing urges us to abaodon. to go from something. THese are kinectic emotions the arts which excite them, pornographic or didactic, are therefore impoper arts. THe estehetic emotion... is therefore static. The mid is arrested and raised about desire and loathing.”
By John Hooper
January 23, 2005
Michelangelo‘s marble statue of David is seen at the dome of Florence’s Accademia Gallery, Italy.
One of the most intriguing, if least openly discussed, mysteries in art has been resolved.
Michelangelo's David is meant to be a representation in marble of the perfect male form. So why did his creator not make him - how would one say - a little better endowed?
As every visitor to Florence will know, the modest dimensions of David's “pisello” are a running joke with Italians, and the stuff of irreverent postcards.
But, in a paper to be published at the end of this month, two Florentine doctors offer a scientific explanation: the poor chap was shrivelled by the threat of mortal danger. Michelangelo's intention was to depict David as he confronted Goliath.
What the new study shows is that every anatomical detail - right down to the shaping of the muscles in his forehead - is consistent with the combined effects of fear, tension and aggression.
One of the authors of the paper, Pietro Antonio Bernabei, of the Careggi hospital, Florence, said one such effect would be “a contraction of the reproductive organs”.
Last year, he and Professor Massimo Gulisano, of Florence University, conducted a computer-assisted study of the 4.34 metre-high statue, in the Galleria dell‘Accademia. They emerged, in Professor Gulisano’s words, “stupefied” by Michelangelo's physiological accuracy.
The only mistake is at a point in the centre of David's back that is hollow and ought to be rounded. Michelangelo was aware of the error. But, as he wrote at the time: “Mi manco matera” - “I lacked (enough) material”.
Dr Bernabei said allowance had to be made for the conventions of high Renaissance art, which depicted activity in a “much more composed and elegant fashion than today”. But, anatomically, everything about Michelangelo's David was consistent with a young man “at the moment immediately preceding the slinging of a stone”. His right leg is tensed, while the left one juts forward “like that of a fencer, or even a boxer”. Tension is written all over his face. His eyes are wide open. His nostrils are flared. And the muscles between his eyebrows stand out, exactly as they would if they were tightened by concentration and aggression.
David is holding something in his right hand, and it has conventionally been assumed that it is a stone. But Dr Gulisano said it is the handle of the sling.
The full findings are to be given in a paper written for the Dutch Institute for Art History, in Florence.
Michelangelo's masterpiece, completed in 1504, was put back on display last May after cleaning, which allowed its anatomical details to be studied much more easily than before.
Now just one great puzzle remains: why, since David was Jewish, did Michelangelo sculpt him uncircumcised?
um...thicker? One of those things - you fuck with de vinci I'll hunt yiu down and kill you; but for Michael - swear to go...print last super toilet paper, I could care less - it a certain form of designe studio: high points: Michaelangelo, GTB Ferrari, and...ofcourse...Micky Mouse,,
Not bad really; but, uh...criminal. De Vivnci pretty clean guy - medici and designe studios; Michaelengol...early mob dude. Figure it out. I‘m a barbie doll - , reluctantly, all that money floats around micky as long as you can hold on to it...then de vinci (to the side...(and..) ...I’ve actually stood in Florence and heard a little click as the money moved, and I even said than you.
Not William Tell:
fuck you nannie.
I got the heeby jeebies ‘cause I love you so,
I got the heeby jeebies why do you have to go,
If you don’t want me, darling, just let me know,
Then I won't be a fool over you know more,
You gotta jump back,...
Last night, the night before (jump back, baby, jump back)
Twenty four robbers was at my door (jump back, baby, jump back)
I got up to let ‘em in (jump back, baby, jump back)
Hit ’em on the head with a rollin‘ pin (jump back, baby, jump back)
Downtown sycamore town, (jump back, baby, jump back)
Billy goat laid his poppa down (jump back, baby, jump back)
Oh, jump back, baby, jump back
Oh, jump back, baby, jump back
Well, I went back home to get some sleep (jump back, baby, jump back)
I give the bed bugs the time to creep (jump back, baby, jump back)
If one should bite before I wake (jump back, baby, jump back)
Hope the world enjoys the break (jump back, baby, jump back)
Oh, jump back, baby, jump back
Oh, jump back, baby, jump back
Paid 5 dollars for an old grey horse (jump back, baby, jump back)
Horse wouldn’t pull, so I swapped for a bull (jump back, baby, jump back)
Bull wouldn‘t holler so I sold it for a dollar (jump back, baby, jump back)
The dollar I wouldn’t need so I throwed it in the grass (jump back, baby, jump back)
The grass wouldn‘t grow, so I chopped it with a hoe (jump back, baby, jump back)
The hoe wouldn’t chop, so I took it to the shop (jump back, baby, jump back)
The shop made money like the bees make honey (jump back, baby, jump back)
Oh, jump back, baby, jump back
Oh, jump back, baby, jump back
You gotta jump back, baby, every single night
You gotta jump back, baby, every single night
Why don't you jump back, baby?
You gotta jump back, baby
oh Montoya, how much is the brooklyn bridge.
As you probably know, I‘ve reluctantly decided to discontinue my TV show.
Even though I’m not currently in a position to return to TV, I haven't
retired from financial journalism.
I'm especially looking forward to returning to the helm of my newsletters
sometime next year. In the meantime my editorial team will continue to bring
you the best profit-making ideas from the best minds on Wall Street.
I would like to thank all of you for your prayers and well wishes. Your
continual support through these trying times means a lot.
I respect that - probably even get his own web page (I have one) loved an interview I heard as Clinton was going out, two economics extperts from his administration, one in australia, the other up north in canada...that's the way it is. LR sounds very graciouse; I will now reconsider all his views.
all the news: another fake vietnam vet hits the dust: otherwise...sandrail for 1200 and an avante:
yea = spielberg is doing a sort of faubert's parot of dali and duchamp in madrid...should be wild