2020-02-19 10:00

This country is really a free country. A person can do what he wants. Nobody asks to see your identification or your papers. The people here have representatives from every race and every nation. Whether you’ve been here for eight days or eight years, you are always treated like an American! There is only one thing you should not do, criticize anything. The Americans are extremely proud of their country! The whole way of life here is based on saving time. Only fast and as simple as possible.

An essential observation on America. Robert Frank (in New York) writing home to his parents, March 1947.

quotes photography robert frank
2020-02-05 12:00

No One Looked at New York Like Jason Polan

Jason Polan’s powers of observation, which rose to almost idiot-savant levels, and his hand — so simple, quick, supple, fun, and visually intelligent — made him one of the consummate draftsmen of the 21st century.

I am not really a fan of Jerry Saltz, but this eulogy (of Jason Polan) is essential.

artists links jason polan jerry saltz
2020-02-05 11:45

The blog is a hot mess at the moment (sorry). I’m in the process of moving posts from the old CMS and digitizing some material that I had bookmarked from the fall that never made it. Should be fully operational by the end of this week or next.


meta notes
2020-02-05 11:32

BARBARA KRUGER Pictures and Words: Interview with Jeanne Siegel (1987)

I think that the exactitude of the photograph has a sort of compelling nature based in its power to duplicate life. But to me the real power of photography is based in death: the fact that somehow it can enliven that which is not there in a kind of stultifying frightened way, because it seems to me that part of one’s life is made up of a constant confrontation with on’s own death. And also the thing that’s happening with photography today vis-a-vis computer imaging, vis a vis alteration, is that it no longer needs to be based on the real at all. I don’t want to get into jargon, - let’s just say that to me photography no longer pertains to the rhetoric of realism; it pertains more to perhaps to the rhetoric of the unreal rather than the real or of course the hyperreal.

2020-02-05 11:32

JEFF KOONS From Full Fathom Five (1988)

The bourgeoise respond to really dislocated imagery, and this is their rallying call; it’s all right to have a sense of openness and emptiness in your life.

I do not start with an ideal that is elevated above everybody. I start with an ideal down below and give everybody the opportunity to participate and move together.

The idea of St. John and baptism right now is that there are greater things to come. And it’s about embracing guilt and shame and moving forward instead of letting this negative society always thwart us - always a more negative society, always more negative.

I’ve found that collectors are my power base.

I think that I give them a sense of freedom.

I see it as my job to keep the bourgeoise out of equilibrium letting them form a new aristocracy.

I think it’s necessary that the work be bought, that I have the political power to operate. I enjoy the seduction of the sale. I enjoy the idea that my objectives are being met. I like the idea of the political power base of art, but it’s not just a money thing. It has to be a total coordination of everything, and money is a certain percent of it, maybe 20% of it. Look, abstraction and luxury are the guard dogs of the upper class. The upper class wants people to have ambition and gumption because, if you do, you will participate and you’ll move through society into a different class structure. But eventually, through the tools of abstraction and luxury, they will debase you, and they will get your chips away from you.