Sundays with James.
Sundays with James.
“Tristesse Seeliger is a Vancouver artist
working in mixed media using painting,
photocopy transfers, collage, and printmaking.
For the past two years she has been working on
a body of work focused on geometry, territories,
perception and cartography. Using the principles
in mathematics of tiling and patterning, the work
disassembles and then reassembles maps that
focus on the shapes, textures and colour to
recreate new territories. These collages are part
abstractions part designed object that use universal
language to communicate alternate modes of
perceiving land and space.”
"So, this is a confessional book where you cannot be sure if the confessions are true: It’s either a brilliantly ironic subversion of the form, or a deeply wearying put-on by someone who has no sense of who they are when no one is watching. I honestly don’t know which it is."
Sincerity became a sort of artistic capital somewhere in the mid-2000s. That people (female or male or young or old or in Brooklyn or otherwise) have turned the concept of self into a confusing jumble of meta-narratives isn’t surprising.
I appreciate Dunham’s work insofar as it makes a great judge of someone’s character in conversation. Everything she’s done is so multifaceted that strong unqualified feelings on her, positive or negative, are great indicators that the person I’m speaking with might be something of a dullard.
"A six-year old boy startled me one day by clarifying the whole matter: When introduced to me as a man who draws Bugs Bunny he became very indignant. ‘He does not draw Bugs Bunny, he draws pictures of Bugs Bunny.’” —Chuck Jones
The above are ideas for a book that eventually became “Chuck Reducks: Drawing from the Fun Side of Life”, published in 1996 with a foreword by Robin Williams.
Another day, another dollar. #mta
From May 1979 to January of 1987, the East Village Eye, a monthly magazine of popular and avant garde culture, exerted a profound influence that eventually reached across the entire world. Coverage in the Eye resulted in development of several key “scenes” that eventually evolved into movements felt all over the planet. Some credit the Eye with creating the East Village art scene, which nurtured legendary talents such as Keith Haring and David Wojnarowicz, while the Eye’s coverage of other emerging New York artists such as Sue Coe, Barbara Kruger and Kiki Smith helped illuminate the psychosocial conflicts running through the contemporary brain. Many such artists made work specifically for publication in the Eye.
When hip hop started to emerge from the ghettoes of New York, the Eye was there with early stories on historical figures like Afrikaa Bambaataa, Fab Five Freddy, Futura 2000, Run DMC, the Rock Steady Crew and many others. How early? The East Village Eye was the first publication ever to print the words “hip hop”.
The mini-symposium entitled “How Hip Hop Came Downtown”, September 18 from 6pm at Printed Matter in New York, will cover the process in which members of New York’s media and fine art communities brought rap music, graffiti art and breakdancing from the inner-city ghettos to a wider audience that has since spread across the world. Leading this discussion will be Eye publisher/editor Leonard Abrams, scholar Yazmin Ramirez, musician and multimedia artist Michael Holman, and the celebrated artist and media figure Fab 5 Freddy. Plus special guest appearances! [via]
[<3 <3 this event should be at a school or museum. it is too real for something as bloated as Printed Matter is now. i know it can be a bit sacrilegious to say ill about P.M., but i think this event and publication needs a better platform.]
I would absolutely had gone to this had I known it was happening.
Tim Maly - What We Talk About When We Talk About Making
The above quote does an awful job of summing up the many things the article touches on. Highly recommended.