2018.10.25
10:08
2016.10.25
Architectural Axiom/Statement Re-Writes
In the future, everyone will be large for fifteen minutes. --Andy Dandy
2012.10.25
12102501.db Working Title Museum 003 each floor wireframe
2008.10.25
front-line ideas + regional tradition = potential for a design culture of thinking/making?
Regarding Jarzombek's "Un-Messy Realism", what's important comes at the end:
"We have to realize that our discipline is undergoing an inner transformation of historical import and that sooner or later it will yield an educational system far different from the one we grew up with in the last twenty years. But whether this is for better or worse is difficult to ascertain since there is also a collusion of silence in academe about where the ghost ship is heading."
The "collusion of silence", like a law of silence (utilized by various emperors) is an effective form of control.
More likely it is an outer transformation that is bringing about the inner transformation.
A "collusion of silence" can also breed ignorance via ignoring.
"Official art culture is much more effective in its control of history than Republican strategists, for it knows that the best way to treat contradictory material is not to rail against it, but simply to pretend it didn't happen."
--Mike Kelley, 1992
Be watchful of the inner and the outer to see the full picture.
2004.10.25
Re: Pop Life: Los Super Elegantes
Saw Warhol (again) the other night in his cimematic debut where he first met Liz Taylor way before that Love Boat thing. I'll let Andy tell you the title, even though he was in it less than a minute. Do you think Vanessa Beecroft ever saw the opening scenes? Sure looked like one of her works.
Anyway, haven't finished my viewing yet, so my favorite scene is yet to come. No, not the terrorist explosion at the Altar of Peace. Actually, "What time is it?!?"
2002.10.25
Re: The GREATMAN
Frank Zimmerman wrote in closing:
i kan hardly waite for 'ZTiffAN' to hurll hiz VORboze into THiz MIXX-KAN U & by the TIme 'THe RAiny-BUFfollow putzz IT toGETHER WE'll B zunning OURzelvez-a LONGway from PHillee'
Steve replies:
I could be cute and say I really should delay any 'hurl' coming from my direction, or more specifically from my Philadelphia position, but the truth is that I enjoy this bulletin board and it ongoing postings. I enjoy the stimulation as well as the open opportunity engendered by the bulletin board. Of course, this is because I even more enjoy the stimulation and open opportunity engendered by Duchamp and his works.
My first visit to the Philadelphia Museum of Art (in 1972 when I was a sophomore in high school) was spurred on by Life magazine's feature of the world's largest painting by Gene Davis. It was on that first visit that I at least remember seeing The Large Glass for the first time, but with no prior knowledge of it or Duchamp--perhaps in retrospect experiencing a kind of loss of virginity in the process, yet also oddly not knowing then who was ultimately "f-ing" with me. I wasn't crazy about what I saw, but the full title of the piece did indeed "tickle" me. Beyond that, I can now only guess that I probably didn't see into Étant Donnés that first visit, thus I probably saw the door, but didn't know to look inside.
Sometime it seems like a lot has happened (with me) in the 30 years since then, and sometimes it seems that maybe not enough happened since then. And then even delay becomes an issue, and I suppose that's appropriate (or is it just cute?).
One work at the PMA that I clearly remember from my first visit is the very early Picasso Self Portrait in its collection (currently on an exhibition tour). Picasso was still alive then, but he died the next year. I remember how Time magazine began it report of Picasso's death, something to the effect of moving from "Picasso IS the greatest artist of the 20th century to Picasso WAS the greatest artist of the 20th century."
I've just now been inspired to consolidate my Philadelphia Museum of Art focus via (working title) Reenacting Triumph on Fairmount, Even
1999.10.25
exporting merrie olde england
What you are basically questioning and evaluating are the (aesthetic) notions regarding reenactment as a purposefully designed phenomenon within the built environment. As my abstract indicates, I see this particular 'brand' of construction as something on the rise, but it is important to remember that reenactment is a 'theme' that exists throughout history. For example, Hadrian's Villa of the second century AD and Las Vegas of the 1990s. And aren't the Great Pyramids 'perfect' reenactments of mountains?
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