Under
I made a comment on Speech2012 asking why the new posts, some good ones, about what's going on in Melbourne keep getting posted under the 'one word responses for the biennallleee de Lyon'. It's not so much that the new posts are about Melbourne in particular, it's nice thta there is stuff from all over, but just that they are new posts, new stuff is sought of how blogs seem to work maybe, and one could be forgiven for looking at Speech and think nothing is moving, but there is, it's just being moved underneath. My comment has been removed.
Drawing Show
| Trouble An exhibition of Drawing by Alumni from the ANU School of Art Printmedia and Drawing Workshop | ||
 | 1 - 26 October Contemporary drawing practice has come to inhabit an expanded territory beyond the page and the frame, a territory that can encompass a vast range of materials and outcomes. The focus of ‘Trouble’ is the potential for drawing to activate the space of a gallery in unexpected ways through site-specific installation. This approach to drawing can be troublesome for curators and writers, hard to pigeon hole and exciting for audiences as they are asked to engage with the gallery space in a way that has been affected by materials, placement or form of the drawings. | |
Looking at Frames.
The Guggenheim Collection: 1940's till now is over at the NGV on Sunday. The first room is the best for me, the first room as you turn right especially. There as you turn right is a bit of a cluster of yellowing oil, palette knifed and ochered stuff. Its all a bit pottery and twine. These post war abstractions plus the silly op and the kinetic works (except the Fontana upstairs is better) add up to something optimistic and playful and none too fearful. Post war I guess. Its like the 'funk' of the materials is enough. I think my liking the chunked oils is just the shock of seeing texture. Shit painted like it was painted, not mediated by an interface, T-shirt or sticky tape.As we chatted through the exhibition my friend and I kept talking about materials, but had started describing frames and mounts instead. We liked this, but not that, couldn't see the work cause of this etc. I don't mean the old stuff is better than the new stuff, but as works are forced into the similar longevity of oils, the frames , the compromises, the little hats and boots they have to wear so they don't hurt themselves don't escape comment.
Description of materials and matter and a common sensation with pals towards them can be sweet (SWEEEEET) communication.
But It's when you are going to shows and complimenting the hang and poo pooing the frames and not much else, nothing is fogging your glasses or making you want to make work, you sought of know perhaps that its all a bit polite and its all a bit mutual admiration society. Maybe this is a nice thing to do - you want to like someones work but sometimes you can be left clasping at straws and frames and hangs.
Elvis Richardson on TV
An interview with Elvis Richardson ( a favourite) finalist in the Ian Potter Art and Sport prize will be on ABC arts this Sunday afternoon.
Helen Johnson at Sutton
Hi Helen,
your current show at Sutton is on my way between the art supply shop and the studio, so have ducked in a few times - and its really growing on me-
Is it all about relational aesthetics?
someone suggested that, in the end, your work is hopeful, is it?
I feel the content of your show is almost undiscussable - that its still private conversation stuff- and there is no vocabulary for it in the art world yet, if you know what I mean - the 'alternative', communal etc has only just been accepted as the noble path in Australia- let alone a crit of that existing- have you found a stronger way to talk about these things in Europe?
Hi Kate,
The show at Sutton - to me it's not much to do with relational aesthetics. Though I am not generally one to be dictatorial about my ideas. Relational aesthetics seems to me something like a lava lamp in a gallery context, trying to transcend something but always as it approaches, it falls. (Walead Beshty is better at explaining this than me: http://backissues.textezurkunst.de/NR59/NEO-AVANTGARDE-AND-SERVICE-INDUSTRY_2.html)
To me the Sutton work is to do with trying to get your head around how individual actions become a part of, or exist within 'culture'. Especially now, when consumer culture is accepted as 'the way things are', sitting alongside ideas of environmentalism and sustainability which can never really be integrated into 'me' culture.
So the work is talking about broader cultural ideas which we are expected to accept, like 'man on the moon as progress' or 'western medicine is superior', and presenting moments when those ideas begin to fail for somebody.
It is difficult for me to talk about that show as a collective body of work because, though aesthetically in line with one another, each 'mis en scene' raises a different idea or presents a different circumstance, they are like film stills almost to me.
I think of it as being hopeful, hope through a cynical lense perhaps. But attempting to get people to think about their own position within society, their own everyday actions, though not in a pushy way.
These works are in some ways quite oblique, partly because they are embedded with references across the whole spectrum; socio-political, historical, art-historical, personal, mass-cultural.
I suppose there is vocabulary for everything in the art world, potentially. It is maybe more a matter of who is accessing or choosing to embrace those vocabularies, and why.
I did not find a stronger way to talk about these things in Europe. There is of course present in Germany the lineage of painting as socio-political commentary a'la Jorg Immendorf, Neo Rauch, Martin Kippenberger et al, but that school of approach sits these days more as a mainstay of the commercial market, it having evolved up to and during the demolition of the Berlin Wall, and in that way gained its historical relevance which has since been well and truly commodified. Not that that means it is bad or irrelevant now, but that it is within a sort of holding pattern of meaning, as other approaches branch off and spiral away.
The art world in Australia, though it may at times be catty and neurotic, is an interesting place to me, because it is dislocated from the 'global' art world, and so there is the continuing habit of gleaning some idea of an international standard to meet up to, and which more often than not is overshot, and so work in Australia is at times slicker in its presentation, more exhaustive in its ideas, than its global counterparts, it's something you notice in Europe, that often people are more comfortable with shabbiness or sloppiness in presentation than they are here. These points where Australian artists are looking in overseas magazines for what is current and then mixing it with something local and using the local vernacular to articulate its meaning, these points I think are very important for cultural production in Australia, latent identity-formation which will become more apparent in retrospect.
Sorry, what a rant!
Speak soon,
Helen x
your current show at Sutton is on my way between the art supply shop and the studio, so have ducked in a few times - and its really growing on me-
Is it all about relational aesthetics?
someone suggested that, in the end, your work is hopeful, is it?
I feel the content of your show is almost undiscussable - that its still private conversation stuff- and there is no vocabulary for it in the art world yet, if you know what I mean - the 'alternative', communal etc has only just been accepted as the noble path in Australia- let alone a crit of that existing- have you found a stronger way to talk about these things in Europe?
Hi Kate,
The show at Sutton - to me it's not much to do with relational aesthetics. Though I am not generally one to be dictatorial about my ideas. Relational aesthetics seems to me something like a lava lamp in a gallery context, trying to transcend something but always as it approaches, it falls. (Walead Beshty is better at explaining this than me: http://backissues.textezurkunst.de/NR59/NEO-AVANTGARDE-AND-SERVICE-INDUSTRY_2.html)
To me the Sutton work is to do with trying to get your head around how individual actions become a part of, or exist within 'culture'. Especially now, when consumer culture is accepted as 'the way things are', sitting alongside ideas of environmentalism and sustainability which can never really be integrated into 'me' culture.
So the work is talking about broader cultural ideas which we are expected to accept, like 'man on the moon as progress' or 'western medicine is superior', and presenting moments when those ideas begin to fail for somebody.
It is difficult for me to talk about that show as a collective body of work because, though aesthetically in line with one another, each 'mis en scene' raises a different idea or presents a different circumstance, they are like film stills almost to me.
I think of it as being hopeful, hope through a cynical lense perhaps. But attempting to get people to think about their own position within society, their own everyday actions, though not in a pushy way.
These works are in some ways quite oblique, partly because they are embedded with references across the whole spectrum; socio-political, historical, art-historical, personal, mass-cultural.
I suppose there is vocabulary for everything in the art world, potentially. It is maybe more a matter of who is accessing or choosing to embrace those vocabularies, and why.
I did not find a stronger way to talk about these things in Europe. There is of course present in Germany the lineage of painting as socio-political commentary a'la Jorg Immendorf, Neo Rauch, Martin Kippenberger et al, but that school of approach sits these days more as a mainstay of the commercial market, it having evolved up to and during the demolition of the Berlin Wall, and in that way gained its historical relevance which has since been well and truly commodified. Not that that means it is bad or irrelevant now, but that it is within a sort of holding pattern of meaning, as other approaches branch off and spiral away.
The art world in Australia, though it may at times be catty and neurotic, is an interesting place to me, because it is dislocated from the 'global' art world, and so there is the continuing habit of gleaning some idea of an international standard to meet up to, and which more often than not is overshot, and so work in Australia is at times slicker in its presentation, more exhaustive in its ideas, than its global counterparts, it's something you notice in Europe, that often people are more comfortable with shabbiness or sloppiness in presentation than they are here. These points where Australian artists are looking in overseas magazines for what is current and then mixing it with something local and using the local vernacular to articulate its meaning, these points I think are very important for cultural production in Australia, latent identity-formation which will become more apparent in retrospect.
Sorry, what a rant!
Speak soon,
Helen x
hello blog : sorry am in between jobs and soughting out a new place to blog from , can't do much at the City library image wise. And I think the font is being crazy to- big little bold?
But I will be back soon.
But I will be back soon.
Utopian Slumps
Poor Jess - Some fool at block gallery has taken her sweet gallery name and convoluted it into a terrible exhibition title. Its so blatant - he hasn't got a leg to stand on - where else would you come up with those words?
Lame.
Lame.
oh dear who cares
if its too blurry-
'remember folks,
sculpture is the stuff you walk into when you stand back to look at a painting.
Response: Um, how about Fuck Painting its gone for good'
Privacy
Viv Binns - sorry I am not sure of the titles, the one below is with Derrick O'connor too. I have been thinking about Viv so much. The catalogue for her recent retrospective is such a nice one - it holds in it her - if that makes sense ? I geuss I mean that it is less theoretical and more of a lifesyle explained. She's a trippy dynamo. Does the cosmic thing with gravity maybe, that psycadellic thing that we are doing with as much substance as designs for T-shirts maybe. She is so encouraging. I keep thinking about the weird carpark conversation I had with her after my honours assesment - bless her she really went in to bat for me - she did this smart thing I hadn't thought of - I would always have to answer for my choice of materials and would flop around in answering - but Viv managed to couch my using cardboard in Art History - she linked it to the modernists - one of there revolutions was to use cardboard - Picasso - so its actually a dated, daggy scrappy thing to use and not a cool kid thing to do, I didn't wish to be reactionary - I wasn't using cardboard to stick it to the establishment - how boring - but I was just a bit shy about making - and always feel a bit in between - not really and artist - but just want to think about art through making - anyways, Viv helped me get that across in my assessment - and I think she enjoyed the process we had this conversation wher she explained that after her initial show and the attention she had to shake it off and be a hedonist - what a lovely hedonist, it doesn't seem to be about self indulgence, but community projects and ladies. I miss those art school conversations - speaking in a egoless idea place. So I think about her choice a lot as I screw it up in this art town.
It's dissapointing, I thought of all the places in the world - you could be confussed- it would be in the 'art world' - but you can't you have to know stuff there too. Poor me ! I'll go now, sorry xo
went to DAMP opening last night at Uplands - it was neat - something that you didn't expect - not junky and youf at all - georgeous 'monumental' marble hand painted from a Better Homes and Gardens craft mannual- a sturdy constrction with chairs screwed on top, with just enough gap between it and the ceiling for sitting - outsider attempts to mount sent the gallerist scurring for release forms - Uplands is a great space with theh window blocked out - I love the parketry -parquetry? (spelling!!) floor, like the Lourve! a swell essay by miss Forde - collective stuff is funny in that we, well I, still try and pick apart who did what and and people involved lay claim to what they did - like on the invite I was trying to place each set of feet - a few people told me who did what- a few people seem to have painted all the marble - people told me their friend is in the show and it was their friends idea etc etc, I still wanna know these things, we wanna be included, it is sought of a ratio with the groups attempt to dissolve individuals. So apparentley they are going to have meetings on top of their construction and we are welcome to come watch, pop our head up and look at their feet. I think I might need to go there to sit down cause the studio chairs are all up there, on top.
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------WE CAN ' T GO TO UNIVERSITY ANYMORE--------------------------------------------------------------------------------------------------------------------SO WE HAVE TO READ MAGAZINES --------------------------------------------------------------------------------------------------------------------------
have been making this sentence latley. A long over due commission for a patient fellow. Also getting ready for 'Trouble' at the ANU in the end of September , Patsy's printmedia up yours to the painting department alumni show a couple of years ago, i am stocked to be in it, I love drawing shows, even if its a bit daggy and done, its a good one to keep being done.
hello cupcakes, hello sailor
Erin has just introduced me to Amy Sedaris. I have a little girl-crush on Amy now. Fowl Newyorker at its best. Lovely Nut.
Friday Morning
have been writing some exhibition proposals.
It's pretty tricky to explain being playful.It's embarassing really, perhaps I should use emotiocons in proposals, so they can get my tone of voice?
Mucking about, has been hard to say. But hope I can work out how to do it. Proposals are floppy anyway, pitching something in the future. Gee wizz.
Cooolio to see the speech2012 blog spot has some new posts, funny spat between Tao an Michael at the moment, about Tao performance at Gertrude St, would like to hear from Immogen, but maybe that isn't the point?
Face book has been fun, but now everyone is on there and it's like real life again!
any hoot. Cherrio.
Free Association, Tracey.
so saw Tracey Emin on Dame Edna last night - and she talked about her column. So here is the link. I like how she talks about being 80.http://comment.independent.co.uk/columnists_a_l/tracey_emin/article2766041.ece
It's nice chatty writing reminds me a bit of Anna, and Jess's writing for 'funny ha ha', how making are you don't have to get over it and peps can't tell you to. Hope I got it right Jess!! The pic of Tracey with the flag is from Art Daily.com and the one below, a lego Emin bed is from the Liverpool museum website.
So that's enough name dropping for now - but just one more below in Elvis looking at my work at First Draft. The opening of clip art was nice. I think it's a good show, the work of Soda Jerk and Sam Smith was great and I love Elvis' 'please stand by'. Went to arts project the next day and saw a set up for a Beuys re -do. Heard a Venice report. They slammed Emin! But described a great Sarah Lucas work not in the Bienallie but at the same time. then went to Peloton to find Giles Ryder on with 'some kind of electric' - It's pretty 'free' work! A really nice space.
Jess Johnson's FUNNY HA HA at The Narrows. It's great. The works slides around together gently. Themed shows can be difficult, by Funny Ha Ha is not, its very comfortable, it's very open. You are included. Jess's drawings gather momentum as they gather and get larger. They are unframed and accessible. The show has lines and flat spaces, it does not model in 3D. It's breathy. And then there is a sculpture in the corner, just out to the centre. Placed well. What Jess has written for the show does not strain itself to justify, or force the show, its affectionate to their creative bond. Jess writes so swell.
I think The Narrows is my favourite space in town. The concept of an independent work for a poster print run come invitation generously funded be Warren Taylor is 'project' and exciting.
Octopus at Gertrude Street is a better show that I have seen there. Some times I just think what are you up to Gertrude? Whatever Gertrude. Geoff Newton's 'Music for Eyes' is one of the funniest things I have ever clapped ears on. His wood chip challenge is a nutcase. His exaggeration of 'that' pole, his admission to that pole being there is so gorgeous. He bothered to deal with it. Others have tried on failed. the framed pics on food pics are unshackled, the photos rough, the straight up snap shot, like you get developed at the chemist, not a retro Polaroid not a jumbo print lush cause you can. I think these free associate, stuff liked put together, this is art with out words at its better.
P.s. sorry but I don't really like Ashley Crawford's email address. crawDADA ! What was he thinking. but I guess email addresses can haunt you from the past hey. from how you were then.
HELEN SHELLEY
Final One_s Conversation With the World Ending
Final The Cyclic Nature of Things
The Seduction of Stuff
Untitled 5
above is the work of Helen Shelley. Slippery Muddy Beautiful-Not So Beautiful. Shelley ups the anti each time, she doesn't sit on her hands. Swoon. I believe the top three are oil on canvas and 'Untitles 5' arylic on canvas, with fake tatoos.
poor: whats written on the wood
poor you
all you gotta do
is put paint
on this picture
and wait for
the dolla dollars
to hit ya
make money make money
make money while
you can
cause it's
fickle and
slick
and moves
away quick
all you gotta do
is put paint
on this picture
and wait for
the dolla dollars
to hit ya
make money make money
make money while
you can
cause it's
fickle and
slick
and moves
away quick
Giorgio Morandi (1880 - 1964)
these are simple. Called 'still life' or 'natura morta' and are by the lovely Mr. Giorgio Morandi. He is always explained as, unsung, but I think people know, they just know about him quietly, and I think that suits him. They are so gentle, and the little glazed things are kissing and touching. Its free isn't it, he just let painting and paint in - and didn't worry about it - don't Po Mo on about it - just accepted it and worked it, again and again. I think that's delicious. and modest. Lucky painters.
I think he did things to Luc Tuymans pallet too. Tuymans had his first show in the empty deep end of a swimming pool. Glenn Sorensen at Kaliman now, has painted in that Tuymans way, but not so good, not so good painting. http://www.kalimangallery.com/web_pages/Frame_total.htm
F A T T E N
stuff can take time to get great. Contemporary art is a bit fast. I think its great that people by art work, but perhaps it should be more like putting some bucks in the collection plate, excitedly, not charity like but joyful 'woooooooooooo! that's great here is what I work for, have it, keep being an artist'. Drop the investment rot - level with me. I think that's how Peter Fay does it. But the 'collection' compulsion can be, be a bit to quick sometimes to. Making feels like writing a essay. I pick stuff up, work a bit, put it down, pick up another, change medium, don't get bored, keep up, look at an one done earlier, remind yourself of what you can do, fatten and fatten and fatten up. I learnt how to do this watching Dad fix machinary. Finding solutions form only in the location. Fill out your paragraphs - read the introduction - change the direction of argument with a new work, remember the complete gas of a thing you felt to make to start in the first place... so if something is taken from you, or defined or spoken for mid stride, you can be left naked to start again. To slog through the bottom place down in the dark again. To be left with out a reason to make, to not think that art should be done, to be held by being a perfectionist, lectures would say things like'zanny artist' and 'madame bodge' but I don't mean to be grotty. I don't think grotty is shocking. That's to toooo lame.
Sorry sorry, back to the start, so you have to hang out with something for it to get great. your own work and others. so with contemporary art you see it once and its gone, and if it's showed again people get appalled and hoity. But what if you saw Duchamps Mona Lisa with her moustache only once and at the time it was made? You'd think jerk, not because of the defacement, but because of the flippant callous reactionary empty jerkness of it. Though now moved through time it's gotten fat as, with everything.
if I fall on my face, it will be ok, it knows what to do!
quick quick get writing before to hangover slumps on you! its just starting to get busy in the cafe, that pretty pocket of just me and the rowdy cafe kids has gone. It feels irreseponsible here on the weekend, just me and the kids, no adults to supervise and keep it sensible, no real people. Jake and the cafe girls amp up on saturdays, flirting and chucking stuff around, juiced up with last nights booze and stories. And On Saturdays, there is Betty my favourite volunteer, she turns 80 at the end of August. She is blunt, but so softly spoken with a slow gentle Canadian accent that it is just so freaking adorable! It feels like home today, I can't leave this job. I would miss the computer so much. On Saturdays, I make my own coffee before the gallery opens, I make it slowlllllly, slowly squealing to coffee warm, gently patting the tiny jugs bum to counter to pack the milk down creamy, poor it in a squeezy way, squeeze it under the coffee shot skin so it plumps up but doesn't break. caramel ring and white white milk. It's lovley to change, to change back to milk after soy for so long.
Tim-boon
so there was an article in the paper today that describes one of Paul Knights photo's at a Neon Parc as two folks cupping poo smells or something along those lines, I didn't get such a precisie thing, more just a grotty -whoops didn't mean to be alive-it just happened to me- struggle, but I don't mind if it is that, as the day goes on it growing on me, I just hope that neon parc got to feed that to the paper and he didn't just make it up. I think Paul Knights titles are beatiful - sad.
'why do all the canberra people have to stick together' we hang out because we are friends. I am sure that everyone hase moved here for new things, and a new sized town and yes, maybe even a re-distribution f friends, but that cycles around in Can to. But I geuss moving to Melbs is not about burning bridges "HELLO MY NEW FANTASTIC LIFE _ HERE I AM WORLD!" style. That's a quote from sweet Dan bello-o who has been in town for the last couple of days, really nice to have him here, surprise style, and miss Margareeeeeeeettt. ANd welcome Tim-boon too.
http://www.artbash.co.nz/article.asp?id=1039
check out what the gertude resident has to say about ussssss.
'why do all the canberra people have to stick together' we hang out because we are friends. I am sure that everyone hase moved here for new things, and a new sized town and yes, maybe even a re-distribution f friends, but that cycles around in Can to. But I geuss moving to Melbs is not about burning bridges "HELLO MY NEW FANTASTIC LIFE _ HERE I AM WORLD!" style. That's a quote from sweet Dan bello-o who has been in town for the last couple of days, really nice to have him here, surprise style, and miss Margareeeeeeeettt. ANd welcome Tim-boon too.
http://www.artbash.co.nz/article.asp?id=1039
check out what the gertude resident has to say about ussssss.
try rty
so someone has posted a weird comment as a link on my last post - it hooks up to a page that says 'kato's attack and kill". nuts. I've seen this dooozey before. Hope they were joking, pretty sure they were or they are wak. But the thing is this time I can't quite work out who posted it. know its a canberra kid, still living there, but which one. There blog is actually pretty good, intense, but good writing.
Went to Uplands last night to see David Griggs, it was a good night in a cold wet slowed down way. I don't feel that excited to write about Griggs. It may take a couple of days, or not. God it was big - and so are the price tags.....but your not meant to notice the bickys right (how). I missed his bits of magazines stuck onto it, but they were good - good dvd, don't know about the sculpture, but what the heck. But I guess what interests me is - is it comfortable or uncomfortable, his relationship with the people he has met in Manila and collaborated with? The co-author of these works doesn't get a Guernsey - doesn't get a name, Lerma in the room sheet writes 'commissioned from a movie advertisement painter the artist befriended in Manila' . I find this a bit not so great. But perhaps this is petty and says more about the writer of the room sheet than Griggs intentions. Perhaps it's not a collaboration but the same as any artists that commisions skills from others to get there work made, and theses people are nvere credited (Koons, Piccinini) But this thing brings to mind Daniaus (sp?) and his East Timor caper. But I have to admit that conflict in East Timor is clearer to me than what it is in the Philippines. And these are not reasons to not have the works/actions around. I am attracted by the content - that someone, these artists have noticed it. Stuffs always a project - a go at something. But maybe I need to do my research. Perhaps I am not so good. perhaps I am the one outta line - all those artists who go up there are the same and up there is all the same big messy Asia. But scooping it up and brining it back?
So maybe this is Griggs thing in a way - not the facts of what's happening in Manila - he mucks with the third world?
Went to Uplands last night to see David Griggs, it was a good night in a cold wet slowed down way. I don't feel that excited to write about Griggs. It may take a couple of days, or not. God it was big - and so are the price tags.....but your not meant to notice the bickys right (how). I missed his bits of magazines stuck onto it, but they were good - good dvd, don't know about the sculpture, but what the heck. But I guess what interests me is - is it comfortable or uncomfortable, his relationship with the people he has met in Manila and collaborated with? The co-author of these works doesn't get a Guernsey - doesn't get a name, Lerma in the room sheet writes 'commissioned from a movie advertisement painter the artist befriended in Manila' . I find this a bit not so great. But perhaps this is petty and says more about the writer of the room sheet than Griggs intentions. Perhaps it's not a collaboration but the same as any artists that commisions skills from others to get there work made, and theses people are nvere credited (Koons, Piccinini) But this thing brings to mind Daniaus (sp?) and his East Timor caper. But I have to admit that conflict in East Timor is clearer to me than what it is in the Philippines. And these are not reasons to not have the works/actions around. I am attracted by the content - that someone, these artists have noticed it. Stuffs always a project - a go at something. But maybe I need to do my research. Perhaps I am not so good. perhaps I am the one outta line - all those artists who go up there are the same and up there is all the same big messy Asia. But scooping it up and brining it back?
So maybe this is Griggs thing in a way - not the facts of what's happening in Manila - he mucks with the third world?
RIP meyes place and me
oh my my, i just checked the polly and there a 6 votes! better pick up the standard- jeeezzz -
no thinking, no talking 2007
- There is a song that plays at work, I hear it a couple of times a day, it's not so good - but some lyrics are "I'm not a soldier" chanted over as a chorus- I like that - I am daggy with music, you perhaps know who it is? 'I will endeavour to get over myself more' is also a bit of a catch phrase of the day to, well the end of the day, to fix up the first half of the day!
- My work comes down from Meyers Place today
- So excited about my new studio and group show in the Sydney Town
- Wish wish I could go to Neon Parc opening tomorrow, but we have an opening at work to of Lee Miller, uncomfortable stuff from WWII (that that abbreviation exists awful) - Paul Knights stuff really does it for me, in a scares the bejesus out of me and feel a bit sick and sad - like an inherited sadness or a heading towards sadness. How does he get them to do that? He is the only photographer who knows how to use models I think.
- and there looks like there is a good one opening on the same night, above the carlton hotel by the lead guy from Eddy Current Suppression Ring, I have to tell JEss.
- Bethany somfink? is throwing taco's at helen hunt in the hell's kitchen alleyway? Don't know about this, if it's dumb or not, speaking of hell's kitchen I might just have crush on the Moustache-y barman at hell's who calls me Fleetwood Mac....perhaps perhaps
- What is this like a mysapce wall whatever? whoops! I am just excited casue I have friday off. will be nice
- David Griggs! David Griggs! at Uplands on friday woooooooooo! i told someone about this opening and they got really excited, it's nice to see that. bless the newcomers with their unjaded hearts.
- wanna go to fab diamonds gig that night tooo ...
neo-organico
n e o - o r g a n i c o_ patronising inside outness are you getting it I'm helping you_
shy guy
why am I so shy at the moment.
it's silly...psychology suggests you should never edit what you are about to say. I feel small and failed. funny funny dumb. I am only posting about it cause i think i'm getting over it - emotions are hilarious in hindsight. I want my work to do hindsight. In my favourite old house in Can up on the grotty cold kitchen wall is a scrunched up note smooshed out agian, old blue tac bleeding through the corners. Ugly green pencil oval. It reads 'second best potato'. My nickname at art school, Kato Potato and sometimes just potato. I earnestly wrote the little drawing about boys and left it on the kitcehn table. I really really meant it. Ouch. On seeing it the next time scrunched it up - chucked it. embarrassed emabarrssed. When I found it again I was in a better mood- and it got a second chance- its made me laugh so, so much. What a pathetic potato am I! My old house mate likes to tell this story and gauge peoples reaction to my self hatred - he says people are a little awkward afterwards - shuffling on their feet- I don't get why, they don't get it. Don't we hate ourselves too.
farm land
these poor cats are not really tame - ferrals that dad has fallen in love with - he forces them inside- stands at the door waiting for them to come in and when they don't goes out and chases them and brings them inside. nuts. Then they get patting practice - held agianst their will on the dad's lap - their awkward and still and don't really give in to it. This has been going on for years since the little puss boys were kittens - their called bon and sai (bonsai ha ha). And they have some weird thing that makes there back ends sway, knocking themselves over often. We tease them about being pissed. Anyway, on the last trip home I have to report the progress - they are finally getting friendly and will willingly curl up on dad and follow you around were you go in the house. Dad's weird persistent love has paid off - payed out with two boozy falling boy brother cats.
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