Sunny days, I keep my blinds closed.
It’s the overcast days that bring the perfect inside light without increasing room temperature.
Fall is coming.
Roosevelt, more than any other man… showed the singular primitive quality that belongs to ultimate matter — the quality that medieval theology assigned to God — he was pure act.
What makes the hero a hero is the romantic notion that he stands above the tawdry give and take of everyday politics, occupying an ethereal realm where partisanship gives way to patriotism, and division to unity, and where the nation regains its lost innocence, and the people their shared sense of purpose
I recently decided to stop drinking and smoking. It’s been two months so far.
I woke up one morning, by happenstance my birthday, and it seemed so clear about what I wanted in that moment. I proceeded to spend the rest of the day carving this contract on a wooden plaque.
It’s been a really thoughtful journey – as I try and slowly decrypt why I decided to do this. I find most my actions to fall similarly in line with this. Intuitively acting, followed by methodical investigation.
I bring this up, because I recently broke one of the self-afflicted “rules” I set up – intentionally.
but sometimes, i miss the smell of my yogurt farts.
This environment gave artists few choices: sentimentality, nihilism, or irony. … For a while, it seemed no new ideas were possible, progress was an illusion, and success could be measured only by popularity. Hot trends such as painted pornography; fluorescent paint; sculpture with mirrors, spray foam, and yarn were mistaken for art because artists believed blind pleasure-seeking could be made to seem insightful when described ironically.
No rules governed the distinction of good and bad. Rather than opening doors, pluralism sanctioned all manner of vapid creation and the acceptance of commercial design as art. [ Pluralism opened the doors for new ideas to be validated without a critique. It bypasses the fermentation process that allows an idea to be potent. This brings to mind, “art as a hobby’ – in the context of making decoration, or ‘arts and craft’. Though, I can recognize this, I don’t believe it exists. It sounds like it can lead to art, but puts picasso and martha stewart in the same breath, which feels putrid. ]
Today’s painters understand the challenging work of the early postmodernists only as a hip aesthetic. They cannibalize the past only to spit up mad-cow renderings of “art for no sake,” “art for any sake,” “art for my sake” and “art for money.” So much art makes fun of sincerity, merely referring to rebellion without being rebellious. [ ‘we are all postmodern.’ The article is suggesting that the aesthetic is more easily read than the content. The happenings in a hitchcock movie are so easily predictable because I’ve already seen the movie on the simpsons and family guy. ‘so much of arty makes fun of sincerity’… still processing that one. ]
One attribute of a move toward something greater is to reject the safety of ironic remove and risk the possibility of failure. [ This made me think of straying away from the ‘easy’ metaphors. With this new demo project, the easy metaphors are already there. It’s a house in the neighborhood with people who lived there. That history already exists – its a mine ready to be harvested. It’s not ironic, but it is safe. The possibility to fail is less than the risk of pursuing an idea that may not exist – or to try an discover new meaning in what already exists. This, to me, spells that irony is safe because it’s referencing the context in which it already exists. Its like spouting out a ‘thats what she said’ joke in a crowd of ‘the office’ lovers – The only risk is doing it too much. ]
But the goal of great art is the same whether one approaches it seriously or dubiously. To make something new, to transcend, one must have an honest relationship with what is: history, context, form, tradition, oneself. Dishonesty is the biggest obstacle to making original, great art. Dishonesty undermines a work’s internal integrity — the only standard by which a work can succeed. If the work becomes a vehicle for one’s ego, personal or political agenda, self-image, desire for fame, adulation, fortune — human as these inclinations may be — the work will be limited accordingly. [ exit through the gift shop. Is art decided by the viewer, the critic, the monetary value, the maker? . ]
I want them to hit you – to strike in such a manner that they allow you to access the space around you. Great architecture does that. In not such a literal, but atmospheric manner.
The argument in my head is with objects referencing the history around you. The objects represent deeper meaning, in often, beautiful ways. I don’t want to do that. I want the objects to reference the ambiance of the space – indecipherable by history.
Case in point, this Seattle demo project house. The more I peel away at the physical layers of the home, I am less preoccupied with the history of the residents, but more in tune with the impending creepiness of the space. Ripping all the gwb away made the room loads more complex. It added so much more visual complexity to something that was originally plain and simple. Sitting inside of that space is not necessarily creepy, but it feels far more stimulating than a simple room.
The object I want to place inside of it had to be simple. It has to bring calmness to the space. A beautiful reference point to play off the rest of the room. Moreover, increase the tension in the room.
“We’re all fucking hypocrites.”