Mel Bochner, Language Is Not Transparent, 1970
Conceptual art, Chalk on paint and wall, Template: 36 x 48 1/4 in. (91.44 x 122.56 cm); Installation: 72 x 48 1/4 in. (182.88 x 122.56 cm) Collection Los Angeles County Museum of Art
We managed to get to Al Ruppersberg’s exhibition “You and Me or the Art of Give and Take” at the Santa Monica Museum on its last day. My favorite work was a wonderful two-part book drawing Twins, which is in Mike Kelley’s collection. There was another stunning piece in which viewers were invited to rearrange laminated panels on a giant pegboard to “tell the story they wanted.” There were images and texts relating to punk rock and old Americana. On the other side of the pegboard wall was a “Never Ending Book,” featuring images collaged on the wall and, in boxes resting on colorful sculptures, color-print-out of some of the images that you could take home. (We loved the idea of The Never Ending Book, Part 2…ha!) The entire installation was gorgeous and everything was embued with Ruppersberg’s generous humor.
There is a wonderful article on the exhibition here, with great installation shots.
Paul Chan, “What Art Is And Where It Belongs”
I highly recommend this amazing essay, which appears in issue 10 of e-flux journal and on the artist’s website. What follows is an excerpt:
“What art ends up expressing is the irreconcilable tension that results from making something, while intentionally allowing the materials and things that make up that something to change the making in mind. This dialectical process compels art to a greater and greater degree of specificity, until it becomes something radically singular, something neither wholly of the mind that made it, nor fully the matter from which it was made. It is here that art incompletes itself, and appears.
The irony is that because it cannot express what it truly wants to be, art becomes something greater and more profound. Its full measure reaches beyond its own composition, touching but never embracing the family of things that art ought to belong to, but does not, because it refuses (or is unable) to become a thing-in-itself. Instead, art takes on a ghostly presence that hovers between appearance and reality. This is what makes art more than a thing. By formalizing the ways in which objective conditions and subject demands inform and change each other over the course of its own making, a work of art expresses both process and instant at once, and illuminates their interdependence precisely in their irreconcilability. And it is as a consequence of this inner development that art becomes what it truly is: a tense and dynamic representation of what it takes to determine the course of one’s own realization and shape the material reality from which this self-realization emerges. In other words, whatever the content in whatever the form, art is only ever interested in appearing as one thing: freedom.”
As it is, the museums give nothing. They pretend to give you art and then take it away after 2 or 3 weeks. This is a disgusting performance. When you think that art could be free. Everything should be free and it could begin with art.
[He points at a museum outside the frame.]
Make that goddamn place open til midnight! Or put something interesting in it and keep it open until 5 in the morning!
—Jack Smith, from “Jack Smith and the Destruction of Atlantis”
This blog has been on “slo-mode” for the past couple of months as we prepare to relaunch it early in the new year. The “new and improved” mysweetnothing.com will include artist interviews, original writing, and ongoing posts on issues related to art and language. More as it develops…
“Having a Coke with you,” written and read by Frank O’Hara
“Frank O´Hara reading his poem “Having a Coke with you” in his flat in New York in 1966, shortly before his accidental death. Taken from – “USA: Poetry: Frank O’Hara” produced and directed by Richard Moore, for KQED and WNET. Originally aired on September 1, 1966. This video was found where more videos can be seen: on http://www.frankohara.org”
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Kelly Mark, Litany (2009)
Etched aluminum foil
24” x 24” x 1/2” approx
Private Collection
“Every swear word, & combinations of swear words, I could think of written onto aluminum foil and then framed in reverse.”
via kellymark.com (p.s., no relation)
From the Aluminum Foil Series which includes: Litany, All My Stuff, My CV, My Friends, & My Address Book
Kay Rosen, 9/10 (1998-99)
installation view of Kay Rosen: Lifeli[k]e, at The Museum of Contemporary Art, Los Angeles
via kayrosen.com
Ed Ruscha, from his current exhibition at the Hayward Gallery, London
John Baldessari, Terms Most Useful in Describing Creative Works of Art, 1966-68. Acrylic on canvas; 114 x 96 inches. Courtesy of the artist.
via xtraonline
Baldessari’s major retrospective opens this week at the Tate Modern
