When reading this I recalled part of a conversation I had with my best friend when we were at the now defunct L&M Arts in Los Angeles. I shared my original photos back in September of 2012
I decided to send my friend the following email about the thoughts the Holzer “Inflammatory Essay” brought up.
My exquisite friend,
I find I am usually thinking of this thing or that, that I might tell you. Most of it is not really important in the scheme of things, just silly fluff that pops into my head that I’d probably share with you.
So, I am just gonna write a bit of nonsense that has come to me.
So I was looking at an “Inflammatory Essay” by Jenny Holzer, and thinking how well crafted the following line is. “Reach into the dark ages and find a sound that is liquid horror, a sound of the brink where man stops and the beast and nameless cruel forces begin”. The particular essay is on torture and how you should scream. The reason I thought of you (besides the quality of the writing), was the fact that I recalled something you said when we went to see the Holzer exhibit at L&M Gallery. She had those paintings with things about war, torture, rape or murder on them. Where many of the sentences were redacted like government documents. You mentioned something about how that kind of thing doesn’t work for you artistically at all because the subject matter was so horrible and cruel. I am completely paraphrasing here, because I have no clue anymore what you actually said. This was just the impression I was left with. We’ve had other conversations also where this has come up. I totally get what you mean even if this never has the same effect on me.
First I must say that I am pretty sure I don’t feel some things as deeply as you do. I guess, like physical pain and many other things there must be an emotional spectrum where very sensitive people lay on one end and sociopaths lay on the other. Guess I’d be closer to a sociopath, LOL… ok not too close, but you know what I mean. When I see things that reflect the dark parts of human nature, I tend to welcome it. Only on an intellectual level. I welcome it because it makes me think, it makes me grateful for my own fortune, and it reminds me that perhaps I could again at some point be helpful to those problems in some way. And for some reason I feel better if I keep these things in my thoughts. I feel like those who lived through them didn’t do so in vein, that any emotion generated on their behalf somehow serves them at least in honor of their memory. I know that may not make a whole lot of sense. Since there is no light without dark, I think that art is well served by dealing with the difficult things in life just as well as the kind. On a less esoteric sense, I am very interested in human behavior and our psychology -and a lot of that is reflected in crime, hate and war.
OK, that was out of no where I guess. Part of me thinks I should just keep this and not send it since I think I just wrote it for me. But I guess I’ll send it anyway. Since it was about and experience we shared together.
Much love to you my goddess of light!
PS may have to post this.
as seen at Queen Elizabeth Olympic Park, London
Internationally renowned artists Monica Bonvinci designed three 9m tall letters forming the word RUN out of glass and stainless steel as a flagship artwork for the Park. In daylight, the letters act as a mirror for visitors and their surroundings, at night the letters glow with reflective internal LED lighting.
Bonvinci’s inspiration for the work came from musical references such as ‘Running Dry’ by Neil Young and the Velvet Underground song ‘Run Run Run’, which have also influenced her previous work. Inspired by the many uses of the Park, it was a natural choice to return to the word ‘run’ for this permanent work.
Drill 4 Chastity
2-part cast, bronze and rasin,
4 1/8 x 5 7/8 x 3 ½ inch
10,5 x 15 x 9 cm
Edition of 35/XX, signed and numbered
Murano Glass / Mixed media, pedestal, glass
2 Parts (c. 8 ½ x 5 x 4 inch / 4 ½ x 3 x 3 inch)
Edition 10 + 5 AP
This is currently hanging in one of the waiting areas at Cerars Sinai in Los Angeles. I saw it when meeting a friend who was waiting for her husband to come out of surgery. I took a snap of it on my phone but it came out way too crappy to post.
Artwork: James Rosenquist | When a Leak, 1980
43.5” x 0” x 54”
Lithograph, Color Lithograph
William E. Jones
Color Coordinated Currency (Purple), 2012, hand coated pigment print, 20.5 x 14.625 inches (37.1 x 52.1 cm)
Color Coordinated Currency (Red), 2012, hand coated pigment print, 20.5 x 14.625 inches (37.1 x 52.1 cm)
Color Coordinated Currency (Blue), 2012, hand coated pigment print, 20.5 x 14.625 inches (37.1 x 52.1 cm)
Tot Finder (Summer Varietal), 2012, stainless steel, Plexiglas and archival pigment print, 52 x 46 x 3 inches (132.1 x 116.8 x 7.6 cm)
Tot Finder (Fall Varietal), 2012, stainless steel, Plexiglas and archival pigment print, 52 x 46 x 3 inches (132.1 x 116.8 x 7.6 cm
Tot Finder (Winter Varietal), 2012, stainless steel, Plexiglas and archival pigment print, 52 x 46 x 3 inches (132.1 x 116.8 x 7.6 cm)
Rashid Johnson, What Goes Up, 2014, burned red oak flooring, spray enamel, black soap, wax, 96.5 x 120.5 x 3 inches (245.1 x 306.1 x 7.6 cm)
Rashid Johnson has become known for his ability to engage both the physical and cultural ramifications of his chosen materials. Beginning with early work in conceptual photography, and an abiding interest in the African American intellectual elite, he has gradually broadened the scope of his practice, creating reliquary-like objects, installations, and wall-based works that increasingly take on established legacies of painting.
Jonas Wood, Pink Plant with Shadow #1, 2014, oil and acrylic on canvas,
120 1/4 x 60 x 1 3/4 inches (305.4 x 152.4 x 4.4 cm)
Though contemporary life is at the center of Wood’s work, it is useful to locate the historical lineages that contextualize it among competing brands of figuration. Concentration on domestic interiors and everyday life, combined with acute attention toward patterning and color, invariably recall French Post-Impressionist painting and its modernist evolution in the work of Matisse. However, there is also an American brand of modernist painting, one that synthesizes cubism with the cultural landscape specific to this country, that comes to mind when considering Wood’s approach to composition.