If Burkhard Heim Suspects That One Shouldn’t Fly But Fall, He May Prove Right
July 25, 2015, 12:06 am
Filed under: English

_MG_6068 as Smart Object-1

“Irmak Canevi is a collector of remainders, a decorator of information systems, and an archivist of primitive accumulation. Embedding, imprinting, casting and suspending in tensegrity the profane detritus, residues and footprints of unspecified origin: bottle caps, rubber bands, used coffee cups, discarded flyers, fruit, paper towels and art supplies…. The work displays the elegance of an ancient calendar describing god knows what seasons or itineraries, emptied of all discernible rituals other than mildly obscured cycles of consumption— leaving ample space for fascination and poetry.” Jackie Gendel


Anne West Studio Visit – Mapping The Intelligence of Your Work
November 14, 2014, 4:12 am
Filed under: Essays, ziptie



Commitment to format.
The idea of the surface.

Dialing into a world.
Circuit around the periphery.

“I start to get lost.”

Alluring materiality.


Reading the surface of another matter not so recognizable that captures my imagination.

Compelling sense of (desire to) touch.

An idea of extended boundaries.


“I get the sense of a climate.”

“There is emotion in this space more so than the other pieces.”

Suspended, somewhere…

A threshold.

“In the circle, I leap into imagination (another trajectory), I get lodged into something else. Whereas in the curtain I am held in that suspended state.”


Conditions of relationships.

“The root of heaviness is lightness and that of lightness is heaviness.” Taoism

Riddle space.

Early and small piece:

Not precious.
It is a copy; it is not the thing itself; it is representative of the real.

Rich materiality.

Candy frame > Felix Gonzalez Torres – Conditions of longing.

A sense of declared innocence.

A desired space.

Paradox > The two co-exist in an awkward tension or in harmony.

Extended frame > I am thinking through the issue of the frame.

It is ok to be in the space of the question.

The circle constraints our vision to roundness.

How do I feel the pressure of ‘that’ roundness on the box (the room)?

Constructivism as a revolutionary art form.

Going back to the elemental when constructing.

“You are putting us in another world.”

What is the third element?
It has to do with the space.

What is the role of the frame? Maybe the frame is also our constraint. Trying to expand and consider the periphery.

What was El Lissitzky taking on with his work?

What does it mean to create this new order? It is a paradigm shift.

“Let the surprising element be that third element.”

Debris of our culture…….                                     Terrible beauty.

Jewel like quality.

Control and order of things is the way I work.
I set up certain systems that surprise me or disrupt the system.

Beautifully placed; resolution of the form.

“What rocks it?”

Is it set off kilter? Is it reframed? Is it penetrated? Do we reveal it?


Scale shifts.

Photograph and repeat the gesture.

Sustained inquiry.

Series of questions:

third element,
pursuit of the ugly,

Isolate some of these so that we can trace you…

Anne’s notes:

“Why for the wall? What is your relationship to the wall?”
The way we look at things. Facing something.
The wall – goes beyond space – relates to architecture.
The room as a container, a box.


Painting > more freedom.

Fictional environments. Where does the viewer enter?

Excess. More time? Suspended here…

Photocopy –fragile-; the idea of framing. Light frames…

The idea and the event are framed.

Candy and male body centered in the middle of the work.

What does a frame do? Demands attention. “Look at me”

A frame is proclamatory!

Eye vision is round.

The Third Element.

Tension vs. confusion

High relief.

Radical intervention. Doesn’t sit comfortably…

We expect certain things – predetermined aesthetic formulae; measured/ratio > dislike

S C A L E   is   b o r i n g

November 12, 2014, 12:21 am
Filed under: English, ziptie


Sonia Almeida:  Balance between heavy and light > paper towels look heavy. Ceramics.

Holly Hughes:  Do they need to be concrete? Unless the weight is meaningful like the curtain… Some materials in the planets are out of balance with the weight of concrete. Could they be set, plastered straight into the wall?

S:  Doesn’t claim to be either ceramic or concrete.

David Frazer:  Conflict in the work between permanency and decorative. Investigations used to be focused on material vs. art; is now more about finish and resolution (surface resolution.) The old modernist in David loves the curtain.

H:  Can’t be neutral on decorative > There is no full embrace of decorative or rejection of it.

Norm Paris:  Chris Burden’s ‘Medusa’s Head’. Boys and their toys. Fetish of material thing is happening. Fossils… Topography, negative of forms… You can think of these as topographies more than you already are.

Dennis Congdon:  Not as much decorative as structural > Decorative that is not divorced from structure. Lee Bontecou > Her later work. Skeletal. Give full voice to your lyricism. Your poetics can reflect your emotions. Mosaic is decorative as structure. Poetics! What makes you angry? What makes you act? Wants to see a full spectrum of emotions. ‘Black Milk (Todesfuge)’ by Paul Celan (a poem.)

H:  Even with a full spectrum of emotions it could be layered into the work in a way the viewer could still sense it. Hates the ropes onto the Lego Sack. Remake orange multiple times. The artifice! > “A clever or artful skill, ingenuity; an artful stratagem; false or insincere behavior” Bradley Wester > The range of light touch.

Den:  What if you specialize in love poems for a while? What happens after falling in love? Fear. Life is safer the day before you fall in love. Loves small concrete planet.

H:  Packaging sensibility. Either problem or positive. Have to have an opinion on it. Japanese packaging > Creating a sense of desire. Could the cast be more interesting?

Dav:  Keeps coming back to logic/illogic of the concrete curtain base. Texture change of base, shape of base… Think more about sculptural choices at the beginning, not just format.

H:  If you had no budget restraints what would they be? Where do you imagine these in the world? All seem like prototype or model, which is probably more beautiful than if they were constructed for public space. Almost seem as if they are meant for public space. Robin Hill > Post Macho Sculpture Tom Bills

Dav:  How the hell is the curtain still together? Why does it make me think that? Have to deal with the contradiction of material, frailty, construction, goofy, decorative, architecture, etc. Ridiculously fragile and weird… All these contradictions can be expanded upon.

H:  Louise Nevelson (the decorative). Look out for Tara Donovan.

N:  Collector! Tension between illusionism and trace (cast acting as trace.) Get more aggressive. Aggregate! They need to find their own logic. Terrazzo floors.

Den:  Don’t look at too many American artists. Be obscure in your influences. Outside sculpture and painting… You can be an expert on somebody else. Somebody we don’t know. Gaudi’s sandbag models. Gaudi! and Art Nouveau…

Dav:  Architecture.

H:  Sarah Sze is a virus.

S:  Embrace the decorative. Class of materials. Remember you don’t think like a decorator.

Dav:  Imprints in brutalist architecture – concrete/plywood. Decoration/The decorative can me minimal.

H:  Polly Apfelbaum –Worcester Art Museum- ‘Fallen Paintings’ David Scanavino

Dav:  Native American shields.

H:  You know that string for the Lego Sack? Why doesn’t the piece do that?

Dav:  Vaginal…

Den:  Try the curtain in front of the window.

Images of art by Chris Burden (‘Medusa’s Head’), Lee Bontecou, Bradley Wester, Robin Hill, Tom Bills, Louise Nevelson, Tara Donovan, Gaudi (his sandbag model for La Sagrada Familia), Sarah Sze, Polly Apfelbaum, David Scanavino

CRI_228799 Lee Bontecou7 0020

main-7   tombillsoutdoor   40389_NEVELSON_v1

donovan_moirea   Picture-1   13 Hidden Relief 2001   2012_apfelbaum_met CandyCrushtowardsKellypainting


rressay1  rressay2  rressay3

Judith Glantzman Critique
August 28, 2014, 9:53 pm
Filed under: English, ziptie



Symmetry that belongs to truth.
We create a stage.
It undoes its tableness.
Taking the support system and making it visible…
Shifting scale.
Table to drawing…
I wouldn’t change the white.
Paper (white) is the carrier of things.
Aestheticizing; gussying up; putting lipstick on the pig. “I want to see the pig.”
Economy of means.

Talking about the ornamental.

We are trying to hear our work. Take something that speaks to you. Change one variable so that you can hear it better.
Tableness and un-tableness talk to each other. Object vs. image. Polarity.
There is a loop.
Story of the frame.
See Fred Sandback.

“I’d rather be in the middle of a situation than over on one side either looking in or looking out. Surfaces seem to imply that what’s interesting is either in front of them or behind them. Interiors are elusive. You can’t ever see an interior. Like eating an artichoke, you keep peeling away exteriors until there’s nothing left, looking for the essence of something. The interior is something you can only believe in, which holds all the parts together as a whole, you hope. […..] That notion of executing an idea is the same as giving form to material, and it’s a confusion of terms. Ideas are executions. I don’t make “dematerialized art.” I complicate actual situations, and this is as material as anything else. […..] The series of pieces for the Kunstraum is a series only because, after the important three-dimensional decisions had been made about the piece, it had a natural ambiguity about it—the parts could equally well be in any one of several positions. So the series is a consequence of those options; it comes after the fact. My work always exists in an interior space. This two-part being in a place is a given condition of all my work. Pieces are conditioned by and bound to a particular place. Still, they are not commentary—they don’t tell a story about a place—they are just there. There’s finally no reason for a piece being here or there.” F.S.

Take a piece out. Put it in a box. Create a rarefied moment.

Container AND the event.
Utilitarian aspect of the work is to mirror Irmak.

Work as mirror.

Immediacy vs. complexity.

Ingres > He achieves the moment of a mistake.
Truth goes both ways.
Architecture of paper.

Possibilities vs. IMPOSSIBLE.

See Hope Ginsburg and Daniel Buzgoff ?? (for performance).

“Why so hard on yourself when you are so nice to others?”

Images of art by Jimmy Desana (cover), Fred Sandback, Ingres and Hope Ginsburg.

1969+sandback+corner+piece Jupiter_and_Thetis

Installation view at P.S.1 in "Heart of Gold"

Paper Table
August 21, 2014, 12:52 am
Filed under: English, ziptie

papertable6 copy

<< Chris Ho >>

Formal concerns.
Concerns endemic to art.
Aesthetics of effort.
Intuitive > first or obvious choice.
Content through the form of the table.
(i) site-specificity, (ii) design of tables, (iii) famous tables.
Measured, formalist approach to a table = “abstraction”
I revert to traditional concerns.


To collaborate would force me to respond in a way that is not generic.


See Mike Kelley’s essay on Peter Saul.
Work seems indexical but is there any surrogate deal?


<< Craig Taylor >>


Hinged on photographic reference.
What is grounding the work?
Indexical, diagrammatical.
Friedrich Caspar David > Sublime, expressive and overwhelming.
Story is told in a sublimated way.


How do environments and props symbolize psychological states?
John Bock > Performances and constructions (♥)


State of consciousness.
Table as the space.
Index and naturalism.
Highly abstract ideas about what these objects do.
What is the narrative?
Conventional/standardized format.
Events that take place around these objects.
Steven Parrino


<< Beth Campbell >>

Really nicely not meeting in the middle.

Sarah Sze > as the problem solver. As the artist who figured out the decorative and that which is fun to look at.
Longer viewer participation because of the transfer.
Look at Thomas Demand, Rachel Foullon and Diana Cooper.


< Final Walkthrough >

Performance vs. action.

Weak, small gesture.
Bridging access and performance.
Participatory art is not often performance.
How can this be articulated as content as opposed to a symptom.
Maker’s muscle (Dennis); A piece that holds the wall.
Falling down, rather than disappearing.
Strong vs. week gesture.
Fluxus artist who makes exhibitions in hats.
Do not use transfers to make an image yours.
Could continue to make work personal because there are so many questions. At least some of these questions might be answered this way.
Who is the audience?

Images of art by John Bock, Steven Parrino, Sarah Sze, Thomas Demand, Rachel Foullon and Diana Cooper.

John Bock1 Steven Parrino7

Triple Point - U.S. Pavilion 55th Venice Biennale 2013 By Sarah Sze - 05 Triple Point (Planetarium), 2013 testuser5_jun2007_thomas_demand_am060507_g_5_1Ga4Ca_cZaOWL

rachel-foullon diana-cooper-art-work-6




Jan Vervoert Critique
August 20, 2014, 9:22 pm
Filed under: English, ziptie


Material, mix, color > construction site meets toy store…
What are you feeding me?
It is popish.
What is there for me in the mix?
Question of ‘taste’…
Visceral vs. personal
Amplification through echo: How do you use absence in your work when you speak through presence?
What is the very first cue?
Candy shop meets construction site…
Where do you want me to enter the work? Materiality?
The work begins to resonate against the photograph, and also in the duality between the candy shop and the construction site. Where are the codes? European art has so much irony (and codes)…
Color could be quirky.
Robert Smithson > He does it with a mirror where things start to oscillate.

 “I’m using a mirror because the mirror in a sense is both the physical mirror and the reflection: the mirror as a concept and abstraction; then the mirror as a fact within the mirror of the concept. So that’s a departure from the other kind of contained, scattering idea. But still the bi-polar unity between the two places is kept. Here the site/non-site becomes encompassed by mirror as a concept- mirroring, the mirror being a dialectic.

The mirror is a displacement, as an abstraction absorbing, reflecting the site in a very physical way. It’s an addition to the site. But I don’t leave the mirrors there. I pick them up. It’s slightly different from the site/non-site thing. Still in my mind it hasn’t completely disclosed itself. There’s still an implicit aspect to it. It’s another level of process that I’m exploring. A different method of containment.”

 From Selected Interviews with Robert Smithson: ‘Fragments of a Conversation,’ edited by William C. Lipke.

In the photograph there is a ghost. [Hello Kitty moment?]
Alien in my backyard.
If I don’t create from my immediate environment then it is not about identity.
Martin Kippenberger and painting as a joke. (*)
How can positive materiality talk about the negative?
Pierre Huyghe > Speaking of the work through characters. Who else is cast?
Disruption/contrast is important.
What are you talking to me? Are you not interested in language? How can the vocabulary be expanded?
When you have a certain economy of means there is something to be said about that. Once you decide on your economy of means you can negotiate the level of saturation.
With a title you can make it disappear and reappear.
Mary Heilmann > So self un-important. Light seriousness.
Liz Magor > So provocatively mellow. Underperformative…
When everything is so fucking eager to perform…
Maybe the work is too busy and it could be streamlined, orchestrated through silence.
We speak of echos, and turning the echo down.
All does not need to be in the work. Work does not always need to perform in the gallery.
There is value in subtraction as well.
Atmospheric traces as ghost…
Mixed materials might mean mixed messages.
Temporality in the performance can be worked into the material.
What is at stake? What are my stakes? How do they play themselves out against each other? Stakes do not have to be meaning.
Triangulation between the work, the maker and the viewer. Producer having to look at the work and become the viewer at the end.
You have to live your own boldness.
The resolve does not come as sophistication. What if the resolution does not lie in the bold.
Disjunctive narratives.
The more I read the less I feel.
When imagery is too descriptive it becomes too much like writing. Readability overrides everything.
Identity is delirium.

Images of art by Robert Smithson, Martin Kippenberger, Peter Huyghe, Mary Heilmann and Liz Magor.

CRI_210214 kippenberger-kafka3-1

tn_750_506_Human-der-Hund-mit-dem-rosa-angemalten-Vorderlauf-l-uft-im-Museum-Ludwig-durch-die-Ausstellungvon-Pierre-Huyghe-Foto-dpa-.fe0970193afc78da79c9954f42f135f2 73_HCG2_July1_Page_6_Image_0001_650w

Liz Magor4

Frames are ‘proclamatic’
January 16, 2014, 7:14 am
Filed under: English, ziptie


I make things and then move on. What if these things were framed in a project?

Artificial Hell: Participatory Art and the Politics of Spectatorship by Claire Bishop; and Beuys’ pedagogy came up. Beuys had started his own school…

We talked about Oliver Laric and authorship, in relation to my fletcher excange project. Laric questioned authorship and often let his art be adopted by others; over the internet for example … An interesting idea that popped up was authoring exchange. We also talked about ‘prompts’. How the samples I disseminated via fletcher exchange could perhaps become prompts for future work. I should consider producing new prompts and monitor their evolution… This could lead to new ideas and work.

Our dialogue continued around photographs of the little samples I made. Angela mentioned Claes Oldenburg’s sculptures of blown up everyday objects. My objects could become bigger, yes. Oldenburg worked in collaboration with his wife in building these objects. My exchange project definitely had a collaborative quality too.

“Textural qualities come from the intentionality of drawing…” An advice followed this remark. “Make the dialogue legible.” Sample objects were likened to drawings I believe and the advice called for more specificity in material choices.

As regards the material of the objects, expectations could be rearranged to create shock value. In other words, chosen materials were too user friendly; they were quickly assigned.

My arrangements lead to a discussion about Balinese offerings and Ashley Bickerton’s paintings. According to Bickerton his prominent frames are ‘proclamatic’.

My work had a certain pathetic /(slash) sweet agency – much like Richard Tuttle’s work perhaps… I must look at Richard Tuttle more closely. I definitely should.

“There [was] nothing tape scale about a Mondrian” so Donna Nelson’s work came up…

Jim Hodges, a genius at scale, and his cut photographs were mentioned. In an interview Hodges said “The bottom line is that the purpose of art is to engage one’s community. When engagement with art is happening, there is an opportunity for change.”

Blinky Palermo and Arte Povera came up. So did neo-modernist Gedi Siboni (great one!) and Niki de Saint Phalle.

Readymade scale was an issue…

Angela suggested I read Mike Kelley’s essay on the uncanny in Foul Perfection: Essays and Criticism.

We talked about Charles Ray’s sculptures.

Over all, this was the best crit I had with Angela. It was a long and very useful one. Thank you…

oliver laric Claes Oldenburg Ashley Bickerton Richard Tuttle Donna Nelson

Jim Hodges Blinky Polermo Alighieri e Boetti (Arte Povera) Gedi Sibony