Top, photograph by Joel Sternfeld, Nags Head, North Carolina, (#1), June-August, 1976. Via. Bottom, photograph by Cindy Sherman, Untitled (Woman in Sun Dress), 2003.
And I will also write in French.
I live in Berlin, and sometimes in Los Angeles. I make photographs, and videos. And, here.
I also flit on Twitter at times.
This is a little bit of why I am still looking.
I live in Berlin, and sometimes in Los Angeles. I make photographs, and videos. And, here.
I also flit on Twitter at times.
This is a little bit of why I am still looking.
February 11, 2012
7. Buy some ZOOM or LIFT (two names for the same caffeine-high stimulant) at a Health Food Store. (This gives a close approximation of the effects of illegal coaine.) When you are Zooming or Lifted and your mind is racing, find a victim and explain the universe to him or her, until they are able to escape you.
Robert Anton Wilson, Prometheus Rising, 1983. In, chapter 6, The Time-Binding Semantic Circuit, Exercizes [sic], p. 104.
[Flash 9 is required to listen to audio.]
Sneaker Pimps, The Chauffeur, 2004. From the album ICA Home Taping.
Watch also, Duran Duran, The Chauffeur, 1982, and Charlotte Rampling.
Top, photograph by Terry Richardson, LA from above, January 2012. Via. Bottom, photograph by Sean Marc Lee, 000074710005, February 2012. Via.
February 10, 2012
Music video for UNKLE, Another Night Out, 2012, directed by Toby Dye. Featuring Terry Wright.
Photograph by Samuel Aranda, from the series Yemen, Fighting for Change, 2011. Via World Press Photo.
The picture shows a woman holding a wounded relative in her arms, inside a mosque used as a field hospital by demonstrators against the rule of President Ali Abdullah Saleh, during clashes in Sanaa, Yemen on 15 October 2011. Samuel Aranda was working in Yemen on assignment for The New York Times. He is represented by Corbis Images.
Top, screen capture from The Banana Man, 1983, by Mike Kelley, 28:15 min, one-channel vide. Bottom, photograph by Nadja Bournonville, The Change, Sweden, 2009, Analog c-print, 45 x 45 cm, Ed. 5 + 2AP. Via.
—
Tape recording and photography allowed people to become aware of what was invisible to them for the first time. We’re surrounded by invisibility. That’s what I think art can do-make things visible.
(…)
I chose to become an artist because I wanted to be a failure. When I was young, if you wanted to really ostracize yourself from society, you became an artist.
Mike Kelley, for Interview Magazine, 2009.
February 9, 2012
Fette, from The Silent March, Santa Cruz Island, January 2012. More.
February 8, 2012
The outrage is tiresome and deeply hypocritical, in all the tiresome ways you’ve been tired out by before. M.I.A. was illustrating her line, acting out the attitude of the words: performing. Fine, it may not be legal to flip the bird on television, but that’s simply a remnant of the fifties we haven’t shaken. Unless somebody was handing out Xanax with the foam fingers, Lucas Oil Stadium was ringing with the music of profanities last night. More to the point, television viewers were submitted to ad after ad that likened women—negatively—to sofas, cars, and candy. Mr. Winter didn’t have anything to say about that, so I’d like to raise both of my middle fingers to him and anyone who thinks profanity is somehow more harmful to our children than images of violence and misogyny.
Sasha Frere-Jones, M.I.A. Shouldn’t Have Apologized, for The New Yorker, February 2012.
Watch, Romain Gravas for M.I.A. Read also, Bell Hooks, Misogyny, gangsta rap, and The Piano, for ZMagazine, February 1994.
February 7, 2012
Screen capture from My Nightmare, 1993, Colour, Super-8 sound, 5 minutes. Featuring Susan McNamara and R. Kern. Directed by Richard Kern.
Watch it in its entirety on UBUWEB.
—
Last night I dreamt about you. What happened in detail I can hardly remember, all I know is that we kept merging into one another. I was you, you were me. Finally somehow you caught fire.
Franz Kafka. Via.
(Source: throwherinthewater)
![Top, photograph by Corey Arnold, Throw Down the Mountain, 2010, 39x56 inches. Via. Bottom, screen capture from The Iron Rose [La Rose de Fer], 1972, directed by Jean Rollin. Via.
Corey Arnold opens his solo show Wolf Tide at Richard Heller Gallery here in Los Angeles on February 25th.
—
Verily it must be that crime is an enchanting affair, for, in truth, from the flames by which it licks us is kindled the torch of our lust. Only crime is sufficient, it alone inflames us, and only crime can ravish pleasure through all degrees of our sensibility.
Marquis de Sade, Justine, ou Les Infortunes de la Vertu, 1791.](http://www.tumblr.com/photo/1280/fette/17222529251/1/tumblr_lz1isdmbVq1qzo0d3)
Top, photograph by Corey Arnold, Throw Down the Mountain, 2010, 39x56 inches. Via. Bottom, screen capture from The Iron Rose [La Rose de Fer], 1972, directed by Jean Rollin. Via.
Corey Arnold opens his solo show Wolf Tide at Richard Heller Gallery here in Los Angeles on February 25th.
—
Verily it must be that crime is an enchanting affair, for, in truth, from the flames by which it licks us is kindled the torch of our lust. Only crime is sufficient, it alone inflames us, and only crime can ravish pleasure through all degrees of our sensibility.
Marquis de Sade, Justine, ou Les Infortunes de la Vertu, 1791.
[Flash 9 is required to listen to audio.]
Chrysta Bell, Swing With Me, 2011. Written by David Lynch and Dean Hurley.
![Top, photograph by Birgit Jürgenssen, Ballonschuh, 1976, 24 x 30.3 cm. Via. More. Bottom, Shoko Fujimori, トウヒール [The toe heels], 2011, graphite on paper, 22.2 x 27.5 cm. Via. More.](http://www.tumblr.com/photo/1280/fette/17195185802/1/tumblr_lz09guKQPX1qzo0d3)
Top, photograph by Birgit Jürgenssen, Ballonschuh, 1976, 24 x 30.3 cm. Via. More. Bottom, Shoko Fujimori, トウヒール [The toe heels], 2011, graphite on paper, 22.2 x 27.5 cm. Via. More.
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