Today again I’m going there:
To life, to struggle, to the market.
With armies of the songs I dare
To face the market surf and fight it!
by Velimir Khlebnikov (translated by Alexandr Zorin)
"This is What It Looks like In the Center of America"
A-1 Auto in Douglas County, Neb.
some “hidden mothers” collected in Ithaca, NY 2010-2012
Aby Warburg’s Mnemosyne Atlas
If his library was already the most eccentric of collections - organized not alphabetically or according to subject but by ‘elective affinities’, the secret intimacies that Warburg himself intuited between its volumes - its oddest offshoot is surely the massive and fragmentary constellation of images that Warburg, in the last five years of his life, obsessively tended and reorganized: the Mnemosyne Atlas. It is the strangest of art-historical artefacts: the kaleidoscopic image of the scholar’s enigmatic reordering of a lifetime’s meditation on the image. The Atlas, wrote Warburg, was ‘a ghost story for adults’: it invents a kind of phantomic science of the image, a ghost dance in which the most resonant gestures and expressions its creator had discovered in the course of his career return with a spooky insistence, suddenly cast into wholly new relationships.
Wayne Thiebaud, Yellow Mickey Mouse Cake, 1998
Bright Shining Breakfast
"When the fissures between the mind and matter multiply into an infinity of gaps, the studio begins to crumble and fall like the House of Usher, so that mind and matter get endlessly confounded."
Robert Smithson, ‘A Sedimentation of the Mind: Earth Projects’ 1968
Kent Monkman - The Treason of Images, 2008
24” x 30”
acrylic on canvas
collection of the artist
(click through for super hi-res)By virtually travelling back in time in order to occupy the romantic landscapes and scenes that became the source of manly noble Native stereotypes, Monkman claims them as his own territory – a territory free of the borders of time and space, where he is the master of his own history, sexuality, and identity. Muñoz writes that masculinity is “a cultural imperative to enact a mode of power that labours to invalidate, exclude, and extinguish faggots, effeminacy, and queerly coated butchness.” In the creation and performance of Share, Monkman refutes the static and masculinized imagery of the Indian; his location in the present/past allows him to speak from within but beyond the boundaries and confines that have kept this image in the fixed past for over a century.
"Forgotten Yugoslavian Monuments" LINK to ArchDaily
Le révélateur (1968)
Images of disaster: Japanese Earthquake and Hurricane Sandy
Mausoleum for the Reality Based Community
Caroline Blackwood, 1950s
photo: Walker Evans