Category:better read

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This installment of Better Read is the text of the found net artwork, Embroidery Trouble Shooting Page, which was repeated as untitled (etsg) in 2015.

When I first found the page, I marveled at its beautiful folly, and dreamed of printing it as a book. Then of using it as an abstract painting composition generator. Then I accepted responsibility to publish and preserve it after its original code changed. And since then, I've explored the possibilities and process for printing it as a single, giant page. I expect it would fill a wall. If you have any thoughts or tips for capturing a rendered webpage as a single image, I hope you'll get in touch.

Download better_read_017_etsg_20171018.mp3 from greg.org [mp3, 5:35, 2.7mb, via greg.org]
Previously: Untitled (Embroidery Trouble Shooting Guide)
untitled (etsg), 2015 [etsg.greg.org]

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Laurie Lambrecht, Explosion, Slam, photo composition of Roy Lichtenstein's Hand Written Word List and comic book clipping source material, made in the artist's studio between 1990 and 1992. image via lensculture

Why did Roy Lichtenstein make word lists is not really my question. How did Roy Lichtenstein's word lists end up in the list of his artworks catalogued by the Lichtenstein Foundation?

Both lists date from 1990. The first Handwritten Word List, feels like it fits right in. It appears to be a compilation, or a selection, of the onomatopoetic word graphics Lichtenstein famously adapted from comic books for his paintings. This list appears in at least two pictures taken between 1990 and 1992 by Laurie Lambrecht, a photographer who worked as an assistant to Lichtenstein in his studio. In the composition above, titled Explosion, Slam, it is surrounded by comics clippings. Her account of this time, inventorying Lichtenstein's studio in preparation for his 1993 Guggenheim retrospective, mentions Polaroids, "bulging notebooks," and a "scrapbook full of 'Crying Girls,'" none of which apparently made the leap from archive to corpus that these lists did.

The second, Typed Word List, are all adjectives "of praise," in an alphabetical order. Did he create it for a work? A series? A lecture? Would he consult the list when artist friends asked his opinion about their show? I mean, you could probably get away with it on the phone, but it could get awkward to use such a prompt in person. ["What'd you think?" (Pulls out list.) "Neato."]

Or maybe he came up with the list after a heated conversation with Richard Serra, who was like, "You can't have the verbs, Roy, they're mine!" And Roy was like, "Fine!"

In any case, they're both pretty beat up, well-used, and have no discernible aesthetic embellishment. I won't say they're not aesthetic, because they are what they are.

Download Better_Read_016_Roy_Lichtenstein_Word_Lists.mp3 [2:25, 1.3mb, greg.org]
Hand Written Word List, 1990 [imageduplicator.com]
Typed Word List, 1990 [imageduplicator.com]
Inside Roy Lichtenstein's Studio, photos by Laurie Lambrecht [lensculture]

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Kara Walker, Detail of U.S.A. Idioms, 2017, image via sikkema jenkins & co

It feels unusual to feature a current text on Better Read, but then, these are unusual times.

It strikes me that Kara Walker's artist's statement for her current show at Sikkema Jenkins & Co. has not been considered in an expanded context. An artist's statement, in a press release, is already fighting with two critical hands behind its back. Yet the press release is actually the artist's title for her show. The impetus for writing any of this is presumably well understood, but here, the specific circumstances of Walker's work, her practice, and the shitshow of a world we're living in right now should, I believe, upend our complacent expectations.

I myself found it too easy to make quick judgments about these texts and their implications when I saw the ad for Walker's show in Artforum, which contained the show's title, which I'd previously ignored, because I'd taken it for a glib press release. I let the order of reception, my own subjectivity, influence my judgment, in ways that I might not have noticed without further, in-depth consideration. And yet Walker had anticipated it all.

Download Better_Read_015_Kara_Walker_20170914.mp3 [6:57, 3.3mb, via greg.org]
Kara Walker exhibition page [sikkemajenkinsco.com]
Sikkema Jenkins' press release with Kara Walker's texts [pdf, sikkemajenkinsco.com]

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Richard Hamilton invitation with 1951 Technique et Architecture illustration used for Five Tyres - abandoned (1964) and Five Tyres remoulded (1972)

Sometimes I hit a wall while writing, and retyping someone else's text helps get me going again.

So here is another installment of Better Read, a series of mp3 files from greg.org in which an interesting, under-known, or hard-to-find art-related text is read by a computer.

This text by Richard Hamilton accompanies Five Tyres remoulded, 1972 relief and print edition created with Carl Solway and EYE Editions. Hamilton describes his attempt to replicate by hand a complicated photo illustration he'd clipped from a trade magazine. The image was from the 50s, the project began and was abandoned in 1963, then reinitiated in 1970 with the help of a computer. Besides the obviously interesting insights onto his own process, Hamilton's text resonates with the history of early Pop, conceptual art, and even appropriation, as well as the inter-relation of art and technology.

Unless you had the portfolio itself, the text was only available in print in Studio International (1972, vol. 183, p. 276). Images of a first draft of the text were also included in a 2014 blog post by Carl Solway about his correspondence with Hamilton. So I'm sure having a computer-generated voice recording of it expands its availability tremendously.

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Richard Hamilton, Dimensional Data, screen print on mylar, 60x85cm, from Five Tyres remoulded (1972), via swann

play or dl Better_Read_014_Richard_Hamilton_Five_Tyres_Remoulded_20170624.mp3 [dropbox greg.org, mp3 9:55, 14.3mb]
Related: Digging in the Archives: Richard Hamilton [solwaygallery.com]
Five Tyres remoulded (1972) [tate.org.uk]

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The Mellow Pad, 1945-51, by Stuart Davis, co-founder of the American Artists Congress in 1936, image: whitney.org

This edition of Better Read features a speech delivered by Michigan Republican congressman George Donderos on the House floor on Tuesday August 16, 1949 titled, "Modern Art Shackled To Communism." I came across quotes and excerpts from this speech while researching the American Artists Congress, the group that brought Picasso's Guernica to the United States for a fundraising tour in 1938.

Dondero made several fiery speeches against modern art during this, the McCarthy era, repeatedly accusing modernism and all its subsidiary "isms" of being a vile foreign-led Communist plot to destroy American art and values.

Near as I can tell, this is the first time Dondero's complete speech has been available outside the Congressional Record, which turns out to be a lot harder to get ahold of than I expected. I am currently preparing a compilation of all Dondero's art-related speeches, and the responses they engendered from the accused, the threatened, and even, surprisingly, the nominally allied. Because even I have a hard time listening to a robot for 26 minutes, the complete text of Dondero's speech is included after the jump.

Download Better_Read_013_Dondero_Communist_Shackles_20170417.mp3 [26:49, 39mb, mp3 via dropbox greg.org]

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Reading a Dan Graham interview transcript about magazine articles as artworks, and contemplating the [so far] failed campaign for Giant Meteor '16, I thought of Mel Bochner's and Robert Smithson's In The Domain Of The Great Bear, published in the Fall 1966 issue of Art Voices. This edition of Better Read is two excerpts from that work, which I imagined as a diptych.

PDF scans of In The Domain Of The Great Bear can be found in various places online [pdf]. The version I like is on Mel Bochner's own website [pdf], because it preserves the appearance of the work as originally published. Bochner spoke about Domain at a 2005 Smithson symposium at the Whitney Museum. I was at that symposium, but the New York-centric historian who said visiting the Spiral Jetty site doesn't matter, the film is enough, and Nancy Holt's nonchalant comments about adding more rocks to the Jetty have obliterated all other memories of that day. Fortunately the talk was later adapted as "Secrets of the Domes" and published in the September 2006 issue of Artforum.

serendipitous update: I happened across the John Wilmdering Symposium at the NGA from last Fall, where art historian Justin Wolff talked about Rockwell Kent's End of the World lithographs, which were made for Life Magazine. For a story, though, about a very popular program at the then-new Hayden Planetarium, where scientists would speculate on the many ways the earth could be destroyed. So this was not just Smithson; it was a Hayden thing. Great [End] Times. [oh, spoiler alert?]

Download Better_Read_012_Bochner_Smithson_Domain.mp3 [9:36, mp3, 13.8mb, via dropbox greg.org]

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Forrest Bess, The Asteroids #3, 1946, oil on canvas board, via Phillips Collection

In 2014 the Phillips Collection received eight works by Forrest Bess from Miriam Shapiro Grosof, including a set of four paintings titled, The Asteroids (1946). They depict a dream Bess had, and the ceramist Arlene Shechet has put them on view for the first time as part of her museum-wide project, From Here On Now. [The other Bess paintings can be seen in the (Part 2) video here.] Shechet has made work in response to particular works and spaces at the Phillips, and has reinstalled at least five spaces, to absolutely riveting effect.

Shechet's ceramic and cast paper sculptures are variously abstract and referential, and are accomplished on their own, but as catalysts for and participants in dialogue with works from the collection, they appear essential. Shechet has chosen and placed extraordinary works, which should be familiar, but which all feel like revelations, in a way that makes the Phillips spring to life. I'd say she should curate the entire museum, but many of the galleries Shechet did not curate also vibrate with unexpected and fascinating paintings of all eras, from Bonnard, to Ryder, to Robert Natkin? Somehow, yes. With a tribute show of the late William Christenberry's work and Jacob Lawrence's Toussaint L'Ouverture prints, I'd say the Phillips is the most unexpectedly awesome show in town right now.

Now on to Bess.

Download Better_Read_011_Forrest_Bess_The_Asteroids_1946.mp3 [dropbox greg.org, 3:10, 4.5mb]
From Here On Now, by Arlene Shechet, runs through March 7, 2017 [phillipscollection.org]

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Has Questlove read this aloud himself? I don't think so. I wish he would, because if I cry this much when the robot reads it...

Download: Better_Read_010_Questlove_Im_Still_Human_20160920.mp3 [11:27, 16.5mb mp3 via dropbox greg.org]
Read: Questlove: Trayvon Martin and I Ain't Shit [nymag via @jamilahlemieux]
Questlove discussing racial profiling and his reaction to the Trayvon Martin verdict with Amy Goodman in Aug. 2013 [youtube]

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Exhibition announcement card for Richard Prince's window installation, "Single man looking to the right", 1979, at the original location of Three Lives & Company bookstore, New York, via the catalogue for Edward Cella's exhibition, "Richard Prince: The Douglas Blair Turnbaugh Collection, 1977-88"

This is starting to become a habit.

This edition of Better Read features "Single man looking to the right," a 1979 text by Richard Prince, for a window installation he made at Three Lives & Co., a now-legendary neighborhood bookstore in the West Village. It's included in a show Prince recently announced/denounced, a huge pile of early stuff saved by an early friend and supporter, the dance critic Doulas Blair Turnbaugh. The show is at Edward Cella in Los Angeles through July 2016.

My interest was piqued by the light this early work sheds on Prince's development of his practice, on his experimentation and the paths not taken, and less for the possible insights into Prince's psyche or autobiography. This text seems to me both in sync with and apart from Prince's Bird Talk texts, just as the rephotographed works Prince showed at Three Lives resonate with yet differ from what's now generally thought of as his standard operating procedure. If anything, it's freedom from an S.O.P. that tips the scale for these photos; they're evidence of Prince's experimentation.

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installation photo for Richard Prince's window at Three Lives & Company, 1979, from Doug Eklund's The Pictures Generation, p. 157

A small photo of the Three Lives installation in Doug Eklund's The Pictures Generation catalogue also makes me wonder about the fate of these large, black & white, and differently "ganged up" Single Men prints. They're not in Turnbaugh's collection/show, and I'm thinking if they're destroyed, they may have another life coming.

Download Better_Read_009_Single_Man_20160627.mp3 from Dropbox
greg.org
[dropbox, mp3, 7.3mb, 4:57]

Previously:
Better Read #008: Death By Gun
Better Read #007: Spinoza's Ethica from Sturtevant's Vertical Monad
Better Read #006: The Jetty Foundation Presents, Send Me Your Money
Better Read #005: Frank Lloyd Wright Speaks Up
Better Read #004: Why We Should Talk About Cady Noland, a Zine by Brian Sholis
Better Read #003: Sincerely Yours, An Epic Scholarly Smackdown By Rosalind Krauss
Better Read #002: A Lively Interview With Ray Johnson, c.1968
the Ur-Better Read: W.H. Auden's The Shield Of Achilles, Read By A Machine

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"Untitled" (Death By Gun), 1990, endless. collection: moma.org

We've come to reading the names of the dead, to intone them, as a form of memorial.

I've never felt Felix Gonzalez-Torres' "Untitled" (Death By Gun) was a memorial per se, more a statement. Remembering for different ends. But following the massacre of Latinx gay people at Orlando's Pulse night club, and the subsequent readings of their names, it occurred to me that I'd never read and did not remember the names of the people who appeared on Felix's 1990 stack piece.

I looked for the original Time magazine article that was the artist's source, and I couldn't find it online. I couldn't find it in libraries. I ended up buying an old print edition of the magazine itself on eBay. July 17, 1989.

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And I transcribed the names of the 460 people who were killed in the US the first week of May 1989, the week Time chose to document, in the order Felix chose to lay them out, and had them read aloud by a computer.

Download Better_Read_008_Death_By_Gun_20160620.mp3 from dropbox greg.org [dropbox greg.org, 16.7mb mp3, 11:37]

Previously:
Better Read #007: Spinoza's Ethica from Sturtevant's Vertical Monad
Better Read #006: The Jetty Foundation Presents, Send Me Your Money
Better Read #005: Frank Lloyd Wright Speaks Up
Better Read #004: Why We Should Talk About Cady Noland, a Zine by Brian Sholis
Better Read #003: Sincerely Yours, An Epic Scholarly Smackdown By Rosalind Krauss
Better Read #002: A Lively Interview With Ray Johnson, c.1968
the Ur-Better Read: W.H. Auden's The Shield Of Achilles, Read By A Machine

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Since 2001 here at greg.org, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting greg.org that time.

comments? questions? tips? pitches? email
greg [at] greg [dot ] org

find me on twitter: @gregorg

about this archive

Category: better read

recent projects, &c.


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Our Guernica Cycle, 2017 –
about/kickstarter | exhibit, 2017


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Social Medium:
artists writing, 2000-2015
Paper Monument, Oct. 2016
ed. by Jennifer Liese
buy, $28

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Madoff Provenance Project in
'Tell Me What I Mean' at
To__Bridges__, The Bronx
11 Sept - Oct 23 2016
show | beginnings

chop_shop_at_springbreak
Chop Shop
at SPRING/BREAK Art Show
curated by Magda Sawon
1-7 March 2016

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eBay Test Listings
Armory – ABMB 2015
about | proposte monocrome, rose

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It Narratives, incl.
Shanzhai Gursky & Destroyed Richter
Franklin Street Works, Stamford
Sept 5 - Nov 9, 2014
about | link

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TheRealHennessy Tweets Paintings, 2014 -
about

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Standard Operating Procedure
about | buy now, 284pp, $15.99

CZRPYR2: The Illustrated Appendix
Canal Zone Richard Prince
YES RASTA 2:The Appeals Court
Decision, plus the Court's
Complete Illustrated Appendix (2013)
about | buy now, 142pp, $12.99

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"Exhibition Space" @ apexart, NYC
Mar 20 - May 8, 2013
about, brochure | installation shots


HELP/LESS Curated by Chris Habib
Printed Matter, NYC
Summer 2012
panel &c.


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Destroyed Richter Paintings, 2012-
background | making of
"Richteriana," Postmasters Gallery, NYC

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Canal Zone Richard
Prince YES RASTA:
Selected Court Documents
from Cariou v. Prince (2011)
about | buy now, 376pp, $17.99

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