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]
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]


I'm kind of giddy even to type this, but I will be in a panel discussion this Sunday to talk about Social Medium: Artists Writing 2000-2015, an anthology published by Paper Monument and edited by Jennifer Liese. And yes, that means that I have an essay in the book. Technically, it's a revised version of the series of blog posts I wrote between 2011-13 about Erased de Kooning Drawing, but it still feels unreal to me that it's actually happening.

The talk will be held in conjunction with the preview of the book at the NY Art Book Fair Classroom, PS1, 3pm. Also in the discussion, which Jen will be leading: Ginger Brooks Takahashi, Josiah McElheny, John Miller, and Mira Schor. I mean, right? You should come back to NYABF just for these people.

Later I will write more about the anthology, which looks amazing; with 75 artist writers, it's easily 15x as amazing as our 5-person panel will be, and the official launch next month at The Kitchen should be great too. But for now, the point is, I am stoked for Sunday.

Social Medium: Artists Writing 2000-2015, published by Paper Monument Oct. 20, 2016 [papermonument]
NY Art Book Fair | The Classroom [nyartbookfair]

installation view, "Tell Me What I Mean," at To_____Bridges_____ 11 Sept - 23 Oct. 2016, image: John Garcia

I'm psyched to announce that The Madoff Provenance Project is included in a group show, "Tell Me What I Mean," at To_____Bridges_____ in NYC, which opened Sept 11 and runs through October 23rd, 2016. The show, curated by artist John Garcia, considers the way context and metadata affect the way an artwork is experienced and understood.

study for MPP-014-KEL, 2016, recto, 12x9 in., ink, pencil, and watercolor on Arches

John was thoughtful and intriguing in his invitation to include the Madoff project, which did not have any obvious physical manifestation. But meeting that challenge, and having the work seen among an interesting group of artists, made me say, "Hell, yeah" pretty quickly. Besides me, the show includes work by Sophie Calle, Sara Cwynar, Robert Heinecken, Rose Marcus, Alex Perweiler, Peter Piller, Michael Bell-Smith, and Colin Snap.

study for MPP-020-MAT, 2016, recto, 12.875 x 9.25 in., ink, pencil, and marker on Arches

Unsurprising to most, no owner of an authenticated Madoff-provenance artwork has yet agreed to have their work stamped with the "ex collectio MADF" stamp I created. So for this show I made "studies," 1:1 facsimiles of some Madoff works, properly stamped. In their stripped down nothingness, they definitely turned out more Stephen Prina's The Complete Paintings of Manet than Vik Muniz' Verso.

"Tell Me What I Mean," Installation view, The Madoff Provenance Project, 2014- , image: John Garcia

I also put together a few binders of court data and auction records, which serve as a comprehensive reference to all the artworks in the Madoff Provenance Project. I feel confident that if Mel Bochner could have had Zazzle custom print the binders for Working Drawings and Other Visible Things on Paper Not Necessarily Meant to be Viewed as Art, he totally would have.

To____Bridges_____ is a year-long project space in the Bronx run by The Still House Group. A second show of photographer Gary Perweiler's 70s and 80s advertising images, recontextualized by his son (and TSHG member) Alex Perweiler, runs concurrently. The space is open by appointment.

To_____Bridges_____ []
Ex Collectio: The Bernard Madoff Provenance Project

September 9, 2016

Double Double

One of them, anyway: Michael Heizer Double Negative, 1969, south side, where the calving of boulders and sediment is becoming significant. image: August 2016,

There is so much about Sturtevant I don't know, and it amazes me every time I find out something else about her and her art.

For example, have you read Bruce Hainley's book about Sturtevant, Under The Sign of [sic]? Of course you haven't, because if you had, the other week when that New Yorker profile of Michael Heizer came out, ALL you would have been thinking and tweeting and yammering about was Sturtevant's Heizer Double Negative.

I repeat, Sturtevant had a project to repeat Michael Heizer's Double Negative, within months of Double Negative's unveiling, and it was called Heizer Double Negative.

And it would have been NEXT TO Double Negative. Let's read on.

Untitled (Heart), 1994, via swann

This is a papier mache heart ornament signed by David Hammons, which he gave to Sara Penn in 1994. Penn was the owner of Knobkerry, a Tribeca dealer of African and Asian textiles and home furnishings which Hammons filled with work in January 1995.

Infiltrated might be a better word. Hammons made work by, with, and around Penn's merchandise, combining cultural signifyin objects to create charged puns. [The show was the hook for one of my favorite texts on Hammons' work, "Wreaking Havoc on the Signified", by Coco Fusco in Frieze.

Untitled (Fly Swatter), 1992, image via swann

Anyway, it looks like Penn accumulated a nice stash of Hammons swag. In 2008 a small African American Flag (1990) and Untitled (Mona Lisa), a little, postcard-size collage from Penn sold at Swann, the NY auction house. The collage is dated 1989 and has "Marry, Christmas David" inscribed on the back. A five-foot long sculpture titled Untitled (Fly Swatter) (1992) sold in 2010. It was called "The World's Most Expensive Fly Swatter?" after blowing out the estimate.

Sounds like the Knobkerry show was a long time coming. Also that David Hammons probably has an off-the-hook Christmas Tree.

Oct 6, 2016 | Lot 168, David Hammons, Untitled (Heart), 1994, est $6-9000 [


I have bought an inordinate amount of stuff from Rob Pruitt's Flea Markets over the years, and never more than since he's moved it to eBay. Still, I missed out on the crazy speculative run-up in the signed birthday panda balloon market in June. Now, like all but five of you, I'm left to wait for them to turn up at Phillips.

August 25, 2016

Untitled (redbox), 2016

Untitled (redbox), 2016, altered redbox dvd rental kiosk, ratchet nylon web straps, chain, padlock, aluminum tape. installation view via @rgay

Can you claim a work if you have no idea where it is? Writer Roxane Gay snapped this great piece and posted it to Twitter this morning. The web straps immediately made me think of the straps on the previous, Untitled (Shenanigans) piece. There's menace and violence, but it's less political here. More Hollywood. The chains are what really make it for me.

Gay is a professor at Purdue, and that brown brick looks familiar, so maybe this was outside a McDonald's in West Lafayette somewhere. I don't think it'll be up for long, but it's enough for the CV, at least.

Untitled (Shenanigans), 2016, chainlink fencing, US flags, ratchet tie-down straps, LED strips, Ford F-250 Crew Cab. Installation view: Palm Beach

It seemed so much funnier when Cady Noland did it.

Maybe not funny, but at least it didn't freak you out. Noland's artworks drew from the raw aesthetic landscape of late 20th century built America to shed light on uncomfortable truths about patriotism, violence, commercialism, waste, the American psyche.

But it did it in an art context. Whatever it was, or however dark or unsettling, it was still [just] art. You could walk away from it. Or wake up from it, like a bad dream.

Now there's a white nationalist bigot in Florida trolling Muslims, and protesting Hillary Clinton and her treasonous supporter citizens by building a lock-em-up protest cage in the back of his pickup truck. No voter shenanigans, he says on Twitter: Trump landslide or in the cage ya go.

My instant impulse, or maybe it was a coping mechanism, was to make a Noland reference. Then as I got ready to post this thing here, and declare it a work [as one does around here], I got cold feet. The reality of this person and his anger and hatred and poisonous rhetoric and not-idle threats piled up, and I reconsidered. This is literally not-helping, I feared, it is making-worse.


But after a couple of days of looking, and thinking, and seeing this guy's gesture/threat circulate, I came to see this as important. Or at least real. Relevant. This bigot's sculptural move was atypical, even perhaps unique, but it is a datapoint in a network, a churning system of political hate. These images are of a physical object manifesting the digital flow of right-wing ideas and imagery across Twitter and Facebook. It's a post-Internet avatar of Trumpist America.

Looking at it, now I wonder: is this how Noland saw, how she read, how she felt, when she made her works? Did she dream of making toxic, dystopian, American flag-draped cages, only to wake up and find the dream was still there? And wasn't even a dream?

Janus Films is releasing the remastered version of Krzysztof Kieślowski's Dekalog in theaters before Criterion releases it on disc. Here is the trailer.

Seeing Dekalog in theaters in the early 1990s was one of the formative cinematic experiences of my life. I may have to do it again. The kids can find their own way back to school.

'Dekalog' Exclusive Trailer: Krzysztof Kieślowski's Magnum Opus Returns To Theaters This Fall [indiewire]
Pre-order Dekalog (The Criterion Collection) for Sept 27 release [amazon]

Untitled (Gerda Taro Leipzig Monochromes), 2016, Gerda Taro photos, painted wood supports, tar. image: Anne König and Jan Wenzel

On the night of August 3rd, an outdoor installation of 18 photos by Gerda Taro in Leipzig, Germany, was vandalized, painted over with tar? Or aniline black dye? The photos were part of f/stop Leipzig, an annual photography festival, held in early July. Some of the public space components of the festival apparently continued beyond that date.

f/stop curators Anne König and Jan Wenzel included Taro, a pioneering war photographer, because of the confluence of her life, her work, and the city itself. She lived in Leipzig until 1933, when she fled as a Jewish refugee. She met up with another refugee, Robert Capa, in Paris, and they documented the Spanish Civil War together until Taro was killed in 1937. Leipzig is hosting many refugees from the Syrian war right now.

The curators note that effacing the images of refugees by a Jewish photographer with tar is inherently a political act, and they are calling on the city to discuss the implications. The Taro estate, in the form of the International Center for Photography, wants her images back on view in Leipzig.

I agree with all of that, but also wish to recognize the damning bluntness of the blacked out panels. Sometimes redactions and monochromes cannot be let off the hook. Declaring them an artwork of my own is no way of assuring anything, but It feels important that they will be preserved.

The 21 panels include three texts and at least five layouts from LIFE magazine. The bottom eleven were completely blacked out, while the tops of the five tallest appear to have been beyond the easy reach of the unknown redacter. In the event this work does get destroyed, I will try to identify the Taro images under the tar.

update: I'm still thinking this one through a bit.

Pioneering war photographer Gerda Taro's images vandalised in Leipzig [theartnewspaper]
09. August 2016 Auch Gewalt gegen Fotografien ist Gewalt []

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Since 2001 here at, 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 that time.

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

find me on twitter: @gregorg

recent projects, &c.

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

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

Chop Shop
curated by Magda Sawon
1-7 March 2016

eBay Test Listings
Mar – Dec 2015
about | proposte monocrome, rose

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

TheRealHennessy Tweets Paintings, 2014 -

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

"Exhibition Space"
Mar 20 - May 8 @apexart, NYC

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

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

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