When my grandfather was still farming, the shed behind their house was where he parked his tractor and combine. It's still where spare parts and empty grain bags hang at the ready and where tools fill the old kitchen cabinets.


This NYTimes article by Becky Gaylord talks about mens' sheds in Australia. There's apparently a book, Blokes & Sheds, by Mark Thomson, who's quoted in the article. Some ideas I liked:


What looks like chaos to outsiders is easily deciphered by the master of the shed. A man can put down a wrench in his shed and know it will stay in the same spot until he moves it weeks, or even years, later...
Men speak of shed coal: layers of things that build up on the floor, shelves and workbench, reflecting the depth of their lives.

January 1, 2002

So we have bought one

So we have bought one car on ebaymotors, which I wrote about before. This morning, I surfed across the ad below while looking for our next vehicle, a Ford F-150 truck. My grandparents have gotten a new Ford truck every year or two for as long as I've been alive, and probably longer. We used my grandmother's truck during our first location in August.


FOR SALE: 2000 Harley F-150
Sweet Truck, moving to dirt road, must sell. Asking payoff around $25,000 call or e-mail for current price. 22k miles, in storage.

It's located in Michigan. Tempting, but unfortunately, even though the 2000 Harley edition has the desirable extended cab (vs. the 2001 Super cab, which is too big), the flareside short bed seems a bit too small, and--most importantly--it's only 2wd. Did I mention I live on the upper east side?

December 23, 2001

This morning on NPR, there

This morning on NPR, there was a commentary about the Christmas Truce, a moment in the first year of WWI when British and German troops left their trenches, met in No Man's Land, and exchanged cigarettes and jam, sang Christmas carols, and even played soccer. This ad hoc truce was unofficial and unsanctioned, and it obviously didn't last, but it was a last vestige of a human, individual, moral approach to war that was rendered obsolete by WWI's technological advances. Paul Fussell, a UPenn historian, called it "the last twitch of the 19th century." Read firsthand accounts of the Christmas Truce here.


This story reminded me of a trip I made in early 2000 with Paul, a former colleague of mine, while we were working in Paris. We set out one cold Saturday to visit WWI memorials to the Battle of the Somme. We set out to visit the British Memorial at the village of Thiepval [note: link is in pdf format], designed by Sir Edwin Lutyens. This arch is inscribed with the names of thousands of missing soldiers and was one inspiration for Maya Lin's Vietnam Memorial [note: official Park Services websites are currently offline]. In November 2000, Maya Lin discussed Lutyens' influence in an essay she wrote in 1982, right after completing the then-controversial memorial. Read it in the New York Review of Books.


Merry Christmas.

December 19, 2001

Got back last night from

Got back last night from a week in DC, sans video setup, in order to host an event at MoMA that turned out even better than I'd hoped.

The co-creators of Towers of Light, a proposal for an ephemeral memorial to the World Trade Center, discussed the project and its evolution. How it's gone from independent, abstract ideas and visions springing from different needs and visions (restitution, ghost limbs, spatial composition and urban planning) to an emminently realizable, concrete and remarkably cohesive proposal.

The collaboration that has taken shape includes artists Julian Laverdiere and Paul Myoda; architects Gustavo Bonevardi and John Bennett; Creative Time; and the Municipal Arts Society. Given that I know all four instigators and have counted at least two of them as friends for years, I'm especially eager to see this powerful project happen. The Towers of Light link above has a place to share your comments and support (note: They don't need money.)


Also, a photographer whose work I really admire, Philip-Lorca di Corcia, has had three shows, one in New York at PaceWildenstein [sorry, can't find a good link], one in London at Gagosian, UK, and one in Paris at Galerie Almine Rech [flash prevents deep linking...], which was the first showing I know of of his highly influential (i.e., frequently copied) fashion photography work. Check it out.

Cold, drizzly Sunday afternoon=prime logging (and weblogging time). Here is some real-time video screening/logging before I run over to my in-laws' apartment:


Tape 4: Closeups of my grandmother's photographs. Jeff's idea was to have her hold them rather than just to shoot them on their own, Ric Burns-style. Great images, nicely framed with her hands and sweater popping in from time to time. We can insert these cuts in her discussions of the various pics. One bummer: she'd tell some stories while we were shooting the photos, too (she was still miked up); some of these stories got cut off when Jeff'd stop taping a photo and request the next one. We weren't aware enough of what we were getting, I guess.


Shooting along an irrigation ditch, the first one. It was concrete lined, so the water ran much more quickly. Jeff (the cameraman) was straddling the ditch. Several great shots, useful for voiceover, narrative breaks, whatever. Then he suddenly swears at the camera. He flips around, looking through the camera as the rubber eyepiece rushes downstream. "Sht, sht sht," and then there's me busting up laughing, knowing that this eyepiece, which never seemed to stay on anyway, wouldn't be bothering us anymore. A slight, old guy with a straw hat and shaded clips on his glasses comes over to see what's up. "That water comes out over to Center Street, if you want to go catch it," he offers wryly.


First interior shots of one of the dry cleaners. A lot of tight, well-framed images of the various equipment stations, the clothes racks, etc. No people, really. (There were only two working at the time, and we'd made plans to go back the next morningto capture the hubbub.) Reminds me of shots from a smaller, less monumental Jane and Louise Wilson video.


gotta run.

December 6, 2001

An intense article by Dennis

An intense article by Dennis Lim in the Village Voice this week explores the ways film makers depict and deal with grief and absence. With references ranging from the French director FranÁois Ozon to Buffy, a lot of the article discusses Todd Field's awe-inspring debut feature, In the Bedroom, which everyone should run out and see.

December 4, 2001

A recently abused phrase:

A recently abused phrase: The terrorists have already won. Nearly 600 occurences on Google as I type, including at The Onion. I mention this at all because a neighbor and I were trying to figure out how The Daily Show had used it, and I just found the quote. From 18 October 2001.

"Let me get this staight, Jon.
Congress has been reduced to backing an 80's novelty rap star (MC Hammer) on the steps of the Capitol?
The terrorists have already won, Jon."

-Stephen Colbert, The Daily Show

December 2, 2001

Yikes. I feel like I

Yikes. I feel like I either must or must not watch the documentary, Project Greenlight, which premiers on HBO tonight. It's the "making of" story of a guy from Chicago who won an online script contest by Ben Affleck and Matt Damon's production company, Live Planet; top prize waw a $1mm budget and a distribution deal from Miramax. The NY Times review hinted at a couple of interesting and not-unexpected points: 1) Ben Affleck's observation on the possible heinousness of the final product (an anxiety I share about my own project), "If Pete's works, it's `Stand by Me.' If it doesn't, it's the after- school special I did when I was 13." and 2) Caryn James' observation that "though no one says this on camera, one of Mr. Jones's assets was that his personality plays better on television than the runner-up's." As it turns out, then, was like acing the SAT's or winning the first Survivor; there is a system to be understood and played. Just sign up for the Princeton Review of film making...

November 29, 2001

[added 18 Feb 02: Looking

[added 18 Feb 02: Looking for Madonna & Gursky? scroll down or click here.]


Just got this via email tonight:

Documentary Fortnight , a film and video festival at MoMA December 6-16. Most of the movies are in the "social documentary tradition," meant to illuminate, motivate, and drive social change. Many relate in some way or another to September 11 and the aftermath, including a veritable A&E marathon weekend's worth of Afghan- and Islam-related works. Hmm. Here are two films that look interesting to me:

The Fourth Dimension. 2001. USA/Japan. Directed by Trinh T. Minh-Ha. The Fourth Dimension is a multilayered work that utilizes visual metaphors to address its central themes: the experience of time, the impossibility of truly seeing, and the impact of video on image making.


Beneath the Veil 2000-01. United Kingdom. Directed by Saira Shah. British journalist Shah used a hidden camera to film the lives of ordinary Afghans under the Taliban. The result shows shocking footage of mass executions and insight into the oppression suffered by Afghan women. 49 min.


This second one reminds me of a docu I saw at Sundance in 1990 called H2 Worker, by Stephanie Black, which was also shot undercover (albeit in the sugar plantations of Florida, USA).

November 28, 2001

As this log grows, I

As this log grows, I hear it's becoming tricky for new visitors to the site to get up to speed with the project; I hope the highlight links will be useful (they already seem to be getting some use). As it turns out, there are nearly as many entries about NOT working on the movie, about daily life, and, obviously, about dealing with the September 11 events and their effect on the city. These entries aren't included in the highlights links, but they are integral to the site.


When I first conceived this documentary over two years ago, it was different in key aspects from what I intend it to be now. It's a product of my mind, my family, and my surroundings now, which are all different than in 1998. And now is different than August. So for those of you who are new to this site, I'd recommend looking to the highlight links for the nuts and bolts of this documentary project, and to the rest of the site for the context that's informing it.


On an unrelated, much lighter (and, given the "deep thought" seriousness of recent entries, much needed) note, I surfed out all the sites I regularly visit during the holidays. Rather than watch movies (see last post) over Thanksgiving, I checked in on some ancient sites that that were cool before the web itself was cool (i.e., in 1995-7).

Blair Magazine: Some of these guys used to work with some friends. Whaddya know, there's a new edition, number 7, after almost a two-year hiatus.

Polyestuh, aka Pimpz.org: Unlike Blair, this site hardly seems to have changed at all since 1996. It even recommends you use Netscape 2.0, just to "stick it to the man." Those were the days.

Netscape Browser Archive: So if you're interested in getting Netscape 2.0, or any other release, for that matter, check here. It supports "Java," after all...

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

recent projects, &c.


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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

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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

archives