Screaming Is My Art

the first page of a photocopied transcript of a conversation with ian wilson and robert barry on oral communication, dated 10 july 1970, yellowed with some age in the collection of moma. i am not going to transcribe this whole thing here, but i will be recording a re-enactment, stay tuned

From the moment I learned of them, Ian Wilson’s Discussions were the great, mysterious apotheosis of Dematerialized Art. Memorialized in a simple statement: “On the 23rd of January 1972 there was a discussion between Herman Daled and Ian Wilson.”, yet with the essence impossibly private and inaccessible: “What was said remains in the collection of Herman Daled.”

What ever might be said in an Ian Wilson Discussion? Only a collector would know, and even he’d only know his own memory of his own piece. Line up at Art Basel and collect yours today!

So you’ll understand why I am screaming to learn, when we get a rare transcript of the damn thing, that Ian Wilson’s July 10th, 1970 Discussion as art was seven pages of him and Robert Barry discussing how “oral communication is my art.”

a still from the simpsons where marge is standing in front of a loom, looking back proudly over her shoulder for a reaction from, presumably, bart, because the loom has woven on it, "Hi Bart I am weaving on a loom!" via some animation cel dealer i forget but it's in the watermark

Ian Wilson, Discussion, 10th of July 1970 [moma via @garadinervi]
Previously, related: Hi, Bart. I am making a stained glass window!
Hi, President Lincoln. I am telegraphing from a balloon!

OG Painted Schindler Table

a triangular base table with an offset circular top is made of douglas fir plywood, but is also 90 years old, and the white paint all over it looks like it. a glass top prevents easy access to the storage area inside. being sold by la modern in 2025, originally from rudolph schindler's walker house in silver lake.
Rudolph Schindler table, 1935-36, douglas fir and paint, 18 in diameter, selling 17 July at LA Modern

I think my respect for a piece of painted Schindler furniture is pretty well-documented at this point, but let’s be clear: this beat-to-hell 90-year-old plywood side table with flaking white paint that’s probably got enough lead in it to flip an entire congressional district Republican must be preserved at all costs.

Fortunately, the estimate of that cost does not seem high.

The table is from the Walker House (1935-56), which was the subject of an intense LA real estate fairy tale its ecstatic buyer wrote for Apartamento in 2017. But stripping the old paint off the built-ins, it seems like they prioritized their little kids’ neurological development over historic preservation, which, honestly, understandable, but which might imperil the return of this asymmetrical table to its home.

a triangular box table with its circular lid open and hinges visible along one side, all painted long ago in white that's scuffed, chipping, and leaching while the 90-yr old plywood underneath starts to splinter too. this image is from 2014, when bonhams sold this original rudolph schindler table for $6000.
Rudolph Schindler table for the Walker House, sold at Bonham’s in 2014

Oh, but look how it opens up! The table was the roughest of six lots of furniture the original owners’ heirs sold off in 2014, plus the archive, with not an identical finish among them. What if the paint’s from like the 70s?

17 July 2025, Lot 150: Rudolph Schindler Walker House Table, est. $2-3,000 [lamodern]

Glossolalia: Steve McQueen & HUO

I feel like I’ve been a pretty close follower of Steve McQueen’s work, but his conversation with Hans Ulrich Obrist at his show at Marian Goodman in Paris still had some surprises. [Conversation might be a strong word; there were a lot of “tell the one about” prompts that gave it an overall vibe of a recital.]

But HUO was right that I hadn’t known McQueen’s little-known 1999 project in the guest apartment at the Soane Museum, where Obrist apparently moved in for a year [!] and invited artists to come and respond to his boondoggle. It’s not mentioned in reviews of the show, and there’s little documentation. [McQueen called it Soane Sound System II, but in what earlier mentions there are, it’s listed as Soane Echo System II. Which, from the lone Getty Images PR photo, looks like it’s a mirror under a table. But there are also mentions of a DVD, so maybe there’s a Soane Echo System I, too.]

The bigger reveal, though, about 35 minutes in, where McQueen recounts a lowkey spooky experience listening to archival field recordings of glossolalia, the [usually] religious practice of speaking in tongues, while making a new soundtrack for the images on the Voyager Golden Record.

Steve McQueen’s show, Bounty, is at MGG Paris through 25 July 25 [mgg]

On Kawara Used A Template

That’s it. That’s the post.

It can sometimes feel like the work On Kawara left behind is so vast, constrained, and specific that it leaves anyone with questions—or answers—about the artist and his practice stuck in critical fabulation. But that turns out not to be true.

Beneath Duncan McLaren’s occasionally rhapsodic biographical reconstruction of Kawara’s career lies an extraordinary amount of data drawn and synthesized from the work itself. The artistic actions of a day or an instant—where Kawara was when he painted, who he sent postcards to, where he went, and who he met—now create a structure of a life.

And when McLaren sees that one neighbor got dozens of I GOT UP postcards, and another got only one, he tracks them down and asks what happened. And that is how we find out how Nobu Fukui, the guy who organized their artist co-op building, and hosted their late night mah-jong, and stored his art & stuff at the Kawara’s when he went back to Japan, also got in some date painting trouble:

On normally brought a painted canvas [to mah-jong] with the date pencilled out, all he had to do was to paint. Sometimes he came with a blank canvas, painted the canvas and played the game while the paint was getting dry. He used a set of plastic templates to draw dates with a pencil. I didn’t know, but I learned later that somehow he kept this a secret. Apparently he wanted the public to believe he was drawing freehand.

The typeface changed over the years; would it be a shock to learn that Kawara used a template for some of those styles? Actually, yes, but only because of how the project evolved and was presented. And a template at the beginning does seem—and look—plausible, if unexpected. But this posthumous disclosure is only part of the drama. Here is McLaren:

Nobu told me that on his 25th birthday, on June 2, 1967, Nobu borrowed On’s templates and made a Date Painting on an orange background, the characters being displayed both upside down and running backwards…

Later in 1967, when Nobu was going to Japan for several months and was giving up his rented loft, On and Hiroko offered to store his birthday Date for him. Upon Nobu’s return from Japan, On did not give him back the Date. Mind you, Nobu didn’t ask for it back, so maybe there was an unspoken understanding that Nobu had been in danger of somehow undermining On’s project.

a jpg of an orange on kawara style date painting if the template was flipped, so the date, june 2, 1967, appears in white mirrored and upside down, an illustration based on nobu fukui's story of doing just this, as told to duncan mclaren of onkawara.co.uk
ceci n’est pas un Nobu Fukui: Duncan McLaren’s rendering of the flipped-stencil date painting Nobu supposedly made for his own birthday, via onkawara.co.uk

June 1967 was just over a year in. It already became clear in late 1966, when he destroyed a date painting that took longer than a day to finish, that Kawara only settled the conceptual contours of his painting project over time, as he experienced it. Was having someone else paint a Date painting ever OK? How about finding out your punk friend, ten years younger than you, painted a flipped stunt version of a Date painting for themselves?

21 nov 2003 painted in white on a dark grey rectangular canvas, a 60th birthday gift from on kawara to kaspar koenig

Was Nobu the first person to inspire the Date painting-as-birthday-gift, only to play himself in the process?

Agnes Martin: Nailed It

16 squares of canvas painted creamy yellowish white laid, slightly overlapping along their right edges, in a grid to cover a 12 x 12 inch panel. a nearly flat arc of 21 small steel nails crosses like a horizon line at the top of the second row of squares. all in a wood slat frame. titled homage to greece, this 1959 painting by agnes martin belonged to her lover and neighbor, the excellent textile artist lenore tawney. img via christies
Agnes Martin, Homage to Greece, 1959, oil on canvas and nails mounted on panel in artist’s frame, a gift to Lenore Tawney in 1961, sold at Christie’s in 2011

Saw this perfect, little Agnes Martin, very early, via @punk-raphaelite‘s reblog.

Along with the carefully imperfect grid built up from painted squares of canvas—one scholar calls them selvedge edges—Homage To Greece (1959) is one of a handful of works where Martin used nail heads like dots. The ones I’ve seen date from a little later; did Martin add the nails then to an earlier piece, or was this an early example? She was pretty clear in interviews that her use of the grid did not evolve, but just came to her.

a 1962 agnes martin painting 12 inches square is a graphite grid ten rows high on a concrete colored oil paint base. the vertical elements are very narrow, and at the top and bottm of each vertical rectangle, martin has hammered a tiny brass nail head, which read as painted dots, in slightly imperfect rows, obviously hand-done. owned by the mca san diego
Agnes Martin, Untitled, 1962, graphite and oil on canvas, brass nails, artist’s frame, 12 x 12 in, MCASD

Prior to her expansion to 6-foot square canvases, Martin worked in this small, handheld size, creating not just paintings, but objects, thick with her own slat frames. One group of shallow little boxes, incised with a grid and enclosed in a plexiglass top, have little balls rolling around inside. Called The Wave, one was in a toy-themed group show once, but the others were just for friends.

Probably the friendliest among them was Lenore Tawney, who got a The Wave, and Homage to Greece—which the Tawney Foundation sold in 2011—among many other Martin works. While the two were Coenties Slipmates.

Happy Pride?

Obviously, I needed a line there that started with H.

Age Gap Electric Chair

screenshot of sophie pinet's instagram post of a very cluttered office in a loft space full of dark medieval furniture, warhol bric a brac, and a big ass electric chair painting propped on a console behind the desk. it's red, almost exactly the same red as all the walls and ductwork. fred hughes's office in warhol's last factory

Deep in the carousel of images @sophiepinet posted last week of Warhol’s last Factory was this picture of Fred Hughes’s office, and that is the best install of a giant Electric Chair painting I think I’ve ever seen. When in doubt, just add more red.

Maybe if Christie’s had hung that Big Electric Chair painting on a matching orange wall, it wouldn’t have flopped. And anyway, was it even that big? It certainly wasn’t THIS big.

a nicely lit nighttime photo of warhol's last factory on east 32nd street is like four or five stories tall, and narrow, a mid-block building, with a facade of mostly supertall windows, a former con edison station. via sophie pinet's insta but idk who the photographer was

I figured I’d need the catalogue raisonné to figure out what painting this was, so I was just going to shoutout this low-key magic photo of the Factory and be done. [It used to be a ConEd substation running between East 32nd & 33rd Streets, which Warhol bought in 1981, and used from 1984 until his death in 1987. After that it became the first home of the Warhol Foundation, but in the early 2000s it got replaced with a condo tower. RIP]

a vertically oriented dark red warhol with a grid of twelve electric chairs screen printed in black, this is the 1963 half of what became a diptych that warhol sold to the mfa boston after he added an identically sized red monochrome panel to it. absolute boondoggle behavior.
Let’s call this Red Disaster (detail) for dramatic narrative effect, 93 x 80 in., via mfaboston

But then I found it, and I needed an eye rubbing in disbelief emoji, because the unpainted bottom edge of Hughes’ painting perfectly matches the Red Disaster painting at the MFA Boston. Which is almost 8 feet tall. And it is dated, 1963 and 1985. And it is a diptych. Or rather, it’s a diptych now.

warhol's red disaster diptych is a red monochrome panel on the left and red panel printed with black electric chairs on the right. the reds don't quite match, whether that's the fact they were painted 22 years apart, i don't know. via the mfa boston
Warhol, Red Disaster, 1963/1985, 93 x 161 in., acquired in 1986 by MFA Boston

The MFA acquired the painting(s) in 1986, direct from the Factory, almost while the paint on that monochrome panel was still wet. That paint, which looks like it matched the red of Hughes’ wall more than the 22-year age gap red of its partner. Someone in Pinet’s comments called this Hughes’ Diana Vreeland room

Was doubling the painting Hughes’ idea? Did the MFA request it? Were they just in the market for a bigger painting, too bad all you have this single panel…? Did they get the brushoff from Philip Johnson? Did Warhol bulk up any other old paintings like this? Are Warhol’s diptychs often hung as two entirely separate paintings? As if age gap wasn’t enough, they need wall gap, too? Have they ever been exhibited stacked on top of each other? Or maybe propped up on two tables?

Ruh-Roe

a rephotographed poster for the movie point break with a young keanu reeves'  disembodied head floating above a group of bank robbers with president masks on, and behind is the disembodied head of patrick swayze except that swayze's face has been photoshop replaced by roe ethridge's own young mug, this would be his greatest self portrait ever if he hadn't made that one with the black eye before this. still, just incredible work all around, and this copy is being sold to pay off the creditors and clients of art advisor lisa schiff who is at the moment serving time i think for her crimes. anyway this is at phillips in july 2025

How no one bought the second greatest self-portrait Roe Ethridge ever made last fall, when it would have brought the creditor victims of Lisa Schiff’s purloining $3-4,000 before Phillips’ fees, is beyond me. Anyway, violent mask-wearing thieves disguised as US presidents could not be more on brand right now, and so it’s back, with a lower estimate and at least one bid.

2 July 2025, Lot 172 | Roe Ethridge, Untitled (Point Break), 2010, ed. 1/5, est. $2-3,000, current bid: $1,000, PROPERTY TO BE SOLD TO BENEFIT THE CREDITORS OF LISA SCHIFF AND SCHIFF FINE ART [update: sold for that one bid, $1,270] [phillips]

30 seconds later update: LOL this is insane. I just read an article about someone who suddenly decided to pay off a school’s entire lunch debt of $865, and then went on to raise money to pay off more, and then got a law passed to abolish lunch shaming. So if you have only $2,000, do NOT spend it on this Roe Ethridge portrait, the net proceeds of which will go to several millionaire collectors who won’t even notice. Instead, pay off an entire school’s lunch debt with it. And if you have much more than $2,000, pay off a school’s lunch debt, then just contact Kreps and buy another edition of this perfect picture. What are we even doing here?

Hardcore / Love, Leckey / Jafa

a screenshot of the poster/announcement for a two artist show, hardcore / love, of video works by arthur jafa and mark leckey, at the whitgift centre in croydon, starting 28 june thru 10 august 2025, is all black text on hilighter green, taken from the conditions.studio instagram grid

This has been hanging around on my instagram feed, but I just listened to Arthur Jafa and Mark Leckey talk about it on The Art Newspaper’s podcast, and now I must post.

This two-artist show titled Hardcore / Love at Conditions Studio Programme in Croydon brings together two of the most amazing works of video art of the century: Mark Leckey’s Fiorucci Made Me Hardcore (1999) and Arthur Jafa’s Love is the message, the message is death (2016).

The artists’ conversation with Ben Luke is unexpected and interesting, drawing affinities between these two works and the musical moments they inhabit. But also, as Mark points out, each film embodies the technology of its moment while marking a significant shift in media: from digital to analog, and from chronological to algorithmic.

I worry we’re too late for Jafa’s turn on NTS, the experimental radio station where Leckey has been programming for so long, and to such great effect. Maybe it’s archived. [here’s a direct soundcloud link]

Hardcore / Love is at The Whitgift Centre, Croydon, by Conditions, from 28 June through 10 August 2025 [conditions.studio]
Arthur Jafa & Mark Leckey on The Week In Art, with Ben Luke [theartnewspaper]
Arthur Jafa & Mark Leckey playlist 06.27.2025 [nts.live]

R.H. Quaytman Book Talk

A couple of weeks ago Miguel Abreu Gallery hosted a launch event for Book, the second volume of R.H. Quaytman’s catalogue raisonné/artist book, which covers her work through 2022.

I’ve always been interested in Quaytman’s accounts of being the child of a painter, and of inheriting the legacy—and full storage spaces—of her father Harvey Quaytman.

But that is not important now, because now all I want to hear about is the incredibly dynamic of being on a panel with your mom. Quaytman’s mother, the artist-turned-poet Susan Howe, absolutely ran away with this conversation, even as she managed to (mostly) keep the focus on her daughter and her book.

Which, she cannot believe she called her book Book, what was that about? Just when you think the family dynamic has ebbed, and the conversation has slipped back into typical panel mode, everyone jumps on the pile of discursive rubble trying to figure out what Benjamin meant with the Angel of History.

I hope there is a mother-daughter podcast in the works, because I’ve got $5/month burning a hole in my pocket rn.

R.H. Quaytman, Ones, Chapter 0.2, has been extended through July 12, 2025 [miguelabreugallery]
Previously, related: R.H. Quaytman, Paul Klee, and Martin Luther walk into a bar

George Inness, Industrial Niagara

a george inness painting of niagara falls is misty and indistinct in the lower, watery, bluish white half, and smoky hazy in the cloudy, smoggy purplish mauve of the smokestack spewing sky half. at the bottom left edge a thin strip of green landscape is inhabited by two tiny white flecks, presumably canvases of indistinctly painted painters. in a thick but not overly ornate gilt frame. at the smithsonian american art museum, c. 1889.

I had to go check something at the Smithsonian American Art Museum for a thing, and on the way, I got stopped by the tiny painters in the lower left corner of George Inness’s misty, smoky 1889 painting of Niagara. It had just recently been declared a state park, and the factories, mills, and brothels along the cataract had not yet been cleared away. Pretty sure it’s an edenic paradise now, at least from some angles.

どうでもええ… LV X YK Surfboards

a white surfboard with red dots all over it and the name louis vuitton running down the center in tighter red dots, leans against a white wall. being sold at sbi auction in japan in july 2025
The best thing I can say about this is it’s 224 cm tall, via SBI Auction

I could have gone another couple of years without realizing Louis Vuitton made several hundred Yayoi Kusama surfboards as part of their sprawling animatronic collabsploitation in 2023.

There’s a longboard and a shortboard variant, and at least two motifs: dots and tentacles. The PR copy regurgitated on all the hypesites says they’re a tribute to Kusama’s pumpkin sculpture on the dock at Naoshima. If that’s the true, then why aren’t they all destroyed in a typhoon?

12 July 2025 lot 69 [not nice] | LV x YK Surf (red & white), ed. 100, JPY1.5-2.5m [sbiauction]
Previously, all too related: Kusama X Vuitton: ‘I was finally able to bring home the crown’; The Infinity Room is now an LV Pop-up

Gavin Brown Woodblock Prints @ La Pulce

screenshot of viva la pulce's instagram story of an installation photo of the gallery, with a white wall filled by a three row grid of book-sized black on white woodblock prints, and a white guy with dark hair, facing the wall at a ledge/desk. they're by gavin brown

In the year 2000, on the small bookshelf in the grass-roofed house we rented on the beach in Tulum, was a years-old Gallery Guide, the monthly, pocket-sized directory of all the shows in all the galleries around town (NYC). Flipping through it, I was surprised to see Gavin Brown, a dealer friend, had had a show at David Zwirner. He was a bit cagey when I asked him about it later. I’m very glad that over the years, he has eased up, and has gotten back to showing work.

a screenshot of passerbystop's post of a photo of a square-ish black on white woodblock print of soutine's bellboy, made of thin hatching marks, pinned under a sheet of glass, at la pulce in roma in june 2025
@passerbystop regram of @thconrad’s story of @passerbystop’s Soutine print at @vivalapulce_

Last night Gavin opened Proof of Life, a show of woodblock prints at La Pulce, his second project/gallery space in Rome, which opened this spring. I could not make it, but I am glad to see the results spreading on instagram. Brown has turned to a laborious mediated process to make fleeting images of daily life. That perhaps included a trip at some point to the Pompidou, or to an exhibition somewhere one of my favorite Soutines was on loan.

Gavin Brown Proof Of Life is at La Pulce, Via Dei Tre Archi 5, Roma, till idk [ig]

Deliberation Before Action Protects You From Regret

a top down view of an 18 inch diameter white porcelain bowl with thin, geometric, elongated, almost abstract kufic-style arabic calligraphy around the rim, with extensions down into the bowl, written in black slip. from 10th century iran, at the met
Bowl with Arabic calligraphy, 10th century, Nishapur, Iran, 18 in diameter, collection Met Museum

The new-style Kufic calligraphy on this 10th century bowl is glorious. It translates to “Deliberation before action protects you from regret; good fortune and good health.” I’m assuming that’s not an Oxford semicolon.

Here is a reading and translation that follows along the inscription.
[via @sarcher.bsky.social]