Please Say Something

Please watch this again and again, like I do. What can I say? I believe it lengthens and improves life. Don’t bother trying to tell me anything is as good as this, save perhaps the ultimate pedestal vices and pleasures, because I will know you are full of shit. I dream of meeting David O’Reilly.

Not Like Her

From a small square of lcd screen, you can only imagine how beguiling Holly King’s photographs of multimedia models would be if you saw them in their fullsize chromogenic glory. Unless you are like my gallery-mate, who found them garish and so would likely prefer less visual information. But you are not like her. She is wrong, and you are right, and now you must remember to watch for Holly King work hanging near you.

Holly King: Works.

Quotes Dawkins.

Now playing at Jenkins Johnson (and their Armory Show exhibit), Courtney Johnson’s Glass Cities should inspire a resurgence of cliché-verre experimentation. Johnson works in a variety of techniques, including cyanotype and emulsion lifts, as well, and all of it can be seen on the site linked below. This process experimentation is often a focus of commentary on the work, understandably. But the style is not, solely, the substance, nor does it obscure the themes and viewpoints of the artist.

Courtney Johnson – Glass Cities – Jenkins Johnson Gallery, New York, NY – February 11 – April 3, 2010.

Another Is Imminent


(Anselm Kiefer/Nomenus Quarterly)

So set your rss or bookmark or whatever system you use to nomenus quarterly, as his newness should arrive very shortly. And you know that six grand pricetag on the print edition is for chumps.

A Pleasant Surprise

For some reason I thought Babel was a handheld, doc-looking political statement about terrorism. Maybe a lot of the marketing used big gun Brad, whose story would most match that description. Anyway, I wasn’t terribly interested in that, so only got around to this last night. Goodness! There is so much more to this than that. So much beauty. Technically pleasing. Some ideas to consider. My only complaint is that I didn’t feel it as much as I would have liked, and this movie seems to have the potential to make you feel deeply. I’m not sure if this is a performance problem, or a story problem. I suspect the former, since the character you feel the most for, the nanny, is no more revealed through story than the other characters. Whatever, it’s a great piece of work that did inspire me.

Ephemeral and Nonviable. Or, Giant Jewelry


Ahhh, these are so great! Guess what? It’s in Amsterdam! What the hell is going on with Even More Legendary and the Netherlands? I don’t get it. This recent jewelry grad transforms existing urban structures into giant jewelry. She is working with that zeitgeist about “ordinary”, and quotes the poetic words of photographer Joel Meyerowitz on the second splash page, Splash The Sequel, of her site: “It may be the slant of the light, it may be even the smell, something not visible, you may feel yourself rooted to the spot where suddenly there’s a smell of salt water mixed with roses, and it’s got your number. At that moment you know ‘I’m alive. Here, now.’ And what’s there? Whatever you make of it. Sometimes it’s ephemeral and nonviable. Ordinary.” Saw this over at

Liesbet Bussche.

She Can Say What She Likes

One Floor Up More Highly copyright Katharina Grosse and VG Bild-Kunst, Bonn

Recently I lapsed into an old conversational tic I’d thought extinct in my language: emphatic declaration. Specifically, I declared as bullshit the declaring of Patti Smith’s work as bullshit. The irony pierced me instantly, and I retreated into bemused introspection for a couple of sips.

The experience improved my reading of this interview with Katharina Grosse. Whose work I deeply dig. (…could have selected an image featuring materials other than soil…could have left out “dig”……….)

Katharina Grosse.

I Mean Like I Don’t Even Know

Yeah, so if you’re trying to kik the kronik, you may wish to avoid viewing this. Conversely, if you are currently enjoying the chronic, you may find this compatible.

Categories: Distracted Tags: , ,

A Year Of Silence

A post named not to celebrate my freedom from Facebook, no, but for a song in a playlist. Not because it’s the best song, but because it has the word “year” in it, and it’s January 1st, and that’s just how far we can push the envelope round here.

A day like this in a year like this deserves bonus music. So not just one track this Focussed, but a whole playlist. These are all 2010 releases, and another thing they have in common is our love for them.

Crystal Castles – Year Of Silence

Food, Thomas Strønen, Iain Ballamy & Christian Fennesz – Mictyris

Either/Orchestra – Portrait of Lindsey Schust

Tritton Cello Ensemble – Le Phènix_ I. Allegro

Emeralds – Now You See Me

Brooklyn Rider & Kojiro Umezaki – Lullaby from Itsuki

Joe Frawley – About Memory, Part 1

Flying Lotus – Nose Art

Four Tet – Love Cry

Laura Marling – Devil’s Spoke

Stephen Hough – Chopin Mazurka in F minor, Op 63 No 2

Myra Melford – Night

No Age – Skinned

Laura Veirs – July Flame

A Place To Bury Strangers – It Is Nothing

Fanshaw – O’ Sailor

Categories: Focussed Tags:

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The symbol representing Jessica Eaton. These symbols come up in your browsing dialogue popup whozits, and you never really know if it’s a lost in machine translation thing or intentional. But I like to think of the triangulating dots as Jessica’s mark. Why not?

I just came across this work, and I am spontaneously popping it in here due to Substantial Initial Connection. See Everything Has Changed Anyway and her Lee Filter work, Spectrum. See Cultivated Mystique and her Quantum Pong. Not making any connection other than flash card, mind you. Haven’t read about process yet. Just sharing the instantaneous recognition of shared marks.

. : Jessica Eaton.

Categories: Distracted Tags: ,