novice Buddhist, expert neurotic. writer. aspiring adult.
sophcw at gmail dot com
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Do not depend on the hope of results… you may have to face the fact that your work will be apparently worthless and even achieve no result at all, if not perhaps results opposite to what you expect. As you get used to this idea, you start more and more to concentrate not on the results but on the value, the rightness, the truth of the work itself.
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He’s a symbol of the rarification of the top end of the art world, the way in which it’s become a playground for moneyed dilettantes and cash-hungry investors, a great ongoing circle-jerk of vapidity and self-satire.
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this whole time my life has been an art installation.i fooled you didn’t i! all donations/offerings to benefit my my work can be directed towards my paypal/seamless account, thank you for supporting the arts.
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I went to the NY Art Book Fair at PS1 yesterday and it was super super rad. Really overwhelming but really inspiring that so many people are doing so much cool stuff. I got some really cool shit including this rainbow cat tank top from Homocat, psychedelic pizza stickers for Tim from Desert Island (who rule), a zine about JD Samson for Heidi, the CATS HATE COPS zine from a table who were donating all their money to political prisoners (which btw is all real newspaper stories about cats attacking cops) and my favorite which is Baudrillard’s Precession of Simulacra translated “from English to American” by Sean Joseph Patrick Carney who I am obsessed with.
Example quote: “You’re like, ‘What’s a simulacrum?’ It’s Latin for copying shit. Like painting pictures of God, V-Card Mary, the Holy Fucking Ghost. Except that I’m gonna be the first to say that maybe those copies end up turning into their own reality, one that you might even call ‘hyperreal.’ Oh, and I might also point out that this is because there is no God.”
So yeah, basically it ruled. Sometimes I really love New York.
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I am done, for the moment at least, with music that is all surface. Even if that surface is very pretty or creepy or cool, right now I am only interested in art either challenges me in some way or ellicits a feeling other than “I bet this would sound great in an X commercial.” If something is scary, I want it to be scary for a reason, not because scary is in this season. I don’t have a problem appreciating surface-y music and art, I have enjoyed a ton of pop music and more obscure music that fits that criteria, and I have even loved it. But right now it’s not what I want or need. Right now I want something that has spirit, that feels in some way necessary
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“The Shakespeare readings affected what happened on the shows I was doing, because I saw things from my actors that I didn’t know they could do, and I was like, ‘If I know you can do it, everybody else should know it, too. It’s going to go in the show.’ And so it’s not like I’m mining my friendships for content. I love hanging out with these people, but … we have a circle of everybody feeding everybody else and then something else comes up and you go, ‘Oh, they can do that,’ or they put something in your ear about this. To have that flow of creativity within a friendship so that it feels like it’s spiraling upward and not just circling. It’s not just like, ‘And we meet and we play fantasy football, and then one day we’re old.’
And you get people like (actor-writer-comics Brian McElhaney and Nick Kocher), who are younger and are content creators; they know that. They do it for themselves. Later on, they’ll be able to do it for somebody else and get paid more, but this generation is not waiting for someone to read their spec script, and I love that.”
PUNK IS DAD, 2013
I have seen this image about 10 times (in color) on my dashboard and now it’s on the jogging. I know many people have been saying this but in the span of like a month I feel like the jogging went from being a Tumblr that made fun of/trolled the art community to being a Tumblr governed by basically the same principles and strange hypocrisies of the art community.
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I know basically nothing about visual art. I know the names of some painters and I enjoy some paintings, I’ve had a good time at museums and exhibitions, but if you want to get into why an abstract painting is good or not all I can give you is my gut reaction, and I’m not very practiced at even that. Brian Eno’s 77 Million Paintings, which I was at earlier tonight, helped me understand a little bit why people enjoy visual art so much. What struck me most about it was the center, almost “aleph” shaped piece, which unlike the other screens, remained one solid color throughout, absent of any shapes or designs. It seemed to change colors quicker than the outside screens, which would shift from one pattern to another as pieces were highlighted or darkened, added or subtracted, at an almost unnoticeably slow pace. Staring at the center, which seemed the natural focal point, you could watch it go from bright green to grey, to black, to purple and hot pink, while what surrounded it remained relatively constant, only occasionally revealing something meaningful. I thought about context, how important it is. The center’s color completely changes your perception of everything surrounding it, whether it’s the brightness of color or the lack of it completely. It highlights parts of other pieces you may not have noticed before. It’s all controlled by a complex but chaotic algorithm, which will probably never repeat the same pattern twice. I couldn’t help but think that it was a lot like life: a series of mostly random events colored only by our perception. It’s good to remember that things can look different from the outside, and even if it’s hardly noticeable, everything is always slightly changing.
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I recently went through sudden, drastic life changes that were completely out of my control and not by choice. All of a sudden, there was no stability in my life; everything I’d viewed as constant slipped away. In this weird way, it became a catalyst for a drastic shift in my creative life as well. When the bottom falls out and you have to crawl your way out, when you get to the top, you’re alone— and you’re different than you were. If you let go and give yourself over to it, you’re lighter and freer, too. The album’s about fiercely holding on to what’s true and unapologetically abandoning what’s not.
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‘Capitalist Realism’ is the ideology that now structures our world, the idea that, in the words of Margaret Thatcher, there is no alternative. Neo-liberal capitalism seamlessly occupies the horizons of the thinkable. Within that framework, what does the emulation of the creative visual forms of the corporation signify? What’s with post-internet artists and all their corporate swag? Looked upon favourably, it suggests an ambition for the work. The visual language of the corporation is the language of the possible. Who structures our visual environment on a daily basis, but advertising agencies working on behalf of corporations?
The move towards brand language marks a desire to engage with the visual cultures of daily life. In adopting the form of the commercial policy document, artists are shifting the context of their work back to some form of social engagement, and that’s a tacit admission of just how ineffective contemporary art discourse has been in making practical and pragmatic interventions into the real world of everyday life. Instead, the utilisation of the language of the commercial sphere, then, signifies a genuinely radical shift from the forms of post-socialist contemporary art that came before, in the form of Relational Aesthetics — an attempt or desire to produce art that engages with everyday life, which changes the social or political world it is produced in. We can lament that there is no other political framework in which radical social engagement can occur, but we cannot really deny it.
Huw Lemmey at Rhizome.
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