Monthly Archives: December 2014

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(c) Justyna Mielnikiewicz

Sara Terry sent around the email this week announcing the winner and finalists of the 2015 Aftermath Project Grant.

So a huge congratulations goes to Justyna Mielnikiewicz for her win – fantastic – hope it brings more pictures, more time, more effort!

The Aftermath Project is one I watch each year… it’s always interesting to see what goes through.

The website won’t be updated till early in 2015 (I don’t know why they do that…)… so you can roll over there for the archive or check out Mielnikiewicz’s pictures on her own www.

http://theaftermathproject.org

http://www.justmiel.com

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the murder of James Foley

Travis Mushett made me paaaauuuussssse when I came across Thirteen Ways of (Not) Looking at a Crime Scene… so of course I place a little pointer here on KP (my usual little effort) out to the thing… to the little glint that made me shade my eyes and go closer to look.

From his piece:

 IX.

Remember the Iraq War? Remember the pictures of dead soldiers? The blood and flesh and busted bone? The cost of war? Me neither. We never looked. A survey conducted at the height of the war showed “that over a six-month period, no images of dead American troops appeared in the New York Times, Washington Post, Los Angeles Times, St. Louis Post-Dispatch, Atlanta Journal-Constitution, Time or Newsweek.” When you’re trying to end a war, it’s better to wield a blunt instrument than show up empty handed.

 X.

Show a severed limb. Show a woman’s nipple. Show the word “shit.” A gang of Helen Lovejoys will rise up, gnashing teeth and barking to the heavens: “Won’t somebody please think of the children?!” They demand that we conduct discussions of the adult world’s adult problems in terms that won’t frighten a toddler. Baby might look, so no one can look.

 XI.

Images are better at capturing specific instances than complex systems and shifting climates. After decades of global warming activism, we’re still recycling the same clips of polar bears on ice drifts. 400,000 people take to the streets of Manhattan, and it’s powerful, but the images are interchangeable with any other big protest march. The nation barely looks. We’ve seen this one before. The Sunday talk shows talk about other things. Everyone is too busy opining on videos of women beaten, on pictures of women without clothes, on how best to annihilate the purveyors of desert snuff films.

 

Read it here

 

(c) Lewis Baltz

A lot has been going on this last month or two… been up to my arm pits in self-delusion, trouble and general confusion. As always things have slipped, been sidelined or put on some sort of half-arsed ‘to do’ list…

But a month ago Lewis Baltz died. One of the New Topographic peeps. The stripped, naked architecture (of both building and landscape) that he placed in front of us as a challenge, a question and probably some sort of cosmic joke that we all miss.

The www fired up at the time… laments and references and the like… but of course the train didn’t slow much and it was all quickly left in the distance behind…. but what did remain was what has become knownas the ‘final interview’. Whether it is the ‘best’… well people can argue back and forth for as long as they want… but it is certainly a worthwhile read, a period of time spent picking around as he fiddles with language and even lays bare the simple, banal realities of much of what he did (and was forced to do).

“This was somewhere around the time when sculpture conquered the universe. Not object sculpture, but the idea that any object, or collection of objects, or spaces or acts could be seen sculpturally, no matter how commonplace. A pile of dirt could be read for its sculptural qualities; a pile of dirt on the back of a pick-up truck could be seen as a parody of kinetic sculpture. Everything could be recovered for this Weltanschauung, including painting (like early Frank Stella) and language (like by Lawrence Weiner or Joseph Kosuth). It seemed a triumph of the power of art. Art changed nothing, but by informing people’s perception of the phenomenal world it changed everything. The world was already in the condition of art, waiting to be noticed as such. As Robert Irwin famously said, ” I feel like a man sitting beside a river selling water.” I think that’s one of the reasons some or many of The Prototypes are jarring is because I use a high-art photographic technique to present views of nothing, that is, of no special interest per se. In my mind this was absurd, a metaphor of the condition.”

Find the time… sit down and have a little read… it’s accessible, not dense at all… irritating at times but wholly enjoyable.

The article is here

 

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