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We Belong Together
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Art history student. Fool for love.
Andy Warhol, Hand and Flowers, 1957
I have been having difficulty getting into the volume and gristle of my feelings. I’m reminded of when I was told to stick my hand into mysterious, hidden substances in elementary school and was asked to identify the material. All I could find were descriptors and analogies, but I couldn’t figure out what the things were. They were soft, warm, light or heavy, they felt like what a cloud must feel like, or grainy and soothing like sand. 
The emergence of postmodern surface always appealed to me, and made me feel sad too. The flattened picture was an impenetrable surface protecting some interior marsh, a vulnerability that couldn’t be taken up by capital or misinterpreted in such a painful and disappointing way. I see flattened out soup cans, made with so little of the artist’s laboring, individual body, all of that taken out by the silk screen, and I think of being in a relation where one feels less and less comfortable disclosing, lest every disclosure be made into one’s ability or inability to be useful.

Andy Warhol, Hand and Flowers, 1957

I have been having difficulty getting into the volume and gristle of my feelings. I’m reminded of when I was told to stick my hand into mysterious, hidden substances in elementary school and was asked to identify the material. All I could find were descriptors and analogies, but I couldn’t figure out what the things were. They were soft, warm, light or heavy, they felt like what a cloud must feel like, or grainy and soothing like sand. 

The emergence of postmodern surface always appealed to me, and made me feel sad too. The flattened picture was an impenetrable surface protecting some interior marsh, a vulnerability that couldn’t be taken up by capital or misinterpreted in such a painful and disappointing way. I see flattened out soup cans, made with so little of the artist’s laboring, individual body, all of that taken out by the silk screen, and I think of being in a relation where one feels less and less comfortable disclosing, lest every disclosure be made into one’s ability or inability to be useful.

"My inspiration has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm."

"My inspiration has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm."

Johanna Billing, I’m Gonna Live Anyhow Until I Die, 2012

Johanna Billing, I’m Gonna Live Anyhow Until I Die, 2012

Roni Horn, Paired Gold Mats, for Ross and Felix, 1994–95

Roni Horn, Paired Gold Mats, for Ross and Felix, 1994–95

Babette Mangolte, Lucinda Childs in Solo of Dance, composite, 1978-2010

Babette Mangolte, Lucinda Childs in Solo of Dance, composite, 1978-2010

Lorna Simpson, Waterbearer, 1986

Lorna Simpson, Waterbearer, 1986

 ”the very idea of America makes me shake and tremble and gives me nightmares” 

-Josephine Baker’s diary

Diagram of artistic influences created by Yvonne Rainer in response to a July 1980 New Yorker article about the avant-garde dance community. Yvonne Rainer papers, The Getty Research Institute, Los Angeles 

Diagram of artistic influences created by Yvonne Rainer in response to a July 1980 New Yorker article about the avant-garde dance community. Yvonne Rainer papers, The Getty Research Institute, Los Angeles 

Sam Taylor-Wood, Soliloquy III, 1998

Sam Taylor-Wood, Soliloquy III, 1998

Helen Frankenthaler, painting

Helen Frankenthaler, painting

Mieko Shiomi, Portrait Piece, 1963

Mieko Shiomi, Portrait Piece, 1963

Yvonne Rainer, Carriage Discreteness, 1966

Yvonne Rainer, Carriage Discreteness, 1966

Sarah Charlesworth at work.

Sarah Charlesworth at work.

Anna Halprin, Blank Placard Dance, San Francisco, 1967

Anna Halprin, Blank Placard Dance, San Francisco, 1967

Richard Serra and Nancy Holt, Boomerang, 1974

Richard Serra and Nancy Holt, Boomerang, 1974

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