Friday, February 27, 2015

Gene Beery: ART IS MY PET!

Towards A Philosophy Of Photography by Vilém Flusser

Introductory Note

This book is based on the hypothesis that two fundamental turning points can be observed in human culture since its inception.  The first, around the middle of the second millennium BC, can be summed up under the heading 'the invention of linear writing'; the second, the one we are currently experiencing, could be called 'the invention of technical images'.  Similar turning points may have occurred previously but are beyond the scope of this analysis.

This hypothesis contains the suspicion that the structure of culture – and therefore existence itself – is undergoing a fundamental change.  This book attempts to strengthen this suspicion and, in order to maintain its hypothetical quality, avoids quotations from earlier works on similar themes.  For the same reason, there is no bibliography.  However, there is a short glossary of the terms employed and implied in the course of the discussion; there definitions are not intended to have general validity but are offered as working hypotheses for those who wish to follow up the concepts arising from the thoughts and analyses presented here.

Thus the intention of this book is not to defend a thesis but to make a contribution - informed by philosophy – to the debate on the subject of 'photography'.


Blinky Palermo, Works 1973 - 1976 @ David Zwirner

Wooster Street, 1975

Ohne Titel (Untitled), 1973

Osten-Westen III (East-West III), 1976

White Wing, 1974-1975

Objekt mit Wasserwaage (Object with Spirit Level), 1969-1973

Ohne Titel (Untitled), 1973

Ohne Titel (Untitled), ca. 1974
More: HERE

Violet Dennison @ Allen & Eldridge opens Tuesday, March 3rd, 2015 from 6-8pm

O earth, O earth, Return!

March 3 -15, 2015
Opening Tuesday March 3, 6-8pm
At Allen & Eldridge

Workers we, our Vessels full of pollen, falling down. She sees a man bellowing madly on a street corner, overflowing with love for every intangible thing. Dionysus is a mad man living on the street, she thinks, and she enjoys the idea. But she is alone, and she is lost, and she feels like nothing other than the only witness to the miraculous circumstance that is herself. Regret swells in her breast. A zerg swarm of coffee cups animated by some hidden hive mind come alive at night in my studio. Under a magical spell, cast by a wizard, they march about the cold office space making little squealing noises communicating with each other, their metal legs click-clacking to and fro. In the night they build massive hands out of office chairs. I think they are hands for the Wizard. Maybe she is now body-less and hopes to build herself a new form. When her new body is whole she will take night walks around Gowanus. She will stroll fourteen feet tall, roll around on her hands and feet of wheeled chairs, bound over the canal and play in the massive trash heaps. The coffee cup workers know nothing but their task at hand. They have wrapped their being around doing. To be constituted by another's desires is not the same thing as to be alienated in the violent separation of the laborer from his product. To be vulnerable, able to be disassembled, re-assembled, exploited as a reserve labor force, seen less as workers than as servers. A young female is bound to the pulsating cube by many wires. She is slowly rotating in mid-air. Each part of her body is highlighted as it is named. Mouth, Ear, Thigh, Ankle, Breasts, Hair, Back, Toe. These ingredients are a soup, and the stock of it is my time, my labor. The body is forced to repeat strange, alienated, hostile movements. To sleep, nay, perchance to stay wide awake. 500 million sold annually, full of happiness and coffee lover like a shipwrecked astronaut he turned despairing eyes upon the solitude of life. "All I really wanted was to try and live the life that was spontaneously welling up within me. Why was that so very difficult?" The firm smoothness! The trembling! A mouth that is two mouths wet with saliva. A warm ocean that feels like the beginning of everything. In another room she is spinning the silver ring around reading the entire Greek tragedy that is inscribed within it. The world shifts and she is a boot licking a boot and a leg climbing up a leg. A chest straddling a chest. A tongue so deep in your ear it is tickling the brain. Hundreds of hands are swirling all over her, unbuttoning her pants and rubbing the inside of her mouth and slipping under her skin to peer out of her eyeballs. A spider from another dimension consumed him with utter tenderness. They run in terror from where the treadmill belt folds and the world ends.

O earth, O earth, Return!
Text by: Violet Dennison, Scott Keightley (Emergency Worker), and Graham Hamilton
Allen & Eldridge
Located within James Fuentes

Situational Comedy @ 247365 BK


Eva Hesse screening and conversation @ David Kordansky Gallery: March 5th, 2015 at 7pm

Eva Hesse, c. 1963, photography: Barbara Brown
David Kordansky Gallery is pleased to announce a behind-the-scenes look at "Eva Hesse", the first feature documentary about this groundbreaking 1960's artist, at 5130 Edgewood Place onThursday, March 5 at 7:00pm. Directed by Marcie Begleiter and produced by Karen Shapiro, "Eva Hesse" is currently in post-production in Los Angeles.

For this unique program Hammer Museum Chief Curator Connie Butler will join the filmmakers for a conversation and multimedia presentation about Hesse and the film's production. Begleiter and Shapiro will screen a 16-minute film on Hesse that was commissioned for "Eva Hesse - One More than One", a retrospective at the Hamburger Kunsthalle last year. They will also show slides that provide an insider's perspective on the feature documentary as well as the filmmakers' far-ranging research, which has uncovered a trove of never-before published images of the artist, her work, and her cohort including Sol LeWitt, Bob and Sylvia Mangold, Dan Graham, and Richard Serra. A Q&A will follow.



Lauren Luloff, Water Vessels @ Marlborough Chelsea


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