Joel and I got together at the Met again and made a collaborative piece
for N:H:T. It was to be another film clip of the artist confronting art.
Due to a technical problem I couldn't get what we made into a usable form.
And there's that lesson again: Art is mostly about failure (in a world
interested only in success that's a hard one to hear.) But that said,
it's not that sort of failure. It's not a brand that marks you, which
limits you. It's the sort of failure that leaves you with more possibilities.
So is it really failure? Is there failure, or is it all just making?
So here I submit the residue of our attempt, or perhaps more positively,
with the banner of: Soon to be a major motion picture.
Great Barrington, Massachusetts
collage and gouache on paper
This piece I made remembering my father.
sexus X - schicksals liebe
digital print / words from sitte&sexus text-series
what is the most important thing on my mind right now?
white. the snow. i love when all around me turns white.
black. black on white, there seems to be the real truth and at the same
time the deepest lie.
red. written in blood. words from the heart.
Jacie Lee Almira
Falls Church, Virginia
Asking for forgiveness.
Having a clean slate for my baby.
Though it may not be possible.
New York City
Beauty or efficiency? I have a refrigerator from the 40's that I love,
but it doesn't have a freezer. Can I possible let go and move on? In a
display case I have 4 broken drinking glasses that I can't quite part
with. Then there is that person from the 40's. But seriously, I might
just buy a new fridge. People do it all the time, right?
St. Petersburg, Russia
During the Soviet times, Soviet artists received virtually free studios
from the city and received commissions from the government. The times
have changed. We now live in a post-industrial, super cruel, capitalistic
state. Recently the government of St. Petersburg tried to evict artists
from their studios and in such a way to gain control of these valuable
pieces of property in the center of the city. This time artists succeeded
in proving their right to low cost work space, but I'm afraid that this
will not last for very long. However, not long ago I received a new 80
square meter studio in a wonderful neighborhood of St. Petersburg. And,
so, all my life now is hundreds of boxes, which have been moved to a new
space. These boxes represent the labor of my entire life, garbage collected
for many years without which I couldn't survive. But, now all these treasures
are lost in boxes which all look the same. I could start working in my
studio now, beginning from scratch. In theory, I no longer need these
boxes. But, in any case, I must do something with these hundreds of boxes
Washington Heights, New York City
From New York Times review of the Whitney Biennial, by Michael Kimmelman:
"Mark di Suvero and Rirkrit Tiravanija have revived Mr. di Suvero's
1960's "Peace Tower": they've commissioned colleagues, who
in turn invited friends, to devise two-foot-square panels, minimanefestos
"The Peace Tower" is old-school civic protest, almost quaint--a
genuine, albeit predictable response to what's going on in the world
that makes no claims to being anything other than what it is. And why
shouldn't artists get together to say something about war and peace,
in the midst of war, if there is an opportunity like the biennial?"
I have been wondering about the answer to what is here phrased as a rhetorical
question. Is the appropriate response to what's going on in the world
to keep exploring formal issues and abstractions, quirks and concepts;
or is it incumbent upon artists (and everyone) to address problems literally?
What's that saying about playing the violin as Rome is burning?
... nothing that is not there and the nothing that is ... " (part