Horses Think

Henry David Thoreau Cabin, constructed July 2007–January 2008.

“My intension is not to exploit, but rather to show how complex Kaczynski’s thinking is. I believe his warnings are just. Of course I find his methods wrong, but then again I pay taxes, which have been used to kill lots of innocent people over the past fifty years, so I guess I’m not so innocent myself.”

-James Benning

(via)

A design rendering of Jeff Koons’ Train at the High Line. Image by James Corner Field Operations, Diller Scofidio + Renfro, and Jeff Koons.

This is amazing and mad.

I can’t believe Jeff Koons’ Train might perpetually hover above The High Line, hoisted up into the air by a tall, forever-constructing crane.

The original Godzilla, released as Gojira in Japan in 1954. Photograph: cTavin/Everett/Rex Features

It’s almost a stand-in, as though Godzilla or King Kong had come back to play in the big city. And yet it is simultaneously majestic, light, heavy and awe inspiring.

The chosen site will become a photographic magnet and trap as evidenced by the above rendering.

Something to look forward to.

(via)

Roe Ethridge, Comme des Garcons Scarf with Glass Plate, 2010

Art in America CONVERSATIONS
Photography in Flux: Reinventing the Medium

March 15, 2012 at 6:30pm

Phillips de Pury, 450 Park Avenue, New York

Moderated by critic, writer and Art in America contributing editor Marvin Heiferman, panelists will include Vince Aletti, the New Yorker’s photography critic; acclaimed artist Roe Ethridge; dealer Jane Hait, of Wallspace Gallery, New York; and Matthew Witkovsky, curator and chair of the department of photography at the Art Institute of Chicago.

The event is free and open to the public. Please RSVP by March 12 to eherbstman@brantpub.com.

Only just realized there was an RSVP, not sure how strict things will be.

Wolfgang Tillmans, CLC 1100, 2007

Wolfgang Tillman’s site has an in-depth lecture he gave last year at the Royal Academy of Arts in London. Definitely worth watching if you have some time.

Watch it here.

You have to be a subscriber to read this week’s inspiring New Yorker article about Christian Marclay, his work and process, and how he came up with and eventually configured The Clock.

For those that missed it at Paula Cooper Gallery last year or just didn’t feel like waiting in line, The Clock will supposedly be coming back; First to Lincoln Center this summer and then to MOMA, who has purchased a copy for their collection.

In addition to the recently released book Fractures And Other Injuries, I have also produced a limited edition screen print of the cover image. The screen print is 20 x 24 inches and is printed in an edition of only 40 prints. Each print is signed and numbered.

The price of the print by itself is $85 plus shipping (in a cardboard tube).

To make your purchase, please use the link below:

For those who want the book as well as the print, the total price will be $100 plus separate shipping for both items, while supplies last only. Please email me directly if you would like this option and combined pricing.

Please note: Due to the nature of the screen printing process itself, each print is essentially, if only slightly, unique.

Copies of Fractures And Other Injuries are now available for order.

5.5 x 8.5 inches
(140 x 215 mm)
Offset
Black & White
Screen Printed Soft Cover
Perfect Bound
40 pages
Edition of 125

$30 plus shipping

Please use the button below to place your order:

Here is the book trailer:

The musical track accompanying the book trailer is Ghosts on Highway from Night City by Dirty Beaches.

Incredibly thorough and insightful conversation about designing the title sequence for David Fincher’s The Girl with the Dragon Tattoo over at Art of the Title.

This looks wild, would have loved to be there in person.

It was interesting to observe the reactions of the openers. Initially the vibes were positive. The musicians, all fairly young, were clearly honored to be sharing a moment of spontaneity with someone they idolized. 35 minutes later that enthusiasm began to fade. They were visibly uncomfortable and beginning to question the sanity of their esteemed proctor, unwillingly locked in some twisted, Doomsday clock performance of a ’70s hit. Yet, “My Sharona” endured still, as did Cox’s increasingly awkward interactions with the audience. He asked people to take their clothes off. He shouted seemingly intoxicated defenses about his art. He simulated fallatio. He, to the horror of the Cedar employees, told everyone to pick up their chairs and shake them above their heads. While this behavior in another context could have been viewed as “rock’n'roll” it was unsettling and some people began filtering out of the venue. Eventually, after inviting the audience onstage (which visibly gave the Cedar staff an anxiety attack) he seemed to get the picture that the show was over and bid his adieu, dedicating the show to “the death of folk music and the birth of punk.”

-from a City Pages review of the show by Sally Hedberg