Visual Arts, Columbia University, New York

This course examines ways of looking and ways of seeing, both personally & professionally as artists and in a larger cultural context. Through field trips to contemporary art and other cultural sites, conversations with visiting critical thinkers and practicioners, readings, discussions, and visual & written responses, we will examine how we look, think, act, create and respond--critically questioning our own artistic practices and ways of looking at the world.

Wednesday, March 27, 2013


HOW TO MAKE GEFILTE FISH
(always stay close to what you want to escape from)

LET two carps 1kg. -1.5 kg. Each SWIM-FLOW in the tub
on the day of preparation
CATCH fish and
HIT each precisely on its head with
a mallet
REPEAT
REPEAT
“these fish have nine lives”
when dead and ready
CUT the fish stomach along sidewise
DISCARD entrails
“careful with that knife, when pricked the gall bladder might embitter the whole dish, you see?”
SEPARATE flesh from bones as much as you can
LEAVE few pieces aside – cut perpendicular to horizontal backbone (their centers will be filled later)
MAKE fish soup, boiling bones with carrots and onions
“that's the way we used to do it”
DISCARD bones but SAVE boiled vegetables and soup
GRIND the fish meat with 1-2-3 white onions and 1-2-3 stormy moon-hard-boiled eggs and green parsley leaves
all in the special old fashioned silvery meat grinder (attached to the table with a wooden piece and operated manually)
REMEMBER food processor won't render good results
THINK WHERE YOU COME FROM
My aunt a Galician, swore by the sweet version, my mother, who came from north east Poland,the savory. A DIVIDE.
I think “gemisht harain” (Yiddish for throw in, mix) is the right way to proceed but I'm never sure till I try
“it's the feeling”
THROW IN the fish mixture some sugar, ground pepper, salt, 1-4 raw eggs, some matza flour
MIX with HANDS
FEEL the texture and density
when right
FORM balls flattened in the SHAPE OF YOUR PALMS
FILL centers of cut up pieces
PLACE rendered and sieved through soup in a wide, flat pot
ARRANGE balls and filled fish pieces in concentric layers
DECORATE each piece with diagoanally sliced boiled carrot
COOK as long as it takes
slowly


Fear


Catherine Wang is fearful of birds
She wonders why they carry germs under their vile wings

She is fearful of plastic
Every each and one of us have owned and consumed plastic larger than the volume of our body

She is fearful of inflation
All kinds of inflation
bubbles bubbles bubbles bubbles bubbles bubbles and they will not stop bubbling
And pop goes the world

She is fearful of the way pineapple burns her tongue
And kiwi does that too, sometimes
But we don’t stop eating them, oh there’s no way

She is fearful of zombies
How great is that kind of afterlife I dream about it all the time
Yes you do too

She is fearful of her own body
Why is a woman a woman and a man a man
She is a she and she just doesn’t  get it

She is fearful of her mouth
Why did rembrandt paint carcass
And she ate it, just as all the omnivorous humans did
Why is there a pope sitting there in the middle of the carcass, bacon is stupid sometimes

She is fearful of death
Not hers, but everyone elses
Nature morte, please don’t stop moving
Einstein says you are moving when you don’t
But she doesn’t see it, and if she can’t see it, she cannot believe it

God we are so scared of ourselves but we just don't stop loving ourselves
And that’s why she paints

Manifest

Be pervasive.
Be invasive.

Persuasive?

Sure.

*

Abstract.
Aggressive.
Androgynous.

Strong.
Sensual.
Structured.

A fusion of innovation and design; Call Me a Hybrid.

Cut a new edge; Don't hurt yourself.

Or do.

"Make It Work."

Make it again.

*

Powerful. Independent.

A new breed emerging.

They are here; They are now.

These motherfuckers will run this town.

There is an open landscape
at the center we watch an eruption or an avalanche
underneath is running water, a calm ocean

This is what we see as lovers of paradise
as romantics for grief
this is the place we taste joy and suffering
in the same bite, seated at the table to a feast

Our glasses fill in abundance until peace overflows across the edges
gold runs out the sides
Here we find a pedestal for action
a medal at the beginning of the race

In my ease I paint
in my darkness I paint
there is a picture of something that once occurred
the only occurrence is here

on the battlefield
of love and greed
we find a field of flowers
in the meadow
we run naked
towards the trees

the mountains in the distance call to us
we see from the top
and descend back down to the bottom
in the river valley
in the blue sky
we see all there is to be seen

we look at eachother
and smile
the stars are in the sky
the clouds are by the sea
somewhere is the sun
and daylight brings us peace

Manifesto: Freedom of Joy

  • There is an old and a new consciousness of art
  • The new art states that everything non-contemporary is taboo, b/c it is Bourgeois.
  • Where is the Bourgeoisie today?
  • A large portion of the Bourgeoisie are art-students at Columbia University's Art School. 
  • Ironically, they want to shock the Bourgeoisie, please the art critics, and keep the image of being the most daring
  • To keep the prices of the art market up --which only the Bourgeoisie can afford.
  • Modern art has done away with the hand of the artist, virtuosity, illusion of figure ground, brushes, oil paint, etc., to send a message under the pretence to please the blue-collar workers and the uneducated.
  • Art as we knew it is finally dead!!!
  • Good, it served its time, but did the avant-guard have the right to determine for all future generations?
  • The child who knows how to draw will draw; because it is a JOY to do what the brains know how to master.
  • Virtuosity is called for in all disciplines, except for in art.
  • Why? Because everybody should have the right to become an artist, except for those who can draw.
  • I do not call for an end of the contemporary, critical and inventive art, but for freedom to be allowed to experiment with everything in art, both past and new.
  • To widen the concept and audience of art.
  • To include "Joy of Freedom" as a manifesto in the process of art.

A Provisionary and Immutable Manifesto


A Provisionary and Immutable Manifesto


The Ecstatic Nature
Severity
Craft
Duality, in all things.
Compassion.
EMOTION
JUSTICE
Making things that will last.
Being part of the solution, not of the problem
Nature as a gift, not as a right.
more ANIMALS and less HUmans.
Is it possible to make universal art or is everything at the service of and for the exclusive Pleasure of man?
Is our role then as dual- to destroy?
what is a museum?
What will the new museum be.  universal art
Art for the universe. is it that ridiculous
Shrinking. But expanding
Art that can ferry the soul
Inherent Beauty
Elegance
Nobility
Art as An evocation of a kiss with your eyes closed
Levitation into the works multiple layers
The Norns
Beauty
Tarot
Epona
Making an art that describes, evokes sensations
  arriving in the morning dusk, having the heat of the tropics open up and hit you like the first time you remember as a child that swift and unexpected gust of wind! When the heat, the moisture, the pressure, the Fragrance and the sweetness of the air hit you all at once.
The senses. Making art that you feel, not exclusive to a and the domain of intellectualization, of the White Cube
Anti-sterility, not a pro- chaos
---- the system
Let's make a new one that works better.
There is nothing like today.
Nature as art, the ultimate art. How to harness that. Fear of failing to do this.
A trembling art.
Fragility.
Yes to an informed patron. Yes to a contemporary connoisseur.  Of anything
Making an art that feels like a drop of water, icy, hitting the back of the throat.

Hohutsefinam

Be Great or stop being. Authentic. Unapologetic. Politically incorrect. Farse. Crass. BOLD. Give the world and everyone in it the finger sometimes! Laugh in the face of a crier. Piss on regrets. Shit on the coward. Raise both fists in the air and take aim at the nay sayers. Do an about face and grab fear by the balls! BE BLACK. BE BLACK!! Fuck the rules. Say it loud. LOUD. Be noticed. Make a mark. Unique. UNAPOLOGETICALLY REAL. Dance at the funeral of a gaping asshole. Irrevent. Age but never grow old. Laughter is the sharpest sword. Laugh at it all. All is fleeting. Embrace simplicity. Love is hard, so Love harder. Time moves in one direction, make every second count. Live hard. Live real. The past is unreal. Living is a temporary state so make mistakes. Life is priceless. Time time time time. Tomorrow is not promised. The only moment that matters is now. Breathe. Look at Life with closed eyes. No one is worth more than I. Seek God. I know my purpose. Everything I will ever be, I already am.    

New and Unimproved

1. Simplicity

Be present, be kind

Body
Muscle
Bone
Memory

Body as house
Body as horse
Body as hound

Fallen eyelashes

Yellow

Take the stairs

Be the Ninth Symphony
Allegro
Presto
Adagio
Presto Chorus

Embrace great good fortune
Sweat

Embody joy
Accept pain as a way to know all that is not painful

Humility
Sweat
Listen
Hear
Sweat

Know how small you really are
Tremble
Exceed yourself
Hold your basque

Phenomenology:
Consonance/Dissonance

Use your shame

Mathematics:
The time between 2 forms = motion

Orgasm
Quiescence
Be an extremist

Matter does not matter
Gesture is all

Do

Make discipline serve your freedom
Tendu is an expression of infinity

dance

Be relentless and deliberate: a warrior

Giggle
The delight and solace of absurdity 
Butterflies lick us for salt!

The fearful parts of happiness

Look both ways
Invent new sight lines

Burst!

Roll down grassy hills in springtime

Be a machine as needed
Find the off switch

Ask a lot of stupid questions

Be an invitation
Make energy

Touch as a way of seeing

Blue

I don’t know
(Does knowing matter anyway?)

Dissolve into silliness at regular intervals
Nap blatantly
Order the steak AND eat the cake
Turn or into and

Endlessly repeat mundane tasks and learn their beauty

All ideas are stupid

Not being ready

Fade
Sink
Forget

Black

Just like Lala said to me, “It’s a gracious plenty”

Compassion

2. Nothing















Mother


Mother
[muhth-er] –noun
1.     One person who does the work of twenty. For free.

(See: ‘masochist’, ‘loony’, ‘saint’.)

Notes:
There is no greater blessing than being called a mom. A mom may seem quiet and reserved, but if you mess with her children, she will break out a level of crazy that will make your nightmares seem like a happy place. Mom is always right. You know you’re a mom when picking up another human to sniff their butt is not only normal, but necessary. ‘Like’ if your child is the most beautiful thing you have ever made. A worried mother does better research than the FBI. Without my children, my house would be clean and my wallet would be full but my HEART would be empty. Every mom deserves a shower like this. My kids are my <3 and everything. Hit ‘Like’ if your kids are the greatest blessing in your life. I may seem quiet and reserved, but if you mess with my kids, I will show you seven different kinds of crazy. True Story. Motherhood <3. Without my kids, tomorrow wouldn’t be worth the wait and yesterday wouldn’t be worth remembering.

Woo hoo, it’s Friday –Oh wait … I’m a mom. Every mom deserves a Jacuzzi like this! Every mom deserves a cozy getaway like this. Share if you agree. Every mom deserves a house like this. Home is not home without “Mom.” Like if you agree. Every mom needs this pillow. Every mom deserves a cake like this. Every mom needs to be hugged like this. Every mom deserves to be loved. Sometimes when I open my mouth, my mother comes out:

(See also: woman)

Woman
[woo m-uh n] –noun
1.     One who builds a firm foundation with the bricks others have thrown at her.

Notes:
Woman was made by the rib of man, from under his arm, to be protected by him. Real men respect women. Real men like curves, only dogs do bones. ‘Like’ if you know what a REAL woman is. Share if you know what a REAL man is. Real men never beat women, they beat assholes who do. It doesn’t matter what she did, it’s never okay to hit a woman, ever. Real women know that relationships are very simple, either you get married or your break up. Real men are kind to animals; share if you agree! What you allow is what will continue. Real men do real things. [Wedding] bands will make her dance!




STATEMENT


[_] interested in identity, but if [_] said that aloud to more people, many probably wouldn’t take [__] seriously.  

“I want to fuck people I look like,” said [__] friend. 
[__] too!
“I want to look like people I want to fuck,” said another. 
[__] too!

Sometimes it tickles to be alive and sometimes it hurts. 

[_] am interested in performance of the self and performance of being a human, of gender, of ethnic and national pride--is this an internalized form of Orientalism? [_] wonder. Is this authentic, is the pathos real? But if it were not performed, would anyone notice? Is it worth noticing? What is worth noticing?

[_] realized [_] am Asian because white children informed [__] of this fact. 
Sometimes [_] am afraid that [_] notice too much and sometimes [_] worry that [_] am oblivious. 

Is [__] body real and where is it real and in relation to what is it real? 
And the fetishization of youth, of [______] as a gendered racialized body, it’s sexy right? 
[__] feet started smelling when [_] wore my mom’s shoes to work; [_] have been mistaken for Mulan multiple times though she’s been dead for 1500 years; [_] have a mug that says, “On the Internet, nobody knows you’re a dog.” 
No one has ever told [__] that [_] can be anything [_] want when [_] grow up. If someone did, [_] would tell them they were lying; [_] have only flown in [__] dreams and in videogames. 
Sometimes, no one listens. Other times, people will do anything [_] want. 
Sometimes [_] have power and sometimes [_] do not. 
Where is ANYbody’s body real and how much is it worth? 
Fetish. 
Capital. 

The surface is just as real as what’s underneath if you believe it is; sincerity of action and confidence in belief are key, especially if you’re aiming for hegemony. 
How long will it last?

Maybe the trace will last forever, maybe no one will notice it anyway.
What has the power of pervasiveness - cultural production, or “organic formation and movement?”
Where is the intersection, is there a difference and why does it matter? To whom does it matter, if at all?

Again, Authenticity
Representation Prestige Nausea Sincerity Love 
Does it rub [__] soul or just [__] flesh.  
Do people ever really understand each other? 
There are a lot of ways to be a human being.
There is a pendulum violently swinging between massive ego trip and crushing self-deprecation. 

Did you know you’re real? 



Real?

Don’t look at me! I WILL EXPLODE!

Wednesday, March 13, 2013

wish you all see The Doors' historic concert at The Hollywood Bowl, LA 1968 on channel 13 (..started at 9:30)

Sunday, March 10, 2013

The Hollow Center

I enjoyed attending The Hollow Center exhibition at Smack Mellon last night. I thought the juxtaposition between Mary's oil and acrylic on canvas piece, Hessian Doubt, and her 4 vinyl banners, Funeral Procession (The Hunter), was very intriguing. When my friend, Brian, and I took our initial tour of the space, before reading the artist info, we wondered whether Hessian Doubt was also one of Mary's pieces because it was hung just far enough away from Funeral Procession to create that tension/question. Even though the two pieces were created from two very different mediums, they complimented each other very well. I especially liked the relationship between their respective color palettes.





bottom banner; Funeral Procession (The Hunter), 2012; 4 vinyl banners, each 26''x44''

In general, I really enjoyed the political nature of The Hollow Center exhibition. Another piece I found interesting was Elana Mann's IBD (Improvised Balloon Device), 2007-2011, which featured 6 framed photographs of a woman in a black dress/leggings, partially concealed (her face, notably) by a net full of black balloons, in various positions, standing near an oil rig. There was also a net of full of black balloons mounted above the photographs in the Smack Mellon space. I did not take any photos of this piece, but when I Googled it, I discovered that the 6 photographs featured in The Hollow Center are actually part of a larger project in which Elana Mann also utilizes video, different photographs (including the woman's unconcealed face), and various, unique installations. You can check out the full IBD project here.




If you attended The Hollow Center, what did you think of the exhibition?

Thursday, March 7, 2013

videogames

this video includes:

virtual bodies
physics-driven formulas
synthetic space
violence on pixels
more physics
hilarity and discomfort
mathematically-driven chance
ie. one soccer ball bursts into thirty,
black boulders rolling uphill en masse from behind the bend
cement vs. flesh (just more pixels)
and hella sk8rboiz

Wednesday, March 6, 2013

awe-full mess


An important thing for me as an artist is my relationship with the past; my own past, the past of my generation, the past of my family, the past of my culture: The past that is still going on which has no form nor borders. It is, rather, a flow of shapeless images in which me and my generation are tied with past generations, where stories of my family are tied with the stories of other families, with an intermingling of pain, loss, and beauty. It consists of lived memories and dreams that I must stop to give shape to. A blinding awe-full mess of what I'm allowed to see.

If I could think about anything

In an interview after the publication of "The Brief and Wondrous Life of Oscar Wao," Junot Diaz suggested that the most difficult thing about writing a novel is trying to convince one's readership that they book they are holding in their hand represents a community, when each character it is in fact a different manifestation of the same mind.
So, if I could wake up with one thing in my head every morning, it would be the interiority of another human being. I think that the best fiction writers are expert  channelers, they can place themselves in the experiences of others with what looks like ease, and what better way to do that than to have first hand access to a variety of experiences.
In the same vein, a writing teacher once suggested to me that the "strongest tool" we have as writers is the one thing that no one else could have--our own experiences viewed from our unique perspective. Waking up with someone else's thoughts (however benign) in my head might offer the advantage of twice the perspective.
I'm also very interested in relative experience, and feel that it is hopeless to wish that I could ever share a common understanding of the world, or an absolute translation of concepts experiences through dialogue or other mediums of expression. 

movie clips




http://www.youtube.com/watch?v=yH_CfkNUC_g
 
 

Radical Simplicity

In the morning I like to think about what can be pared away--what might I be able to let go of today? Whether physical or psychological, making small choices to free myself from the density of "stuff" and "noise" makes me feel alive and available to witness and delight in what IS. What I care about most is simplicity-- so that I can be a vessel for whatever the day brings to me. When I am simple, the world is endlessly fascinating! The WHAT ceases to matter and everything becomes all about the HOW. Simplicity is like freedom, and sometimes I don't know what to do with all of it. But whatever I do and wherever I am, I desire to get to the essential quality of the experience, which is actually a big commitment! Simplicity means that I find much contentment in exploring seemingly limited or rote subjects.  Being simple means having no fixed understanding about what things "should" be, no great expectations. I keep finding new meanings in the mundane. I like being surprised with the unexpected and absurd qualities that sometimes jump out from familiar spaces. I cultivate fluidity and flexibility in the way I receive the world. I like to embody this fluidity and flexibility in my physicality.

An example of this idea can be seen in the work of Robert Ryman, whose oeuvre explores white paintings. His works play with the extensive possibilities that exist within an extremely limited set of parameters: white paintings. I love this contradiction. And I understand it. I can explore what it is to do a plie for a lifetime (and I have!). What is important to me is to bring this curiosity and willingness to my perception so that I can experience the richness of art and life.


Waking up in the morning and thinking about

What is important to me is relevancy. My place within the immediate space, the immediate space in relation to me, the people who perceive me and whom I perceive, the invisible strings holding us all together within this space; the invisible world we create between ourselves and the spaces surrounding us is what I always want to consider when approaching art.

Perhaps the weight at the center of this web is sincerity. Am I being sincere to my own process of perception? Am I being sincere to the space and to those who create this world of relations with me? Are they being sincere back, and if not are they worth my time or is it worth my time? Is what needs to be said in whatever layer of being and relations I engage with  being said? Would this make my mom happy? Would this make my dad happy? Do they know that I am thinking of them or is it enough for me to just think of them?

Waking up inside my body and my body is in space but it came from somewhere and I am just as much part of it as the space it inhabits. It is powerful in that way. That is what I hope to always think about when approaching "art".

Time Place

If, as an artist, I could wake up each day thinking about the thing I care most about as it relates to my artwork, what would that thing be? 
You can provide an answer in writing, in images, or both.

 


I think about where I stand in time and place in relation to things that were in the past. I think a lot about history and where I stand in the scheme of history. I think about time. Time and place changes the way things look, and time and place changes the way we look at things.
How do I relate to my surroundings? How can I comment on something that has not yet been said? Or can I comment on it in a way that has not been done? Both are valid questions that I try to ask myself...