When Love Turns To Poison was a title I gave a show with my friend and co-laborator Stu Mead. The show was criticised but the title is great and I suspect the show was very cool. In Berlin in 2004 (?) I maybe a curator but I'm not a historian. New pc still getting used to speed and complexity of this machine. Stu Mead and I made little magazines and books together. Some very disturbing but also brutally true thoughts and images regards the limits of aesthetic inquiry, when your crossing into the criminal area.
At some point between fiction and nonsense I thrive using Wittgenstein's cobwebs. Stu Mead met Toni Stoos in Vienna when Man Bag and Artpolice zines were exhibited in big language art show. Mead got a preview with Stoos who was curator there and of the show. Mead is so low key sometimes like a guy always distracted, - ALL DIE ALL VANISH was Caravaggio's motto or from my scant history as Caravaggio is repressented in Chicago Art Institute in a monster biblical realisimo. Project suspended til I get my facts fictioned!
So early on Siah Armajani tipped me off that Kathy Halbreich was a very major hombre. Which turned out to be true. I've been thinking about the big acquisition of the huge Sigmar Polke painting in 1994, Autumn and her Daughters . I wrote a short piece about it in Artpaper and Ms Halbreich dug it. Hence I had a friend at the Walker. Same sort of thing happened with a curator at Walker about the Hannah Hoch show (Peter Boswell).
Collage of Kathy Halbreich and OJ and his ex. 1995 - I was going to rush ahead but I wanted to do this chronologically wish maybe impossible for a writer like myself. I'm still trying to write first person which is like remembering all the while. I was painting in a garage near the Mississippi River it was a 2 1/2 car garage that Mike McCoy a painter friend of mine helped me insulate (what a fucking piece of work that was). I was going to put in a gas line from the house to warm the space but I didn't have the money for that at that moment.
New pc better WORD oi, the power of coherence . I wanted to tell some curator stories since I've been under scrutiny for some time by these exhibition makers. Remember one's encounters with curators, art writers are brief by the nature of things, They travel it's the perk of the curator and the bane (more on that later) they see a lot of art more than I would ever want to see .
Went with my son to Micro Center yesterday and bought a new pc. So this is my first blog written on this new machine. I was thinking about the Italian painter Fra Angelico whom I have always loved . In particular I was remembering a grant proposal I made to copy one of his famous altarpieces in my own figurative style. I did eventually do some compositions inspired by his altar pieces in the 1980's which were successful to some extent although I doubt whether anyone would see the influence of Angelico. I liked the readymade compositions and cast of characters in these paintings.
These are portraits made in Novenber and December the portrait of Jim D. may still change and I may photograph it again when it settles. Portraits are from live sittings of between two and nearly three hours. And then painted later often using photographs from sittings . 41 X 29.5 " 2013
The future turned out different than I expected. Many of the same artists who were famous in the 1960's are still famous ,still selling and exhibiting though they are quite dead. Dead doesn't seem to stop one's career in visual arts indeed it maybe easier without the artist around to say things and do things that may upset the clients. Years ago a typical tombstone advertisement in an art magazine would note the artists represented who were deceased, it might say Estate of so and so now however dead artists are just marketed without notice of this change of status .
News - My Neon sign lost in sale of Shinder's property at 8th several years back. My sign was on Hennepin Avenue Shinders for many years at it's original location at 7th and Hennepin (see photo above). The glass was bent by Beth Juliar a neon artist in TC and a friend of Chris Woodward an Artpolice founding member. This photo was taken May 1, 2007 the day I married Pamela. @ Shinder's window .
MADE HERE E Block Hennepin at 6th (with Pamela Gaard ) A little history will not kill you.
Exhibition on E-Block in windows of closed businesses, sponsored by Hennepin Theatre Trust . The installation of the simultaneous portraits I do with my wife Pamela are on 6th Street opposite the old arts building and near the new Cowles Dance Center on Hennepin Avenue in the heart of downtown Minneapolis U$A.. This exhibition was organised by independent curator Joan Vorderbruggen who is a tireless worker in the effort to create a better more open situation for the artists in this region. The window I share with my spouse Pamela is on the 6th street near the bus stop on Hennepin Avenue.