Traded a small painting for cash and a book. The book written by Lane Relyea was read quickly over a few days. The title is Your Everyday Art World ..It's an inspired piece albeit Mr Relyea worships at different shrines than I do. But so does Philippe Vergne who loves Mike Kelley and Carl Andre. So the Relyea book which is very precise in it's arguements dare I say I bit like Guy Debord at times a spectacular critique of everything. Very technical at times new art histories written in passing.
The Speedboat Gallery was a storefront space and a very large basement . Paul Dickinson and Scott Dolan were in the space with several other people including Frightwig Hayes the lady in the band and of course Mike Mc Coy who had his little Datsun truck which brought Minneapolis art to St Paul . .. The concerts in the basement paid most expenses for the gallery later the coffee shop was paying for the gallery. Paul had a dream and for a while we enjoyed that dream together. Some extraordinary art shows and installations took place at Speedboat Gallery.
It all amounts to the same thing. Art speaks best as fresh season, as renewal. So she flew the coop from curator through foundation work then vanishing into life with her husband who wrote (though I knew him when he bought paintings for a corporation in area). He snagged a beauty too (see illo. above Walker Art Center Collection gift of MCAD Student Auction Sale ) which eventually devolved to the Walker through that MCAD auction. A gift a real fucking gem it was too.
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