dash snow, who i have spent a few years trying to figure out exactly what was impt about him, overdosed last nite, dead at 27.

Red Board

Red Board
Originally uploaded by PinkMoose

At 6:03 PM, walk to stop #0804 on ISLINGTON SUBWAY BUS TERMINAL, CITY OF TORONTO (1 min.).

Take BLOOR ST and walk to stop #0804 on ISLINGTON SUBWAY BUS TERMINAL, CITY OF TORONTO, it is on the left (+/- 1 min.).

At 6:04 PM, take Bus route 201 direction West. At 6:29 PM, arrive at stop #1189 on DUNDAS ST at HURONTARIO ST, CITY OF MISSISSAUGA (25 min.).

At 6:04 PM, take Bus route 201 direction West and get off at stop #1189 on DUNDAS ST at HURONTARIO ST, street DUNDAS (CITY OF MISSISSAUGA) following street HURONTARIO (+/- 25 min.). Last intersections: JAGUAR VALLEY DR (CITY OF MISSISSAUGA), SHEPARD AVE (CITY OF MISSISSAUGA), HURONTARIO ST (CITY OF MISSISSAUGA).

View stop schedule for 0804 - ISLINGTON SUBWAY BUS TERMINAL View stop schedule for 1189 - DUNDAS ST at HURONTARIO ST View schedule for route 201 - Dundas Express (West)

Walk to stop #0717 on HURONTARIO ST at DUNDAS ST, CITY OF MISSISSAUGA for transfer.

Take DUNDAS ST and walk to HURONTARIO ST, it is the next street. Turn right and walk to stop #0717 on HURONTARIO ST at DUNDAS ST, CITY OF MISSISSAUGA, it is on the right (+/- 2 min.).

Wait 5 minute(s).

At 6:36 PM, take Bus route 202 direction South. At 6:48 PM, arrive at stop #5202 on PORT CREDIT GO STATION, CITY OF MISSISSAUGA (12 min.).

At 6:36 PM, take Bus route 202 direction South and get off at stop #5202 on PORT CREDIT GO STATION, street QUEEN (CITY OF MISSISSAUGA) following street HELENE (+/- 12 min.). Last intersections: PARK ST (CITY OF MISSISSAUGA), QUEEN ST (CITY OF MISSISSAUGA), HELENE ST (CITY OF MISSISSAUGA).

View stop schedule for 0717 - HURONTARIO ST at DUNDAS ST View stop schedule for 5202 - PORT CREDIT GO STATION View schedule for route 202 - Hurontario Express (South)

Walk to Port Credit GO. Arrive at 6:50 PM (2 min.).

sad lute is sad.

an article about the art historical preservation of plastic.

Antique plastic dolls at the National Museum of Denmark have begun to peel and flake; classic furniture at the Victoria & Albert Museum in London might as well have been left out in the sun for years; the first-ever plastic toothbrush, at the Smithsonian, is collapsing into a pile of crumbs; etc. A whole generation of irreplaceable items that are as representative of our culture as pottery or flintheads were of ancient ones are dying—and many people charged with their care have no idea how to stop further damage.

I am esp. interested in the problems of monumental work made from polymers in the mid 60s, esp. from Los Angeles, but also Tim Scott, et al, but it seems like everything made of plastic in the 20th century is prone to rot.

teak tea press

i like these toyko subway ettiqutte posters, because they a) use positive reenforcement. b) encourage a community to live together.

the mummy as female erotica.

From Untitled Album

Samuel Asso, Salmon Loops, Screen Print, 2006
(loops as in info, as in feedback, as in sound returning, loops as in culture repeating, loops as in riff, loops as in food, loops as in remix/reclaim culture)

paintings of drug mules by andrew prayzner, there is something eerie about making monumental the anonymous (literally, w. the pixelazation of face) but i wonder if they are not v. conceptually strong?


Jay Branan Housewife. Indie folk for the painfully alone.

8 fotos of the erotic city, including a couple you have seen, a couple you haven't, and one blurry, sexy, and decadent dragged out goldin.

a urgayan bishop cannot fuck male whores w/o them blackmailing him into resignation.

house as a bridge over a winter creek and billabong an hour near adeliade. have to see the pictures.

From Untitled Album

Kristen Dunst, Marie Antoiennette Still

the most interesting thing about these fotos of lstein's studio ca 1990, is the carefully cut out, aged comics as reference, though the work had moved past such qoutations, his reliance on printed material becomes a visual crutch, and suggests a kind of dead practice. (did he use the comic panels for the brushstroke paintings, for the benday dots on teasets, the mirrors?) (though reflections on the prom done that year, that may be the painting worked on in these photos did use two romance comics as part of a larger cubist/abstracted pop composition)


5 days too late, but still muppets do indepence day

juaya wantabe's spring 2010 modified wasp style is so fucking pretty, with a coat that works somewhere b/w blazer and windbreaker, in an ineffable blue shade that is lovely.

filson does some stuff that is horribly functional, and on sale.

From Untitled Album

Wolford Tights.

love the updated morris aesthetic of some of these posters by petra borner.

cameron apologizes for Section 28, still has not done any thing concrete about queer culture now.





Two country videos from the 70s.

hooked circitury rugs

From Untitled Album

Mary Rudolff, Bullrider, National Finals Rodeo, 2008

stewart an online site to purchase church signs.

koons on jackson


Sixto Rodquriez, the lost mexican motown genius.

joel meyerwitz talks about his best shot from the mid 70s. a tight, fascinating essay about his aesthetic.

the interesting thing about this story is again, not the inclusion of queerness into a tradtional protestent aesthetic, but how queerness allows tradtions to be suspended, by both lgbtqetc voices, and from the orginzation who is doing the censoring, in this case, the casting out of the gay positive texan church from the SBC indicates that the SBC is becoming more creedal, more willing to tell it's members what to do, and less about the traditional baptist instinct towards both pragmatisim and radical individualism.

new Edmund White on being fucked, where he is at his most lyrical best:

"Why are some men so kinky? you might well ask. Though kink is sometimes called animalistic, it's precisely what animals don't do. Monkeys and lions never think of new positions and complicated scenarios. Because we have language, we inhabit a symbolic world and are haunted by memory; the simplest gesture (locking someone in a cage and force-feeding him) takes on a powerful resonance of childhood eating disorders or a longing for (and fear of) complete possession of the elusive beloved. We can turn the simplest fuck into a circus of psychoanalytic possibilities.

(and on the exact opposite tack here are sanford's emails to his argenitine mistress, must be read to belived.

agnes pelton's mystical abstractions, are 20 years before most other people's, and have a rich, deeply satisfying, pleasure. Reminds me of Hilma Af Klint but American.

stoned wallabies make crop circles.

From Untitled Album

Brian Moore, Kermore Lane, Digital Photo, 200?


Fred Astaire, Putting on the Ritz.

interview with the leader of an anglican schismatic group, short and with out much detail.

clever and well designed baseball infographics.

byu lifts youtube ban.

4 lost fotos of stonewall.

From Untitled Album

Oh josh turner, the things i would do to you.


brian nash gill makes abstract wooden sculptures, i have no sense of scale etc here, but they have a rough hewn grace that makes me want to see them irl.

muji portable shaver makes me want them to do other consumer electronics.

the spaghetti western string company are a qaurtet that combine jazz, old school country, and classical vocal techniques into something quite new.

liza in paris

From Untitled Album

Lynda Benglis, Corner Peice, from the End of Painting Show now at SAM. maybe in august?

this deeply problematic king tut show is going to be at the ago.

homoerotic cowboy print ftw

this nytime obit about the train tagger Iz the Wiz says alot about the mainstreaming of street art.

80s candids from the ny drag place sally's hideaway.

From Untitled Album

Jodie Foster, early 70s.

mule skinners now have to go thru tsa checks, because they might be filled with the terror.

some good news about an hiv vaccine.

frank's top singles for the first half of 09.

love the interface of worceters musuems new site.

From Untitled Album

anyone want to meet my biker chick aunt on friday (an aunt that i have not spent any one on one time with ever, and one who i dont think i have spent more then 5 minutes talking to)

top country singles of the half year

a) dierks bentley sideways
b) adam lambert ring of fire
c) taylor swift, you belong to me
d) john mayer who says i can't
e) john rich tearing detroit down
f) reba mcentire strange

top albums of the half year
a) hang over ost
b) yeah yeah yeah its blitz
c) lily allen its not me its you
d) mastodon crack the skye

top singles of the half year

a) lily allen fuck you
b) yeah yeah yeahs heads will roll
c) jay z death of autotune
d) britney if you seek amy
e) mariah carey obsessed
f) ray feaver when i grow up
g) horses this is a song for the one i love
h) jarvis cocker, angela in paris
i) untouchable tell me why

Do you think I can’t forgive you? I forgive
Both of us for being born of the flesh,
Which means I forgive all tossing and turning,
All foundering, all not finding,
All irreconcilability,
All the friction of this great orphanage
Where no one knows his origin and no one
Comes to claim him. I forgive even
The unrevealing revelation of love
That lifts a lid purely
To close it, and leaves us knowing that greater things
Are close, but not to be disclosed
Though we die for them. I forgive
Everything, my most dear Perpetua,
Except that I wasn’t born something less ambitious,
Such as a Muscovy duck.

— Christopher Fry, Venus Observed

Noah's Rainbow

Noah's Rainbow
Originally uploaded by PinkMoose

From Untitled Album

I like that there is no redemption, nothing bright and cheerful, i like how cynical and how dark the Hangover is. I loved Zach Galifinkas commitment to his inherent awkwardness, and strangeness as much as i liked Cooper's self aware parody of his own genial privilege.

The homophobia, the racism, the misogyny would be problems to be solved only if the film thought these characters were heroes. They are assholes, the movie is a dark burlesque on white, male, middle class, well moneyed, privilege--consider it more Eating Raoul or Notes on the Class Struggle in Beverly Hills then Knocked Up or The 40 Year Old Virgin.

The difference b/w those two movies and this one, is that in those two everyone is nice, and redeemed, and sweet, things get righted, and desire is well modulated. There is a tenderness in those movies, that well done, is still sopforic. the savagery of this movie, and it's success in the market suggests that we are kind of sick of that kind of faux transgressive qaulity of Apataow, et al and see something genuinely naughty, if not earth shattering in it's taboo.

(also the movie is beautifully shot, the mise en scene is perfect, and the lighting is gorgeous)

five things about freud:

a) the development of women's autonomy, and esp. sexual autonomy in the late 19th century, needed a certain amount of rigour
b) the rise of freud's rep allowed this rigour, so in the great american instinct towards absorbing before understanding, they took him as part of their discourses before he was properly translated and disperesed.
c) they used freud then, along with Ellis and Carepenter among others, as a way to legimitize their liberatory sexualiy
d) when freud was properly translated they realised how problematic ideas of absence, the body, penis envy and the like would be to their thesis, and started scrambling for a new kind of intergration.
e) this scrambling, and by extension this americansed freud cauterized (perhaps acciedentally) the flow of discourses about desire that were emerging from this time, and were not resolved until the late 60s

Dierks Bentley, Sideways.

nauman at the bieannle this year is either the worst thing or the best thing eva, but these fotos are v. pretty.

the grammy drops the polka record instead of thinking critically about what polka can do, for example this:


the realtionship b/w sontag and her son was emotionally incestous, and his work on her diaries and letters was a construction of a v. spec. kind of narrative, that cut the edges of her life.

From Untitled Album

Gran Fury Riot, 1989, Red Paint and Gold Leaf, later remade as a sticker

when saltz, schedjal, and perl (link goes to perl) agree on something, it becomes a kind of canon, this time it is on the poor quality of Bacon's paintings, and his theatrical skills above all. Freud seems to have taken his place in the best british painter post 1960 race (for me, Auberbach at his best is better then Bacon at his worst, and might be an equal to Freud.)(essay: the Teutonic nature of Anglo portraiture: holbein, auberbach, freud)

From Untitled Album

Alman Bros, 1970

how does the pope being part of the instution that caused the problems in ireland, et. al beg for forgiveness in such a way that would genuinley lead to reconcillation.

first aussie rules football player who happens to be transgendered)


Drunken Hymn Singing.

delicatley knitted organs.

this petition about extending family, and seperating marriage from the state is something i have been saying for years.

Mary Ward the english nun who walked to rome, in order to protest the closing of her order, when the inquistion was burning women at the stake for less, might finally become a priest.

From Untitled Album

Kenny Chesney Climbs into a hot tub last week.

nature red of tooth and claw

it took 2.5b to find out most alternative medicine is bunk.


Like this Josh Clover reading.

i am trying to figure out polke but i really like this small review of his new work, via the ny times.

video of beatles eating flesh off of bones.

three thots on tehran:
a) the state has managed to shut down google and twitter, then twitter and google pops up again.
b) the state continues to kill hundreds of protestors, knowing this is happening, and being able to do nothing consitutes europrivelege.
c) half completed revoultions, in one way or the other, will emerge worse, bloodier then before.

100s of sea shanties.

science badges

ubc gets 1.7m for a sexuality diversity study program in honour of Ms Rule.

Alberta will make more money next year from gambling then oil.


Jim Henson's work from the 50s, for Wilkins Coffee. Fucking hysterical.

15 photos from ascot last week.

From Untitled Album

Original National Park Logo.

PN771 .H43 1996X 1 Book Stacks

“Keep two truths in your pocket, and take them out according to the need of the moment. Let one be: ‘For my sake was the world created.’ And the other: ‘I am dust and ashes.’”

...before his death Rabbi Zusya said, "In the coming world, they will not ask me: 'Why were you not Moses' they will ask me: 'Why were you not Zusya?

Two Chasidic stories, via Salamadnours and metafilter

From the catalog essay for Gray, by James GRrandeu

A distinct arrangement of hatched marks first appeared in 1972 on the far-left canvas of untitled (1972;Musuem Ludwig, Cologne. Johns has frequently recounted glimpsing the pattern on a passing car: "I only saw it of a second, but knew immediately that I was going to use it. It had all the qualities that interest me---literalness, repetitiveness, an obsessive quality, order with dumbness, and the possibility of a complete lack of meaning" (58)

each of these qoutes can be disproven:

there is nothing literal here, the distended bodies, the qouting of optical illusions, the art historical notes, the formal injokes, the explicit quoting of the thantos/eros dialectic in of the even how the catenary has a corperal element that is never mentioned in the grey essays, in johns drawings 1997-2007, or the general survery of johns drawings, even the reclaiming of the domestic that the flagstone pattern could indicate, all of these suggest a continued discourse that verges on the hidden and the mystic.

They do not repeat, or some of them do, but from the false start pastels in 1960, to the tantric detail from 1980-81, the lines cross each other, move left or right, sections tilt, or create a mess, the repeating does not have the geometrically rigour he is hoping for.

i will give him obsessive.

I am assuming that Dumb here means lacking the ability to speak as opposed to stupid, and the flagstone/cross hatch paintings post 1972 do not speak, but the seasons, and some of the art historically based work from the 1980s squawk endlessly, there referents obvious and overripe with meaning. Johns never managed Warhol's blankness, or Rberg's tightly curated webs of carefully constructed referents (ie rberg has the narrative skill that johns lacks) so if it isnt quite a formal order, or a symbolic order or a narrative order, all things that he is pushing forward, then what exactly is being ordered?

and one does not chose terms like false start, or tantric, or flag or target or the critic sees w/o thinking about some kind of meaning.

From Mapping the Mind, same volume, Barbara Rose:

Greenberg had to expunge Johns from the canon for a number of reaons, most pointedly because it was obvious that Kenneth Noland==who Greenberg celebrated--had pilfered the format of his concentric circle painting directly from John's targets. Even more troubling was the fact that if Johns were allowed into the ranks of the chose, the keystone of Greenberg's argument that painterliness was dead would crumble. Greenberg had to admit that Johns had a nice hand. But he dimissed this talent wit h a brash as minor, implying that Johns was nothing more than a hand, ignoring the multitude of new issues that John's paintings placed at the centre of contemporary aesthetic practice. (146)

Noland is a better controlled painter then Johns, Noland's concentric circles were doing different work then John's targets, but she is right, that the four horsemen are still unappreciated for their painterly skills or their draughtsmenship, because critics like greenberg would lose if he admitted it, and because critics post greenberg were not interested in textual authority.

From The Drawings of Jasper Johns, a show at the National Gallery of Art, Washingto, 1991

In 1973 Johns resumed making skin drawings from impressions of parts of the body, Untitled (Study for Skin...) is an impring of a penis. Sunsquent drawings, Skin 1 and Skin II of 1973 are impressions of genitals and buttocks. The drawing in the colleciton of Richard Serra and Clara Weyergraf, is the only skin impression Johns has made of his full torso, with head, arms, and hands...) 173


Untitled 1978:
This graphically vivid work was made the year after Johns Untitled Savarin drawing, in which handprints located near the handles of paintbruses stand in for the craoshatching. Here Johns painted a cross hatch pattern with marks made by his fingerprints and strokes of paint pplied with his fingers. Johns short strokes in the cross hatch paitnings are often bunched in groups of four or five, or six and might be desrcibed as resembling the digits of a hand... (234)

The presence of the body in Johns work is told by rumour, innuendo, gossip, impression, and hint. It is noted obliquley, and this does not change. This is the difference b/w his work and warhol's work.

In Tantric Detail Johns paired explicit sings for sex and death in a matrix of hatch marks to produce one of his most haunting compoisitons. This large charcoal, his only drawing of the shubject, is identical in size to the three oils...like cropse and mirro compositions, Tantric detail is divcided into three horizontal bands, and the hatch marks shift direction at the juncture of each section. Unlike the corpse and the mirror works, however no mirroring is present from one side to the other in the form of idnetically reflecting cross hatch patterns. (255)

“ Psychiatrists manufacture mental diagnoses the way the Vatican manufactures saints
Szas

Swimming Pool in the Backyard of a Missauga

Swimming Pool in the Backyard of a Missauga
Originally uploaded by PinkMoose

Jay Z's argument for a less formal, more narratively complicated form, and against this sort of work that we are engaging here should piss me off, but it will be a number one record, it rests on a noticeable sample, and it is constructed as a single. (and it has to be remembered that he married/produced one of the masters of this nu:pop, and he is at least partially responsible for Danger Mouse's Grey Album, the first masterpeice of remix culture.)

(except maybe that would be SToke of Genius, whose genius comes from the understanding of pop culture)

But a single that cannot be reduced to a ringtone, to one melodic line, to four words and a catch line, and it is politically engaged, it knows the history of what he is doing. Sinatra at the Opera, abuts to a sly allusion to Kanye's Stronger, for example.

The thing that carries the whole thing, is two fold. The singing and the horns. It is an elegant, extended, and beautifully constructed decimation of Kanye's working questions of earnestness through the formal consideration of artifice. (future question for pop music scholars: compare and contrast ideas of musical authenticity and african american heterosexual masculinity in Stronger and Death of Autotune)

This is working questions of earnestness through the formal consideration of historically minded authenticity. I was going to make some kind of comment about the death of irony--but Kanye is never ironic, and Jay Z here has a sophistication of word craft that flirts with irony, and then disavows it as a legitimate tool to analayse current texts. (Like when he calls the text poltically incorrect, he alludes to art making as an essentially political act---one could insert this is not artistically correct.)

That's a lot of big theory, the song justifies it, the song is so beautiful. He can sing, and the horns at the end, with the sketches of spain flourish, and how the closing sample ends, how those horns flow thru the bass of all of it. Maybe some of it is a conservative instinct--the same kind of eminence grise grumpiness that infects Waylon Marsellis or Stanley Crouch?

Except all of this, I am just riffing, just grasping. This isn't for me, I know it is important, I know it is vital, and I know it is game changing, but I am so outside of the culture, that I am never quite sure why.

The Rake's Progress as a narrative construction was used in the 18th century as a way to secularise previous redemption narratives, esp. English folk narratives. Hogarth's material culture created in response to the Rake's Progress continued the securlaisation, while allowing a rising mercentile class to engage in both aspirational instincts and schadenfreude. It became a moral warning, and a lifestyle to lust after. Mad Men is also a Rake's Progress, but about the loss of liberal social values, as opposed to religious texts. It allows an unstable post-mercentaile class to enjoy taboos of gender and class, while being well hidden as a narrative of social control/satire. This essay uses the narrative of the Rake
s Progress as used by Hogarth, Mad Men, and the surrounding material culture of both texts as a way to discuss how we use formerly religious language to construct secular narratives.

also, OMFG DON DRApER, SLAP ME AROUND, AND THEN FUCK ME, HARD.