DRAGONAUT

the first annual memorial for ideas

2011-10-03T14:50:00.001-07:00

I'm getting into Elizabeth Peyton's paintings lately. This terrifies me. I always hated her paintings because they reminded me of a high school student's fan art. I now like her paintings for this very reason. Maybe I'm becoming more and more nostalgic for the kind of art that can only be made by people completely lacking in self-consciousness. But can I will myself out of my own tastes, my own accumulated knowledge? Isn't claiming to be "cool" with audience-friendly art or being "over" guilty pleasures just a weird New Sincerity bragging right? Is Elizabeth Peyton's art even audience-friendly? Whenever I see work like Peyton's, I half-assume that it's only "about" pedestrian painting, and then I get lost in doublethink. Sometimes when people blog pictures of Lil' Wayne in a red baseball cap next to a Titian painting (or whatever), I wonder to myself if we are all secretly Clement Greenberg.

Anyway, I really like Peyton's paintings of Chloe Sevigny. Socks with wedges used to be "my jam" before I looked at too many pictures of Sevigny on tumblr. Which is not to say that I hate Sevigny... Well, actually, I can't exactly claim to like her either. But what I do know is that girls post too many pictures of her to their tumblrs.

Nice paintings, though.

Even better than the paintings are these videos:

They are a total nightmare of eclecticism that could only be upstaged in real life by the inspiration list for a Rodarte collection (let us not forget the potent cocktail of "primitive rag-doll", Eva Hesse string sculptures, Japanese horror films, and Edgar Degas paintings that was their spring/summer 2008 collection). The videos beckon us to imagine friends having telephone chats about "irony, Fassbinder, or Proenza Schouler" and outfits that masterfully blend "half boots" with "mock-bonnets" and "ironic coin-skorts." The Chloe Sevigny of these videos pigeon-toes and throws forcefully lazy slouches that accurately mirror the actress's real-life mannerisms. Can't believe I just typed the words "forcefully lazy." I think this is my cue to leave. Also, I'm currently trying to write my thesis on irony, which just might be the biggest dick move of all time. So in case you were wondering where I've been lately - that's where I've been! Trying to forcefully insert an Henri Bergson quote about laughter into an essay on Hennessy Youngman (ew).

p.s.

If only there were such a thing as "mental forceps"

leigh ledare loves his mother

2011-08-25T18:52:00.001-07:00

cosima von bonin (or, what art is v.s. what i want it to be)

2011-08-24T10:12:00.001-07:00

Countless times, I've planned on posting Cosima von Bonin's work only to back out at the last minute. Do I really care that she organizes events with makeshift musical groups? Is it funny or infuriating that she once staged a meal in which she instructed participants to thread strings of spaghetti through macaroni? Even though I'm a feminist, do I actually like "feminist" art (I'm always weary of work that should have existed as a manifesto instead)? Just because the worlds of art, design, and commerce are inextricably linked, must artists' works reflect this? Is it strong-willed or merely feeble-minded to insist on making art that supposedly exists in its own world?

Surely this is what it comes down to. I don't particularly like the fact that "high culture" and "low culture" have mutated into a weird soup (I know they're not polar opposites, but am unsure if I buy the notion that they are one and the same), that the goals of Modernism aren't quite possible, that my generation is supposedly sincere and ironic at the same time (what is that even supposed to mean?), that subcultures cannot exist anymore, that a good part of my anxieties stem from the (seeming) necessity to maintain my "personal brand" (my apologies for using this term, a corny but useful one). But that is the truth of the world. But is art supposed to correspond with the truth of the world? I think so, I hope so.

Look, I'm not saying I didn't wish we could erase most cultural output from the last fourty years and go back to being formalists (or something), it's not like I don't read Clive Bell or T.S. Eliot and think HIGH FIVES ALL AROUND

And my peers are making art that pretends to be Modern art, or makes some comment about how the artist likes Modern art, or maybe "Ha ha ha, here's something made with MDF board that looks like Matisse," or something about "representation" or "telos" or "the meme economy" that looks like Brancusi rendered in Google SketchUp. And this kind of art looks pretty awesome sometimes, but I'm becoming less and less sure of it. What does it mean to use isms and art-historical movements as formal motifs, to reduce history to mere decoration?

So, reality sets in and I'm not sure if I can delude myself into thinking these things are true, as much as I'd like for them to be.

I guess what I'm saying is, maybe there's a reason why Cosima von Bonin's work looks like dying, flaccid crabs and stuffed animals and shopping bags and needlework and a thousand references to everything. It looks that way because it has to.

this michael smith drawing

2011-08-20T22:10:00.000-07:00

http://elizabethleaving.tumblr.com/

2011-08-16T19:27:00.000-07:00

Leaving me is a repository for the photographs Filip Olszewski takes of his girlfriend. Each photograph, taken through the window as if by a stalker or adoring lover, shows the same female figure exiting Olszewski's home. Launched in June 2011, Leaving is comprised of fifty-four snapshots (and counting), all taken within the last year.

Filip's studied effort to record and catalog his girlfriend may not be extraordinary on its own. Many of us take photographs of our significant others, eating spaghetti from twelve different angles or yawning in the morning. Maybe we write obsessively about them in our diaries, read then reread the letters they leave us, house the things they forget at our place in a shoebox. In Leaving, the archiving impulse of the lover is met with its match: the archiving impulse of tumblr. The tumblr dashboard is an archive of other people's archives; follow enough users, and you'll be met with the strange sadness that comes from knowing you'll never be able to look at all the images stored there. Tumblr's plain, symmetrical interface is like that of a textbook or a vitrine, lending it the ability to historicize images instantaneously. I would define this act of constantly looking at images - obsessively checking to see whether anyone has "liked" or commented on the images you have offered as avatars of yourself - as a sentimental and selfish one.

In Camera Lucida, Roland Barthes writes eloquently and critically on the sentimentality that comes with the territory of looking at photographs. Maybe it is an unearned sentimentality, one which can be activated endlessly and selectively so long as one keeps looking at the photograph. I suppose watching your lover leave has something to do with that decisive moment of the shutter clicking, watching a person pass from life into eternal stillness (in Olszewski's case it's disappearance, into the horizon or around the corner). To record this moment and store it for easy retrieval online is romantic in the strongest and scariest sense of the term. To quote Catherine Breillat:

"I am eternally, devastatingly romantic, and I thought people would see it because ‘romantic’ doesn’t mean ‘sugary.’ It’s dark and tormented — the furor of passion, the despair of an idealism that you can’t attain."

Olszewski's project does not occupy the space of heaving bosoms and cozy morning-afters. Aptly titled Leaving me, it fixates unflinchingly on that terrifying thought, freezing and replicating that terrifying moment - that of his love literally leaving him - ad infinitum. This collection of photographs, in their strange way, allows him to keep that which he can never really hold onto completely.

http://elizabethleaving.tumblr.com/

http://elizabethleaving.tumblr.com/

http://elizabethleaving.tumblr.com/

muntean/rosenblum

2011-08-13T11:55:00.000-07:00

"We are fascinated by, and investigate, how far you can go with the construction of the gesture of the figure. Because, we think the more artificial it gets, the more moving it is, even though, in the normal sense it is the natural that is the thing that moves you'" - Adi Rosenblum

meg cranston

2011-08-13T10:19:00.000-07:00

gloria (john cassavettes, 1980)

2011-07-29T11:39:00.000-07:00

Surely the term "shaking and crying" was invented for this film. Sitting at a screening of this, I had to keep myself from enthusiastically cheering at

1) TAKE A WALK

2) Shootout in powder blue silk Ungaro

3) Ungaro everything

4) The way Gena Rowlands says PUNK, the way Gena Rowlands says everything, the way Gena Rowlands smokes a cigarette, the way Gena Rowlands wears her hair (she wears it the same way to this very day)

I saw a lot of Cassavattes films during the current retrospective at TIFF, but didn't enjoy any of them quite like I enjoyed Gloria. Of course A Woman Under the Influence was good, but I felt an overwhelming desire to run out of the theater for a good part of the film (felt the same way during Allan King's A Married Couple, that intense claustrophobic feeling). Faces didn't excite me as much as I thought a film of close-ups would. Too Late Blues was notable for the Bobby Darin performance, but was otherwise intolerable. The Killing of a Chinese Bookie was pretty solid, full of pretty lens flares and boobs.

But Gloria! Where else will you find the ruthless murder of an entire family undermined by Gena Rowlands picking up a cat and puffing "EH" over a lit cigarette?

i hate art

2011-07-25T21:39:00.000-07:00

"Looking at Contemporary Art Daily made me hate art" (Actual conversation I had with two different people in the span of one week)

Not sure if I want contemporary art to be about "tender" assemblages and pieces of A4 paper folded to make them look "sad."

Or houseplants.

Or both.

Am I missing something here? Is contemporary art just about leaning shit?

/draping/folding?

Does anyone remember that thing Joseph Kosuth said about "conceptual stylists?" I don't have the book on hand, but Kosuth's term has to do with the thin line between conceptual art ("full" of ideas) and formalism ("empty" of content). He suggests that the forms of conceptual art are easy enough to copy, and that the artist who mimics these forms without being invested in their underlying ideas

would be producing a kind of unwilling formalism - maybe decoration is a better word.

Maybe I'm not asking the right questions - does it actually matter whether the art I'm looking at is a revisionist/heroic/flaccid attempt at post-minimalism (I'd be surprised if this was actually the case, but then again I remember hearing someone claim he was separating himself from "mass culture" by making formalist art in 2011) or conceptual art about post-minimalism or conceptual art about conceptual art about post-minimalism. Maybe it is my fault for not being able to tell the difference between these categories.

jutta koether

2011-07-23T17:32:00.001-07:00

happy birthday, fumiko

2011-07-10T08:12:00.002-07:00

A few thoughts for Fumiko Imano on her birthday:

"towards friendliness, childishness, and stupidity" - Peter Schjeldahl, on Lily van der Stokker

"JOHN WATERS You use the word “cutesy” a lot about your work. Is that a threat? You embrace the critical terms that most other artists would shun.

LILY VAN DER STOKKER Like me pointing a gun at you and saying: 'Hey, I will cutesy you.' "

"i guess the great fascination of my life, the #1 thing, has been girls who have this quality which i can only clumsily describe as 'selfish, individualistic girlishness.' " - Marie Calloway

"Then there’s Picasso’s Girl Before a Mirror (1932). In a cocoon of curving outlines, Marie-Thérèse Walter looks at herself in an oval cheval glass. This image is often discussed in terms of the middle-aged artist’s erotic fulfilment with his new young partner. And it’s true – you feel this. But the doodling double profiles, circles and hatchings also encode a dreamy inwardness that excludes the male gaze, as the woman and her reflected double reach out towards each other. Their duality belongs to a nocturnal mirror world in which the reflected image disperses, rather than reinforces, all sense of individuality or oneness, making self-absorption, self-scrutiny and the suave arrival of the alter ego hard to prise apart." - Michael Bird

"I always give the example of Emily Dickinson as a kind of ideal female artist because... Just to kind of think of what it means to actually, like, construct something very carefully and give it to somebody else and share it. And I think that many of her poems were obviously motivated on so many different levels, but there was also a kind of sexual desire operating, or a kind of courting situation going on that's not very normal" - Frances Stark

goodbye, cy

2011-07-06T10:41:00.000-07:00

Cy Twombly is like that one friend you communicate with through special eyebrow gestures that are incomprehensible to other people but make perfect sense to the two of you. Perhaps to go along with the eyebrow gestures are alien (but now familiar) portmanteaus that came into being during moments of shared epiphany about the nature of lap dogs or the vague steampunk tendencies of the weird guy sitting at the bar. Or possibly, and still more likely, you don't even remember where or how or why these ridiculous words and complicated interlocking hand gestures came from. At some point in their repetition, they become ingrained in your personal vernacular forever.

The paintings, sculptures, and photographs of Cy Twombly leave behind incredibly strong marks of a personal vernacular at work. But unlike a secret language limited to two friends, Twombly's visual grammar is one that makes itself evident to any viewer. Before turning to painting, Twombly worked in the field of cryptology, which is the study of writing and solving codes. The Greek meaning of the word can be broken down into two terms; kryptos (hidden, secret) and graphein (writing). One of the most compelling characteristics of Twombly's works is their connection to language; Twombly's brand of abstraction did not merely hint at outside meanings but embedded them through the use of text.

Cy attended the Art Students League and Black Mountain College, where he studied alongside Franz Kline and Robert Motherwell. This was in the early 1950s; by 1957, he emphatically (kind of) waved goodbye to this American brand of Abstract Expression and moved to Italy, where he spent the rest of his life scribbling his way into art history. One thing Twombly never let go of was his interest in (and respect for) antiquity. This positions Cy Twombly precariously in relation to the discourse of Modernism, which maintained an equally precarious relation to history. Twombly's works, from the beginning, have been littered with references to the poets, philosophers, and gods of classical Greece; there is Apollo and the Artist with its leaning flower, Five Greek Poets and a Philosopher, the word PLATO scrawled across its center, the late (and major) Bacchus paintings with their rings of red. Just look at Venus + Adonis; there is no question as to whether those pink circles resemble breasts, while other shapes are undeniably phallic.

And then there is that handwriting - that messy, weirdly perfect handwriting. Twombly's words sometimes come out so illegible that the painting scribbles accompanying them seem to hold more meaning. Look at enough Twombly paintings and these painted scribbles, often appearing in the form of densely layered spirals, might as well be read as words. The complex system of signs at play in Twombly's paintings stands in dubious relation not only to "abstract" painting but to written and spoken language itself.

In the words of Roland Barthes,

"In his own particular way, Twombly tells us that the essence of writing is neither form nor usage but simply gesture - the gesture that produces it by allowing it to happen: a garble, almost a smudge, a negligence."*

I cannot help but think of Craig Owens' well-known re-reading of twentieth century art in The Allegorical Impulse. I wonder if the author's thesis about the extra-textual meanings of artworks was intended to be a revelation or a simple clarification of what was already evident. Was Owens' insight supposed to repudiate or make more interesting the works which he wrote about? Cy Twombly's paintings, in plain sight, embody the elusive double-meaning that may or may not be carried by the works of his contemporaries.

* I know this quotation is borrowed from Barthes' 1976 essay Non Multa Sed Multum, but I cannot specify the page numbers as I do not own a physical copy.

jeanne mammen

2011-07-02T22:19:00.001-07:00

athena tacha

2011-06-30T14:58:00.000-07:00

personal brand building exercise #2

2011-06-20T12:01:00.000-07:00

Dear friends (New York friends especially)!

I will be giving a talk at Columbia - the first in an ongoing series of lectures organized by Appendix - this Sunday the 26th. The name of my talk is Honesty Competitions and it will examine (amongst other  things) Carles’ concept of “meaningful,” Bas Jan Ader’s tears v.s. Laurel Nakadate’s tears, pigeon-toed girls from fashion blogs, Momus’s   “anxious interval,” the nature of nostalgia, personal brands, “zany   anthropology,” Michael Cera and maltstream cinema, “this is so bad it’s   gone past good and back to bad again,” awkwardness, and Jonathan Richman.
Hope to see you there!

alan reid

2011-06-20T11:39:00.000-07:00

brad phillips

2011-06-06T12:34:00.000-07:00

personal brand building exercise # 1

2011-06-02T08:27:00.000-07:00

It's annoying when bloggers turn into casual braggarts ("By the way, I have stuff in this and this and this, oh and who me at Rhizome? blahblahblah etc.), so I'm just going to lay it on the table and tell you that Butcher Gallery is showing a video of mine at THE FAIR in Vancouver.

The video in question, mimesis (for bunny), is the result of a spiritual/Facebook collaboration with Bunny Rogers.

Happy June,
Arielle

happy birthday, jonathan

2011-05-16T14:15:00.000-07:00

Though Jonathan Richman is about as simple as it gets, he makes people feel awfully confused. Cue the "He's so smarmy. He's just putting us on. He can't be for real."

As consequence of some strange cultural misstep, we tend to pin the label of "ironic" onto the least ironic of things. Our automatic reaction to that which seems too optimistic, too out of touch, too earnest (where earnest equals overzealous and ignorant) is to dismiss it, to mock it, to place it in the field of camp, even to relegate it to the study of "zany anthropology." Think of Tonetta, Pants on the Ground, ForeverKailyn, Friday, etc.

But what if, of the nearly seven billion people on this earth, one of them turned out to be a gentle soul who likes singing, being nice to people and not shitting all over everything that is sacred and good? I guess Richman's supposed niceness might seem a little incredulous and twee in light of these things:

He wrote and performed a song about being a little dinosaur, complete with matching dinosaur-dance, his favorite adjective is "little"( see I'm a Little Airplane, Hey There Little Insect, My Little Kookenhaken), he wrote a song dedicated to his own niceness ("My name is Jonathan, and I can't stand to see people with their feelings hurt"), he claimed that he would never intentionally play music loud enough to hurt a baby's ears, he turned teary-eyed at the thought of William Blake during a televised interview, some of his songs read like P.S.A.'s (the instructive, kid-friendly

tone of Stop This Car being a far cry from the snide, contemptuous whining of I'm Straight and its "Hippy Johnny").

But listen closely and you'll notice that Hippy Johnny shares
his name with Jonathan Richman, who can also be an asshole sometimes. He can be a really needy boyfriend (see Important in your Life), a total hard ass (see She's Gonna Respect Me), a nagging parent imploring us to wake up early on the weekend (see Morning of our Lives), an impolite eater (see I Eat With Gusto, Damn You Bet), even a home wrecker (see My Career As A Homewrecker).

He's also notoriously difficult to interview:

But at the end of the day, he's just a person. And even though there's nothing easier than picturing him scarfing down a cheese burger and milkshake with reckless abandon (something about him is so American, so rock n' roll), he's been vegan for longer than I've been alive.

Here's to sixty years of Jonathan Richman.

p.s.

I was somewhat reluctant to post this, first because it may only be a glorified fan letter and second because it is not "about" art in a straightforward sense. But when I think of my attitudes towards art, I see that they can largely be traced back to Jonathan Richman. His earnestness is key; I like artists who are committed, who mean what they say. I refrain from using the word "honest" here because that would mean venturing into tricky territory, but that is basically what I mean. I like art that is honest and serious, and like Jonathan, funny as well. Not funny in a pointed-finger-mocking kind of way, but funny in a different kind of way. I want humor that is generative rather than dismissive. It is only the latter kind of humor - and irony - that I so strongly dislike. I've come to learn that irony is made up of both seriousness and humour; in the worst kind of irony, this seriousness functions in as cynicism. The danger of this kind of irony is not that it's "mean" (though it is this as well), but that it's the easy way out. That this kind of irony is so popular, even amongst otherwise well-meaning individuals, may be testament to an easiness that disguises itself as the best and most natural way of looking at things. I hope Alain de Botton's suggestion that "cynics are, in the end, only idealists with awkwardly high standards" is actually true, and that some of us might come to see this one day.

p.p.s.

See Brad Troemel's Why No Serious? A Case for Idealism in an Era of Constant Irony. I'm going to write about this one at a later date, promise.

ethan buller

2011-05-06T21:40:00.000-07:00

ridley howard

2011-04-28T14:18:00.000-07:00

sarah watson

2011-04-27T12:38:00.001-07:00

http://www.barmecidalprojects.com/

2011-04-22T12:40:00.001-07:00

FREE 4 ALL from Barmecidal Projects on Vimeo.

http://www.barmecidalprojects.com/
http://www.barmecidalprojects.com/
http://www.barmecidalprojects.com/

toril johannessen

2011-04-22T12:27:00.000-07:00

lucy clout

2011-04-02T15:29:00.001-07:00

(nostalgia) (hollis frampton, 1971)

2011-03-27T13:55:00.000-07:00

mary heilmann

2011-03-21T13:50:00.001-07:00

taisuke koyama

2011-03-21T07:45:00.001-07:00

peter gray hurley

2011-03-21T07:26:00.001-07:00

ideal syllabus # 1

2011-03-20T15:44:00.000-07:00

My favorite section of Frieze Magazine is Ideal Syllabus, which marries books (good) with lists (even better). In the spirit of sharing (or at the very least, attempting to keep my Firefox tabs less cluttered), I thought I'd post about the things I read from time to time. I don't know how often these posts will show up, which format they will use, if they will only include content that can be accessed online, etc. I guess I'll figure that out in time. For now, here's five things worth thinking about:

1. The Unbearable Awkwardness of Being by Malcolm Harris

I can't really remember the nature of this review of Awkwardness. All I know is that I'm dying to read Adam Kotsko's discussion of awkwardness as it relates to the films of Judd Apatow (!).

2. Binary Fluffing by Thomas Demand, Mark Godfrey, Jörg Heiser, Jennifer Higgie, Adrian Searle, Polly Staple, and Tirdad Zolghadr

Interesting panel discussion that results in the christening of the term "binary fluffing". Polly Staple describes it as "the putting together of two oppositional terms to make a new term." You know,

"forcing the painted subject to be somewhat arbitrary"

or

"at once dynamic and static"*

Perhaps this irritating little habit is of such interest to me because we are all guilty of practicing it from time to time.

3. The Whispering Zeitgeist by Beat Wyss

Wyss's Tate Etc. article offers a captivating glimpse into the world of Caspar David Friedrich, German Romanticism, wandering artist-monks, and Friedrich Schlegel's "aesthetic church" (buzzword!). If you like Bas Jan Ader you will like this. Got some James Joyce/Portrait vibes from this one as well.

4. Friday Interview with Bunny Rogers by Brad Troemel

Two Internet artists who I love having a love-in with each other over the Internet. Mainly notable for the long "Notes on Mourning" section which closes the interview. You can probably tell from the last two picks that I'm interested in the old cliche that artists must be sad/the reality that some artists are indeed sad.

5. 7 Days by Patrick Tsai

Sweet, intelligent, honest diary that chronicles Tsai's last week in Tokyo.

adad hannah's "family stills"

2011-03-15T13:21:00.001-07:00

jan verwoert at DHC/ART montreal

2011-03-15T13:14:00.000-07:00

if you're in montreal you should check out tonight's jan verwoert talk at the DHC/ART foundation for contemporary arts. jan is one of my favorite writers, and i hear he's not too shabby as a speaker. here's some more information:

DHC/ART Foundation for Contemporary Art presents

JAN VERWOERT
Keeping and Sharing Secrets – How to Formulate an Ethics of Attitude

Tuesday, March 15, 2011
7 PM
The talk will be offered in English

Maxwell Cummings Auditorium
Michal and Renata Hornstein Pavilion
Musée des beaux-arts de Montréal
1379 Sherbrooke Street W.

FREE ADMISSION
Seating is limited and available on a first come, first serve basis.

DHC/ART hosts a talk with critic and writer JAN VERWOERT in conjunction with DHC/ART’s exhibition by minimalist/conceptualist artist Ceal Floyer.

This is not a game. This is not just about figuring out a winning formula before someone else does. There’s nothing more stupid than playing smart. But playing plain stupid won’t do either. So you got a secret? Guess what, that doesn’t make you special. For I have a secret, too. We all do. Secrets are not such a new thing. Secrets started long ago. The question is how to share them, how and with whom, with whom how? What if you don’t know me but still feel that I might be someone to share secrets with (as I may strike you as someone who could keep them)? How do you talk to me? How do you address, summon, evoke, invoke, convoke, provoke people like me, like you, like us? How do you want to talk to my, your, our soul? You make art. That’s what you do. Because it’s still one of the best ways to keep and share secrets and address the soul. So artistically, philosophically, emotionally, socially, existentially, politically, ethically, sexually, spiritually the crucial question is: how to develop the mode, manner and style in which you desire to share secrets and address the soul? It’s a question of artistic form, rhetoric and attitude and a question of how we want to be with and towards each other.

Jan Verwoert teaches art at the Piet Zwart Institute in Rotterdam, works as a contributing editor to frieze magazine and writes for a number of publications. His book Bas Jan Ader – In Search of the Miraculous was published by Afterall/MIT Press in 2006. The collection of his essays Tell Me What You Want What You Really Really Want has just been published by Sternberg Press / Piet Zwart Institute. He is based in Berlin.

http://www.flickr.com/photos/16913945@N06/

2011-03-10T15:48:00.001-08:00

koenraad dedobbeleer

2011-03-10T13:54:00.000-08:00

"who i think i am" at justina m. barnicke gallery

2011-03-06T13:24:00.001-08:00

Ron Terada's solo show at the Justina M. Barnicke gallery will be running until March 20th

happy birthday, mark

2011-03-05T17:10:00.000-08:00

My hip priest

sara barker

2011-02-28T07:57:00.000-08:00

one hour with you (ernst lubitsch, 1932)

2011-02-25T09:55:00.000-08:00

I always knew that funny things and sad things all issued from the same place, but lately I've been thinking that these moods may very well be interchangeable. At the very least, it is possible for one to experience both at the same time; imagine helplessly watching a well-meaning husband fall into an adulterous trap while having your pants charmed off by his convincing caricature of a french accent (not to mention the stunning art deco interiors, ladies' lips painted to look like triangles, and fur-lined silk robes for going on errands). One Hour With You introduces these feelings with delightful - and admittedly, kind of slutty - repartee, rhyming dialogue and ruse. Ernst Lubitsch reminds us that not even Maurice Chevalier is immune to cheating.

(pssst: screencaps snagged from marcine miller)

koshimizu susumu

2011-02-23T15:37:00.000-08:00

bunny rogers

2011-02-21T10:33:00.000-08:00

THE STRANGE AND SENSUAL UNIVERSE OF BUNNY ROGERS

As if the girl weren't already intriguing enough, her name is "Bunny." Whether this is a given name or an adopted one I'm not sure, but that's part of her charm. Her world is a little secretive (a plain envelope sporting Winnie the Pooh stickers and a hidden image of a girl, a grey page of html plainly announcing "dad's big socks"), but it's not because she's hiding anything. Indeed, she reveals - her body, a dedication to her mother, a long succession of kisses- but offers no explanation for the things she puts on display. This all makes for a pretty compelling game of show and tell.

happy birthday, yoko

2011-02-18T17:35:00.000-08:00

my hero

ian kiaer

2011-02-11T08:50:00.000-08:00

roseline rannoch

2011-02-09T13:17:00.001-08:00

genichiro yagyu

2011-02-07T18:48:00.001-08:00

liverbirds

2011-02-02T12:04:00.000-08:00

josé lerma

2011-01-26T12:50:00.000-08:00

emmett williams

2011-01-22T16:25:00.001-08:00

robert filliou lighting the cake at art's 1,000,010th birthday celebration (1973)

2011-01-22T15:56:00.000-08:00

www.mybiggestregretever.com

2011-01-21T21:12:00.000-08:00

earl cunningham

2011-01-16T13:52:00.000-08:00

freedom (eva and franco mattes, 2010)

2011-01-13T12:11:00.000-08:00

stella mccartney prefall 2011

2011-01-12T13:26:00.000-08:00

georg herold

2011-01-09T14:09:00.000-08:00

kimber smith

2011-01-06T16:00:00.000-08:00

shirley jaffe

2011-01-06T15:01:00.000-08:00

isa genzken

2011-01-04T07:25:00.000-08:00

mily possoz

2010-12-25T04:03:00.000-08:00

bobby doherty

2010-12-22T19:40:00.000-08:00

jaakko pallasvuo

2010-12-19T11:38:00.000-08:00

philip kwame apagya

2010-12-17T10:33:00.000-08:00

happy birthday, jane

2010-12-14T13:11:00.000-08:00

so excited to be birthday twins with this hbic

j'ai faim, j'ai froid (chantal akerman, 1984)

2010-12-13T10:22:00.000-08:00

torbjørn rødland

2010-12-13T08:36:00.000-08:00

krista buecking

2010-12-13T07:15:00.000-08:00

frédéric fleury

2010-12-13T07:05:00.000-08:00

honza zamojski

2010-12-09T17:29:00.001-08:00

logan white

2010-11-28T13:48:00.001-08:00

art school - the jam

2010-11-23T13:42:00.000-08:00

kasia fudakowski

2010-11-23T12:30:00.001-08:00

antoni tàpies

2010-11-21T16:00:00.000-08:00

http://www.canyoudrawtheinternet.com/

2010-11-21T15:47:00.000-08:00

michael dumontier

2010-11-07T15:41:00.000-08:00

lucio fontana

2010-11-05T13:45:00.000-07:00

blissfully yours (apichatpong weerasethakul, 2002)

2010-11-02T20:08:00.001-07:00

laura mccoy

2010-10-31T15:20:00.000-07:00

phyllida barlow

2010-10-31T15:03:00.000-07:00

sylvia sleigh

2010-10-27T20:16:00.000-07:00

toshio saeki

2010-10-13T20:26:00.001-07:00

danielle ouimet - je drague

2010-10-12T09:28:00.000-07:00

canadian pride

tacita dean

2010-10-11T14:47:00.000-07:00

ignace wouters

2010-10-10T14:46:00.000-07:00

octo-pipers for october

2010-10-10T08:32:00.000-07:00

1 sloop john b
2 an affair to remember
3 i don't wanna
4 anywhere i wander
5 tom dooley
6 roaring twenties medley
7 it's almost like being in love
8 all i have to do is dream
9 i understand
10 saro jane

robert fillliou

2010-10-09T23:59:00.000-07:00

ne pas decider
ne pas choisir
ne pas souhaiter
ne pas posseder
pleinement eveille
tranquillement assis sans rien faire

undercover s/s 2011

2010-10-03T14:30:00.000-07:00

ok guys call the cops and arrest jun takahashi for creating the sartorial equivalent of my mind, which is filled with pom poms and the colours from ali:fear eats the soul and sporty flourishes (just bought my first bike) and subtle space babes and sparkly socks and japangermany and listening to ege bamyasi on a shag carpet and vintage porn lampshades

giovanni anselmo

2010-09-24T17:10:00.000-07:00

meadham kirchhoff s/s 2011

2010-09-22T19:55:00.000-07:00

i've been dressing so girly for the last year that i'm starting to feel gross about it. all hail GIRLY GROSS

dana hoey

2010-09-21T17:08:00.000-07:00

jesse kauppila

2010-09-19T14:56:00.000-07:00

"Each of the six plates for these prints was engraved while listening to the corresponding record of the "Anthology of American Folk Music." These plates were engraved in such a way that they can be played on a turntable to create noise music"

listen

imogen and twinka (judy dater, 1974)

2010-09-19T14:52:00.000-07:00

yin-ling hsu

2010-09-17T08:26:00.000-07:00

jeroen de rijke / willem de rooij

2010-09-13T23:15:00.000-07:00

carl ostendarp

2010-09-11T11:15:00.000-07:00

alejandro cesarco

2010-09-11T10:48:00.000-07:00

constant dullaart

2010-09-08T22:55:00.000-07:00

nolan strong & the diablos

2010-09-02T01:23:00.000-07:00

here's ten from my favorite doo-wop group of all time

1 if i (oh i)
2 adios my desert love
3 do you remember what you did
4 daddy rockin' strong
5 you're the only girl dolores
6 jump, shake and move
7 since i fell for you (a cappella)
8 are you sincere
9 rockin' robin
10 the wind

HERE
HERE
HERE

lauren brick

2010-09-02T00:04:00.000-07:00

heimo zobernig

2010-08-28T22:48:00.001-07:00

alterbodies @ sennate gallery

2010-08-23T13:43:00.000-07:00

mark e smith reads the football results

2010-08-15T13:06:00.000-07:00

still one of the best things on the internet

öyvind fahlström

2010-08-03T23:18:00.000-07:00