it incorporates many of the features presented in utopia e ambientazione (utopia & setting), published in consecutive issues of domus in 1949, revealing mollino’s own philosophy of decor as deeply trans-historical. in this two-part essay carlo mollino pre              

Dec 20, 2011

“the outside” – becky beasley at francesca minini

via mousse magazine
really interesting work and conceptual backdrop as greg.org points out 
(you beat me to it greg!)
looking forward to digging in and researching this work more.
but for now?  all i can think of is the magnepan magneplanar tympani 1c stereo speakers, which are still lovingly made right here in minneapolis.

i was turned on to these speakers recently by our friend cameron wittig.  he found a pair on craigslist and says they sound fantastic.  maybe we’ll get some for the studio!
please enjoy the day.
posted by matt olson

describe your approach to art making: "things that look like other things is good. i have always been very interested in how the photographic documentation of painting and sculpture can start to build a secondary experience of the work, which can be more-              

Dec 19, 2011

a generic bottle of water by cloakmonkey, plaster, tint, steel, rapid prototypes, inkjet print from Short Stories @ Sculpture Center. More images here.
 Painting Scan 3, printed on the Objet Connex500, FullCure720 and inkjet print, 2011

the older repeatable image/coins, perforated steel, climbing clips, silk plants, chains, bolts from Short Stories @ Sculpture Center. More images here.

Painting Scan 4, printed on the Objet Connex500, FullCure720 and enamel, 2011
some recent work by ben schumacher
nice interview in the november issue of mousse magazine.
please enjoy what you see and what you think you see…
and the time while it passes.
posted by matt olson

“and as if each viewer’s history and state of mind were not already enough to drastically scramble any possibility of an image being interpreted in a manner that was intended by its creator; the always-altering and heterogeneous environments of the ……              

Dec 16, 2011


set it freemaryanne casasanta

“photograph of a copy of DDDDoomed, Or, Collectors & Curators of the Image – A Brief Future History of the Image Aggregator by R. Gerald Nelson unopened, published on Tumblr for online distribution by artist, also entitled, “set it free” 2011

“And as if each viewer’s history and state of mind were not already enough to drastically scramble any possibility of an image being interpreted in a manner that was intended by its creator; the always-altering and heterogeneous environments of the Internet had made it even more exponentially possible for an image’s meaning to be (mis)translated in ways that were never imagined by the image’s creator.” p. 33

reblogged on Tumblr 445 times, where the title of the book, author and quotation were removed by users in the process.” – via maryanne casasanta

____________________________________________________________________
wow.  i love this piece.  i can’t help but imagine encountering this work in the future with missing context.  i think it might resonate even more deeply.
at some point i’m hoping to have time to share my thoughts more formally about ddddoomed  (i probably won’t.)  it’s been coming up again lately in the studio and with friends (a couple of whom have image aggregators : – )
the essay definitely hits on a lot of questions i’m really interested in but, for me, to believe that something as powerful as “the image”, could be corrupted or rendered aimless or impotent by something like i.a.’s or tumblr’s?  that’s a view that seems to be missing some deep and “essential information.”  
“Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened.” – ts eliot
i love the idea that an image can be given a life its never had before.  where is it going? where did it come from?  what will it become?  we could ask the same question of ourselves … and we could laugh!
this is the lumber of life / this is the lake of our feeling via seth price

and the internet is for surfing!
please enjoy the time while it is passing by and, if it seems like a worthwhile thing for you to do, try to seek beginnings in things rather than imaging their endings. 
posted by matt olson

come forth unabashed come out unbuttoned bury belligerence resurrect frolic only through body can you clasp the divine only through body can you dance with the god in every man’s hand the gift of compassion in every man’s hand the beloved connection trust              

Dec 15, 2011

we love to get photos of our furniture in action.  this is david horvitz studio.


please enjoy the time while it is passing us by.
posted by matt olson

facestate would be a state of the type that peter thiel, the paypal founder and facebook angel investor, dreams about: no welfare and no taxes. the theorist of this state-form is robert nozick, whose 1974 book anarchy, state, and utopia is an enduring ins              

Dec 14, 2011

andrea hyde interviews metahaven at the walker art center site about their facestate project which was commissioned by the walker and is part of the fantastic exhibit graphic design: now in production.  

“We anticipated that anti-terrorism in the future would become crowdsourced self-censorship – the most effective Department of Homeland Security being your very own social network.”
super fascinating.
in the interview they reference peter thiel whose recent new yorker profile unearthed feelings in me i hadn’t felt since… maybe junior high?  i wanted to fight him.  
ok.  now i’m embarrassed. 
also, of interest is metahaven’s wikileaks fundraiser on ebay! i’m sniping for sure!
please enjoy the time while it is passing by.
posted by matt olson

the principal action of pelican consisted of rauschenberg and swedish painter per olof ultvedt, with open parachutes attached to their backs, skating about the arena. around and between them, carolyn brown, the cunningham company’s most elegant dancer….              

Dec 13, 2011

pelican (1963) – robert rauschenberg
came across a book length interview with robert rauschenberg at this show. opened it up to this page.  thought i’d share…
robert rauschenberg’s first performance of the dance piece, pelican, took place at america on wheels, a roller skating rink at kalorama and seventeenth streets in washington, d.c. on may 9, 1963 in conjunction with “the popular image” exhibition (april 18 – june 2, 1963) at the washington gallery of modern art. andy warhol was one of the artists whose work was included in the exhibition. (jd120)
 performed as one of the dances of the fifth concert of dance by the judson dance theater group (billed as an ‘extension’ of their dance series at the judson memorial church in new york), pelican consisted of two men (robert rauschenberg and per olof ultvedt) in roller skates and a female dancer – carolyn brown. rauschenberg was also listed on the judson dance theater’s program for their third and fourth concerts of dance (performed at the judson church) under the title “advisory.” (jd82) he had allowed the group to rehearse in his loft and he lived with steve paxton who was one of the group’s choreographers.  at the fifth concert of dance by the judson group – the performances at the skating rink – the audience were asked to remove all the chairs from the rink during the intermission prior to the beginning of pelican which lasted, according to one account, twelve minutes and twenty to thirty minutes according to another account.
from rauschenberg: art and life by mary lynn kotz:
“much of rauschenberg’s expanded theater activities were with the judson dance theater… they wanted to explore the structure of movement, including everyday movements that were not ‘dancing,’ and to eliminate dance’s dependence on fixed choreography, trained dancers, and expensive production. in these endeavors they were influenced by rauschenberg, who served as stage manager, lighting director, performer, and – when he sold a painting – patron…
pelican… marked rauschenberg’s unexpected debut as a choreographer. at the pop art festival in washington, d.c… rauschenberg mistakenly was listed in the program as ‘choreographer’ rather than as stage manager of the judson group. when he read the program, he decided to take on the challenge. discovering that the performances were to take place in a roller-skating rink called america on wheels, he designed costumes, learned to roller-skate, and prepared a dance routine for himself and two dancers.
at that moment, rauschenberg’s career was soaring. his work was on exhibition at the jewish museum, in group shows at the solomon r. guggenheim museum in new york, and in the corcoran biennial in washington, as well as in various exhibitions touring europe. he wanted his choreography to soar as well. in his light-filled studio at 809 broadway, he moved his paintings off the floor, where he worked, to practice roller-skating with his friends, racing with his samoyed puppy, laika, and his two kinkajous.
the principal action of pelican consisted of rauschenberg and swedish painter per olof ultvedt, with open parachutes attached to their backs, skating about the arena. around and between them, carolyn brown, the cunningham company’s most elegant dancer, danced on point, dressed in a sweat suit and toe shoes. ‘the soaring motion of brown’s classical ballet vocabulary juxtaposed to and amplified by the rapid birdlike swooping of the men on skates’ made pelican rauschenberg’s most memorable performance art, wrote curator nina sundell in her catalogue for an exhibition called ‘rauschenberg/performance.’
the artistic success of pelican, which rauschenberg dedicated to his heroes, the wright brothers, seemed to confirm one of his favorite theories of art. he had indeed, as sundell points out, ‘used the limitation of materials [roller skates] as a freedom that would eventually establish form.’
rauschenberg, again sailing about in the open parachute, performed the dance a second time in new york in 1965, at the first new york theater rally, organized by steve paxton and alan solomon at a television studio on broadway at eighty-first street.” (122/23)
yvonne rainer, a regular participant/choreographer in the judson dance theater later recalled that when rauschenberg’s involvement with the dance group extended to choreography, “through no error is his behaviour but simply due to his stature in the art world – the balance was tipped, and those of us who appeared with him became the tail of his comet.”
via warholstars.org
please enjoy the time as it is passing us by.
posted by matt olson

this is it. this is really it this is all there is. and it’s perfect as it is. there is nowhere to go but here. there is nothing here but now. there is nothing now but this. and this is it. this is really it this is all there is. and it’s perfect as it              

Dec 13, 2011

my mom found some photos i took when i was aged 11 through 14.  i like them.
this is it.
this is really it
this is all there is.
and it’s perfect as it is.
there is nowhere to go
but here.
there is nothing here
but now.
there is nothing now
but this.
and this is it.
this is really it
this is all there is.
and it’s perfect as it is.
this poem is by james broughton.  it’s called verburg.  i like it too.
i found it in a post about our friends ruben and scott and their new project with the artist joann verburg… the app as book  through location. chk it!
please enjoy the time as it passes.
posted by matt olson

here’s a man in the funny papers we all know alley oop oop oop oop oop he lived way back a long time ago alley oop oop oop oop oop oh well this cat’s name is a-alley oop alley oop oop oop oop oop he’s got a chauffeur that’s a genuine dinosaur alley oop oo              

Dec 9, 2011

ommu is pleased to announce the exhibition & publication launch of:


the kingsboro press  –  alley oop
awesomeness.  
rolu has a huge ommu announcement coming soon  (hint)  psyched.
please enjoy the time as it passes!
posted by matt olson

michael dumontier is a contemporary artist whose work has been exhibited internationally. he’s known for minimal paintings & collages but may be best known for his collaborations with marcel dzama, neil farber as a founding member of the royal art lodge              

Dec 7, 2011

our friend michael dumontier shares some glimpses of new work.  amazing.
sadly though, he’ll be taking a break from stopping off place.  
i will miss it. 
please enjoy the time while it is passing.
posted by matt olson