Saturday, February 19, 2011
Friday, February 18, 2011
Thursday, February 17, 2011
Wednesday, February 16, 2011
Saw this insane photo on my friend Jody's facebook. She suggested I ask Tim about the story behind this photo so I did!
Text: Tim O'Conner
Me: So what happened??
Tim: It had apparently been hit once already & was doing a death crawl. I had to go straight over 'cus if I tried to swerve i would've flipped the shit out of or car with our cute puppies in it.
Me: Cute puppies always get to live!!
Tim: We were going a good 85 mph in some light rain. It was the coon or us. I had a mild heart attack when I saw it in the road but my body did the right thing by holding the steering wheel steady and plowing over that wild fucker like there was no tomorrow. We both screamed when I hit it but ended up forgetting about it about a 1/2 hour later when we realize we were safe. And the car felt fine as well. We still had over a thousand some odd miles to drive so we drove for another hour or two & then stopped that night and slept at a hotel.
Me: Any witnesses?
Tim: The only witnesses were myself, Jody, and our two gay dogs. The raccoon was a witness as well until it didn't have the ability to witness anymore.
Me: Haha! So did you expect to see that mangly paw hanging? That must have been a precision road amputation.
Tim: I did not expect to see a thing under there. I had forgotten about it but eventually the thought creeped back into my mind that maybe some guts had sprayed on the bottom of the car.. Our one deaf dog "No Comment" kept going under the car at the rest stop and I was wondering why in the hell was he continually trying to pull his leash to get under the car.
My dumb dog was trying to lick the splattered innards.I told Jody what I thought may have been going on and then I tried to look under the car but I couldn't see anything. It was too dark under there. That's when I had the idea to use my point and shoot and just rifle off a couple of photos with the flash set at full blast. Boom! I put the camera in review mode and there it was. The severed claw of some random beast that we didn't know was a raccoon at that time. We were cackling and freaking out at the same time at how insane the thing was that was lodged under the whip.
Me: So how did you remove it?
Tim: Well we left it there and continued to drive home through some biblical rainstorms for the next 1000 miles. We thought surely it would shake itself loose from the various bumps on the highways and jestreams of water squirting at it due to the fact that cruise control was set to 90mph. We continued to check the undercarriage of the automobile at every stop. But somehow that goddamn satanic limb hadn't moved a millimeter. It was still under the car as we pulled into the driveway defying all logic and physics. Two days later it's still under the car and we were showing it to everyone and watching them freak the fuck out. Finally in the third day, I had built up enough balls to put on some rubber gloves and grab the demon limb to remove it once and for all.
Me: The exorcism of the O'Conner whip!
Tim: I climbed under the car with a headlamp on, but what was this? The limb had vanished without a trace. The axle was licked clean. It had either crawled off on it's own or the zombie beast had returned to relclaim what was rightfully his.
Tim: Either that or my gay dogs got to it and ate it when I wasn't looking.
Me: Dammit No Comment( dog's name ). haahahaha best closer photo ever! Thanks for the story! It's gonna be front page of Ilovemygaydogs.blogspot! ( note: Tim is wearing Autumn's Daniel Rakowitz shirt which is also Tim's murderous doppleganger!)
Prizefighter Minute. Ray from PF sent me this second trailer to "Chopped Liver." When the video will come out? I'm not sure.. but will be stoked when it does- there's like three trailers! With three trailers this shit's gonna be offf the chainnn, right Ray?? Anyway, check out Japanese rider Katsumi Minami below in Night Prowler. Reblogged from Prize Fighter Cutlery
Tuesday, February 15, 2011
A while ago, when my folks were in town, I got to see conceptual artist John Baldessari's first major U.S. exhibit (in decades) at the Met. Total fan. Everything I pulled off the internet ( super original ) and just repasted some info. It must be his skilled usage of the "language of color" that gets me. Even the combinations are interesting. I mean what's cooler than throwing pieces of colored paper out a window and calling it art? Every weirdo's art statement fantasy.
Floating: Color, 1972
Six color photographs; 11 x 14 in. (27.9 x 35.6 cm) each
Collection Mario Bertolini, Breno, Italy
© John Baldessari
Baldessari once remarked that a large part of his work "arises from a single word, a chance phrase, or an overheard comment or part of one." For Floating: Color it was "defenestration"—the act of throwing something out a window—a word the artist liked, "because it had a limited meaning, specific to a particular act." Deciding that he should throw colors instead of objects, and basing his sequencing on the simple order of the spectrum, Baldessari jettisoned large sheets of colored paper from his window and captured the process on film.
Gelatin silver prints with oil tint, oil stick, and acrylic; 106 1/2 x 86 15/16 in. (270.5 x 220.9 cm) overall
Baldessari, who has likened his use of images to certain literary techniques, builds meaning through juxtaposition and structure rather than through a fluidly predictable narrative. The cinematic stills he uses in works such as Heel have been excerpted from their original context—the nonstatic continuum of film—and recast in a new configuration. The title could alternatively refer to Achilles' vulnerability, annoying personalities, or the wounded anatomies depicted here. The street scene at the center of the composition grew out of the artist's interest at the time in Elias Canetti's Crowds and Power, an influential study of crowd behavior published in 1960.
Lambda prints on Sintra with acrylic and crayon; 84 x 43 3/4 in. (213.4 x 111.1 cm) overall
For this series Baldessari experimented with images printed on clear acetate, reversing and overlapping them. Two disparate scenes, a black-and-white film still from a Buck Rogers movie and an unremarkable color snapshot taken near the artist's studio, visually merge, and the newly created hybrid world is reinforced with acrylic color.
Digital prints with acrylic on Sintra; 60 x 180 in. (152.4 x 457.2 cm) overall
Baldessari photographed movies on a television to make the Duress series, which features figures silhouetted in solid colors caught in moments of great physical stress or danger. "It is a subject I believe suitable for these trying times," he said. When painted a single hue, the men in contorted positions—perilously poised, Harold Lloyd–style, above the metropolis—can be read as a triad of abstract shapes. Using rigid foamboard, the artist incorporated recessed and raised surfaces to isolate the figures and create an effect of shallow relief.
Pigment prints on canvas with latex paint; 92 in. x 9 ft. 6 in. (233.7 x 289.6 cm) overall
In this body of work, the artist again investigates color by way of conceptual, rather than aesthetic, strategies. Having explored color structure and sequencing in the 1970s, Baldessari here indulges his fascination with the language of color. Working in a hardware store as a young man, he was drawn to charts of paint colors and the names assigned to various hues. He has since noted different types of chromatic nomenclature, including "artist colors" (cerulean blue) or "landlord colors" (light green). Among the most amusing discoveries were "designer colors," names assigned by American paint companies that invented such unlikely appellations as "Avant Garde" (mustard yellow) or "Organic Order" (mulchy green). Here, the color coding links hues to common foods.
Sunday, February 13, 2011