You're viewing everything posted on January 7, 2009
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I know… you’re right. I’m so sorry, I fuckin’ hate this job. I don’t want to be the one to pass judgment, decide who gets in. Shit makes me sick to my stomach, I get the runs from the stress. It’s not cause you’re not hot, I would love to tap that ass. I would tear that ass up. I can’t let you in cause you’re old as fuck. For this club, you know, not for the earth. You old, she pregnant. Can’t have a bunch of old pregnant bitches running around. That’s crazy, I’m only allowed to let in five percent black people. He said that, that means if there’s 25 people here I get to let in one and a quarter black people. So I gotta hope there’s a midget in the crowd.
In praise of Craig Robinson

Police murder young man in Oakland

In her first solo museum show, Stephanie Syjuco presents bootlegged videos, counterfeit remnants of the Berlin Wall, appropriated Houston newspapers, forged modernist furniture, and photographs made with pirated tourist snapshots. Her concept-driven work combines the materiality of digital information and technologies with craft traditions both celebrated and marginalized. With a critical eye, the San Francisco-based artist explores how we construct, perceive, and value cultural authenticity. Today’s global capitalist economy is full of black-market fakes and falsehoods in every stage of production and consumption. Syjuco sees each of these infidelities as an opportunity for agency—her own and the viewer’s. By examining and constructing objects with fictional identities and histories, the artist reveals a larger truth: that we constantly invent narratives about ourselves and about others. (via Contemporary Arts Museum Houston)

In her first solo museum show, Stephanie Syjuco presents bootlegged videos, counterfeit remnants of the Berlin Wall, appropriated Houston newspapers, forged modernist furniture, and photographs made with pirated tourist snapshots. Her concept-driven work combines the materiality of digital information and technologies with craft traditions both celebrated and marginalized. With a critical eye, the San Francisco-based artist explores how we construct, perceive, and value cultural authenticity.

Today’s global capitalist economy is full of black-market fakes and falsehoods in every stage of production and consumption. Syjuco sees each of these infidelities as an opportunity for agency—her own and the viewer’s. By examining and constructing objects with fictional identities and histories, the artist reveals a larger truth: that we constantly invent narratives about ourselves and about others. (via Contemporary Arts Museum Houston)

Nanna Krueztmann « The New Breed of Documentary Photographers

Nanna Krueztmann « The New Breed of Documentary Photographers

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On most mornings after he moved to Arcueil, Satie would return to Paris on foot, a distance of about ten kilometres, stopping frequently at his favourite cafés on route. Accoring to Templier, “he walked slowly, taking small steps, his umbrella held tight under his arm. When talking he would stop, bend one knee a little, adjust his pince-nez and place his fist on his lap. The we would take off once more with small deliberate steps.”

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Roger Shattuck, in conversations with John Cage in 1982, put forward the interesting theory that “the source of Satie’s sense of musical beat—the possibility of variation within repetition, the effect of boredom on the organism—may be this endless walking back and forth across the same landscape day after day … the total observation of a very limited and narrow environment.” During his walks, Satie was also observed stopping to jot down ideas by the light of the street lamps he passed.

Daily Routines: Erik Satie
Digging Deep : The Killing of Oscar Grant III

Digging Deep : The Killing of Oscar Grant III

Study: Race not deciding factor in Prop. 8 vote - Inside Bay Area

Eartha Kitt (January 17, 1927 – December 25, 2008), photographed by Carl Van Vechten on October 19, 1954. (via In Memoriam « Room 26 Cabinet of Curiosities)

Eartha Kitt (January 17, 1927 – December 25, 2008), photographed by Carl Van Vechten on October 19, 1954. (via In Memoriam « Room 26 Cabinet of Curiosities)