"newsroom images 2018" 2018
What is the value of an image? In journalism, timeliness can be of the essence. The value of news can be equated to it's currency. This is a selection of images collected over the years while I worked for a daily newspaper during the late eighties and early nineties. Their original purpose has long expired. Does the reappropriation within an art context change the meaning or value of these items? While no longer news, they might still be considered historical documents. The hardcopy remnants are now antiquated media. These went from digital to hardcopy back to digital in a manner paralleling their character as journalism to art to, ultimately, history.
"artist's fee" 2018
A funding practice that re-channels the flows of desire in capitalist exchange, with a fee that goes from zero to exorbitant, the artist’s fee has now been made into art. In between the title and a dated byline, a link to PayPal links directly to the artist's account.
"Dromoscopic Photography" 2016 - 2017
Opposite to the stroboscopy which allows us to observe objects animated by rapid movement, as if they were in slow motion, this dromoscopy displays inanimate objects as if they were animated by a violent movement.
– Paul Virilio
"Circles" 2017 (1996 - 2011)
I noticed a pattern emerging, again.
A discussion on netbehaviour.org led me to contribute "substance" to a proposal of nothingness.
"XO" 1996 - 2016
Somewhere around Valentine's Day I noticed a pattern emerging ...
acrylic on canvas (dim. var.)
More evocative than instructive, these paintings are my interpretations of satellite images of famous traffic intersections.
"Change - 3 Coins 64 Times" 2011
metallic acrylic on canvas panels 6" x 6" ea.
Using a fortune telling game, that sometimes uses three coins, as a method of composition ...
graphic art & painting
It has often been asked what the value of human life. Numbers are occasionally calculated, but specific transactions are an underworld activity. Fair valuation has been proposed for specific body parts by celebrities and their money-makers in the form of insurance.
oil on canvas (dim. var.)
These works are based on images found on the Internet. They are pictures
of gifts in their wrapping which have been brought into Photoshop and pixellated
for the male characters and layered and softened for the females. The names
are based on the top five philannthropists of 2008.
"Mine + Yours = Ours" 2007
paper & acrylic on canvas (shown with simulated fence frame)
A diagrammatic riff on the cultural.
"Disparate Measures" 2007
acrylic on wood fencing, 48" x 60" The blue area is taken from the shape of a soundwave pattern of a bird chirp.
acrylic on canavas, 48" x 48"
What is a painting?
[cf. Roger Penrose and Delueze & Guattari]
"Made for Making It, Again" 1993
paint on photo & chalk on chalkboard,
35" x 48" (total)
A doubling of interior/exterior mechanisms of materialization
"Paint on Photos" 1991 - 1993
paint on photos, (dim. var.)
paint • photography • cyberspace.
"The Draft of a Movement Too Fast to Be Seen" 1992
acrylic on unstretched canvas, 51" x 51" (dim. var.)
In a cloak of ideology, nothing remains to be seen.
mixed media, (model 9" high)
This idea, first ignored by the organizers of the 1982 Olympics in Los Angeles, would be ideal for subways (instead of the original highway proposal). Using the principals of animation, a series of images would appear to move as the vehicle speeds by.
"Found Improvisations" 1990
detritus (dim. var.)
Compositions were made and photographed where junk had been left in the suburban landscape. A policeman sent to one of the scenes found nothing to charge me with and allowed me to continue.
"Abstract Expression" (audio ver.) 1989
audio cassette, 2 3⁄4" x 4 1⁄4' x 11⁄16"
Abstracting Expressions – The Emotional Work-out Tape
This condensed version of a song cycle, based on the structure of emotional relationships as understood in a manner akin to the color wheel (cf. Plutchik), is the audio portion of a project begun in video and still seeking completion funds. The sequence included here goes as follows: 1) Surprise 2) awe 3) Fear 4) submission 5) Acceptance 6) love 7) Joy 8) optimism 9) Anticipation 10) agressiveness 11) Anger 12) contempt 13) Disgust 14) remorse 15) Sadness 16) disappointment. Capitalized titles are the "primary" emotions that are combined to define the "secondary" series of titles.
"Philtered Commerce" 1989
Linocuts with gold & silver ink on rice paper
These images were of sexually psychoactive plants were done as an example of self-censorship during the Culture Wars spearheaded by the right-wing during the 1980s.
Using Photoshop version 1.0, these explorations sometimes explored the symbiotic relationships between plants as rough proposals for larger artworks.
mixed media, 10" x 75" (total)
Here we have the recombinant value of the word as high abstraction and interactivity.
"Commercial Space (fig. a)" 1986
painted wood with photo, 19 3/4" x 12 1/2" x 3 1/8"
A pre-structuralist construction supporting a trace of a sign signifying nothing anymore than an elaboration of a readymade collage in the Abstract Expressionist style.
acrylic on canvas with painted particle board, 82" x 54"
A "weighty" interpretation of Painting made after reading Jacques Derrida.
wood, lacquer & paint, 6 3⁄4" x 6 3⁄4" x 8 1⁄2"
This is this.
text & graphics with audio, dim. var.
What was once called intermedia might now be considered early multimedia. This project was created with a boom box, a typewriter, pen and ink, a typesetter and a photocopier. Audio is juxtaposed to images and lyrics or instructions.
"The Baby Slant Step" 1983
wood, glue, gold paint, 4" x 5" x 9"
A riff on a piece by Bruce Nauman.
"Bells Are Ringing" 1982
paint on masonite with pearl, 96" x 18"
A song trickles in the air as waves, somewhere, crash upon a shore. And in the depths, beauty is formed – as the spillover, of an unformed dream.
painted wood, 8' x 12 ' x 2 1⁄2'
A podium and derelict's retreat, "Dreamstand" was built at the Los Angeles Times' Times Square where it faced City Hall. On the last day of it's exhibit, packing my guitar case, I took the bus downtown. When I got there, I took out the axe I packed, I proceeded to demolish the project. As I was doing this, one of the street people walked up to me and said: "I hope that you realize that you are destroying somebody's home."
Later, upon refelection, I realized that the "stairway to heaven" that I had built delivered me out of the City of Angels to the land of the 'Jersey Devils – perhaps a speech was in due order.
paint on canvas, 48" x 24" x 3⁄4"
paint on canvas, 48" x 24" x 3⁄4"
Painting as ontological simulation – see "Drawing"
collage on gesso, 12 3⁄4 x 16 1⁄2" ea.
"Drawing" was exhibited with "Silver" and "Gold" at the Pacific Stock Exchange in 1980.
Visiting Los Angeles some years later, I was downtown and decided to look down a street to see if the building that I used to live in was still there. It was. But draped around it was a banner saying that it was now "The Future Home of the Pacific Stock Exchange."
Beginning with the word as abstraction, “Zounds!” (c.1978) presented onomatopoeia into the conceptual field. These investigations went from the Derridean influenced architectonic (“Gramr” 1985) to image/poetic to Deleuzean diagrammatic (“Mine + Yours = Ours” 2007). Synthesis has been a recurring theme that brings together a morphology and ideology that has evolved into not only conceptual, but sequential investigations. So while certain stylistic qualities are observable throughout this work, an evolving logic supports the content. The work has moved from the astrophysics of “Singularity” (1996) to a series of work titled “The Ambit Suite” (2007) in which the border became the issue, to studies in value with “Trickle” (2008) and “Change” (2011). Mobile affectations have been lined-up in a series of videos entitled “Dromoscopic” (2015) while perspective and abstraction are more of an issue in the "Xrds" (2016) paintings.
Master of Arts
Bachelor of Arts