Archive for the ‘Remakes & Sequels’ Category

“By Chance I Met Barnett Newman on a Streetcorner: Fuck You Greenberg” (Found Photograph, 1997)

Saturday, December 20th, 1997

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“Newman’s paintings look easy to copy, and maybe they really are. But they are far from easy to conceive, and their quality and meaning lies almost exactly in their conception… The onlooker who says his child could paint a Newman may be right, but Newman would have to be there to tell the child exactly what to do. The exact choices of color, medium, size, proportion – including the size and shape of the support – are what alone determines the quality of the result, and these choices depend solely on inspiration or conception.” (Clement Greenberg, After Abstract Expressionism, 1962)

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“Squares [This Is Not A Black Square]” (Photocopies, 1999)

Thursday, December 2nd, 1999

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“When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field, the critics and, along with them, the public sighed, ‘Everything which we loved is lost. We are in a desert… Before us is nothing but a black square on a white background!’” (Kazimir Malevich)

Variations on these photocopy works were included in the exhibition “Dick Whyte: Retrospective” (91 Aro Street Gallery, Wellington, 2005).

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“Who’s Afraid of Barnett Newman?” (Digital Painting, 2008)

Wednesday, December 3rd, 2008

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“It is not difficult to see how Greenberg’s own program for color-field painting and his ideas on the development of modernism leave little room for an explanation of Newman’s zips. In effect, they are the elements which support Greenberg’s ideas the least. In the rare cases when he describes the zips, he does so briefly and asserts that Newman’s art is not really geometrical and that there are other, less noticeable factors that are more important to an interpretation of his work.” (Samantha Krukowski, Was Greenberg Blind to Barnett Newman’s Zips?)

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“John Cage – 4’33″ [May '68 Comeback Special RECON]” (Video Art, 2010)

Wednesday, June 9th, 2010

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Reconstruction of John Cage’s 4’33″ using 68 YouTube videos of people performing the piece on a variety of instruments. Part of the ongoing RECON project. Many thanks to Rhizome.org and C-Monster for featuring this work recently.

“There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.” (John Cage, Experimental Music)

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“Corrupting Rauschenberg Erasing De Kooning” (Animated GIF, 2010)

Monday, June 21st, 2010

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“I kept making drawings myself and erasing them. And that just looked like an erased Rauschenberg. You know, it was nothing. So I figured out that it had to begin as art. So I thought it’s going to be a de Kooning then, if it’s going to be an ‘important’ piece. You see how ridiculously you have to think, in order to make this work?” (Robert Rauschenberg)

“In a monumental contribution to physics, [Stephen] Hawking showed that black holes evaporate, like puddles of water on a hot day. It happens very slowly but the black hole does emit particles, and eventually disappears. The answer is that the evaporation products — the photons and other particles — carry away every bit of information, BUT in an extremely scrambled form. What we have learned is that black holes are not information-erasers but information-scramblers.” (Leonard Susskind interview by Paul Comstock, Susskind Quashes Hawking in Quarrel Over Quantum Quandary)

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“MEND” (Tao Wells and Dick Whyte, Supercomposition, 2010)

Saturday, July 3rd, 2010

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The concept is simple, take two bands which are characterized as opposed (culturally, personally, ideologically) and superimpose a song from each band on top of one other (mending the rift). Concept developed by Tao Wells and myself one weekend in New Plymouth and eventually spawned my Britney Spears Best of Noise solo project.

These are not ‘remixes’, though we are interested in their relation to remixing. We have simply laid two songs on top of each other (a rhizome, a remedy) in the hope that there will be moments of connection between the layers. The points at which these two layers touch (caress) offer moments of “mending.” While mixing makes use of the cut, mending makes use of care.

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“Odalisques” (Digital Paintings, 2010)

Thursday, July 15th, 2010

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“Some feminist critics (most notably Linda Nochlin) have argued that the nineteenth-century male artist’s preoccupation with languid, nude odalisques who are “veiled” from the European male gaze and yet blatantly engage in self-display on the canvas, repeatedly feminized and sexualized the Orient in disempowering ways. Recent studies by Alison Smith, Carol Ockman, and Griselda Pollock, however, have demonstrated that the cultural tensions within which the odalisque/nineteenth-century female nude emerged were more complicated. All exoticized female or male bodies were not displayed in the same way… If we look closely at several French works that spanned the nineteenth century – Ingres’ Grande Odalisque (1814); Henri Regnault’s Salome (1870); and two works by Gerome, The Almeh (1878) and Woman of Cairo (1882) — the body of the odalisque is layered, revealing tensions and ambiguities. The Grande Odalisque was commissioned by a female aristocrat, Caroline Bonaparte Murat — a practice which was common among aristocratic women in the early nineteenth century [which] allowed them access to modes of self-representation outside the range of what was considered ‘acceptable’ and consolidated their socially and politically powerful roles.” (Piya Pal-Lapinski, The Exotic Woman in Nineteenth-Century British Fiction and Culture: A Reconsideration)

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“Andy Warhols Eats A Hamburger [33 Scenes From YouTube RECON]” (Video Art, 2010)

Thursday, August 12th, 2010

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Reconstruction of Jorgen Leth’s “Andy Warhol Eats A Hamburger” (from the documentary film “66 Scenes From America”) using 33 amateur remakes posted to YouTube over the last 2 years. Part of the ongoing RECON project. Many thanks to Contemporary Art Truck and IconoTV for featuring this on their blogs.

“The most beautiful thing in Tokyo is McDonald’s. The most beautiful thing in Stockholm is McDonald’s. The most beautiful thing in Florence is McDonald’s. Peking and Moscow don’t have anything beautiful yet… What’s great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.” (Andy Warhol, From A to B and Back Again)

“He is told that he has to say his name and that he should do so when he has finished performing his action, but what happens is that the action takes a very long time to perform; it’s simply agonizing.I have to admit that I personally adore that, because its a pure homage to Warhol. It couldnt be more Warholesque. That’s of course why he agreed to do it.” (Jorgen Leth, in Mette Hjort & Ib Bondebjerg, The Danish Directors: Dialogues on a Contemporary National Cinema, p70)

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Music Video for Cory Arcangel’s “Iron Maiden’s ‘The Number of the Beast’ compressed over and over as an mp3 666 times” (Video Art, 2010)

Tuesday, August 31st, 2010

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Music video I have been working on for Cory Arcangel’s fabulous “Iron Maiden’s ‘The Number of the Beast’ Compressed Over and Over as an MP3 666 Times.” Predictably, I have simply taken the official video for Iron Maiden’s NOTB and compressed it over and over as an MP4 666 times. However, unlike Mr. Arcangel I don’t know shit about computers so have had to manually compress the video, which is taking a LOT of time. For this reason I have currently only done 66 compressions, but I liked the results and thought I would put it up as a “work in progress.” Thanks to David Wilkie for reposting this on Tumblr.

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“Britney Spears + The Dead C = HOT” (Rhimix, 2010)

Monday, September 20th, 2010

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Minimalist musical mashup superimposing The Dead C’s “Suffer Bomb Damage” over top of Britney Spears’ “Radar.” The Dead C (Bruce Russell, Michael Morley, Robbie Yeats) are a seminal free-noise band from New Zealand. Part of the ongoing Britney Spears Best of Noise project. Many thanks to Abulafia: Electronic Folk Music for featuring this on their blog. The first 8 tracks of this project were released on the concept album Britney Spears + Noise = HOT. Download the full album for free (in FLAC or high quality MP3) on my Bandcamp Page.

“That there is an area between other forms of music where all of the “rules” which hold them apart cease to apply. All musics bleed into this Empty Quater, some exist more within, and some more without, its bounds.” (Bruce Russell, Free Noise Manifesto)

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