Sean landers
What am I looking forward to in 2009? Hmm … As I write this in late October 2008, the art market is on the brink of collapse. Which reminds me. Haven’t we all been through this before? Please allow me to digress a bit and I’ll answer the question by the end of this.
I was lucky enough to have been one of the ‘1990s artists’ who suddenly emerged after the irrationally exuberant New York art scene of the 1980s crashed. I felt like a singer/songwriter wearing thrift-store clothing and playing a worn-out acoustic guitar, thrust on stage directly after a spandex-wearing, hair-sprayed, heavy metal band with their double-necked electric guitars just exited in a blazing pyrotechnics display. I sang from the heart, so to speak, and I reduced art to its most basic content. I wrote slightly twisted yet honest things on a yellow legal pad and taped them to gallery walls (a cry for attention). I sculpted and exhibited wet clay sculptures and had gallerinas mist them to keep them alive (a cry for love). I made videos about doing nothing and jerking off in my studio (a cry for help). Things went along swimmingly like this for me for five or six years. Since I was so in the middle of it all, I didn’t notice the landscape changing around me. By 1996 the whole ’90s thing wasn’t really welcome anymore. The no-frills ‘anything goes’ looseness that had defined me and the time in which I’d emerged had seemingly rendered me an uninvited guest at a party of familiar people who suddenly seemed way more fabulous than me.
I can boil it all down to an instant that sort of says it all. In 1996 I was asked to do a second solo show with Regen Projects in Los Angeles. When Stuart Regen initially invited me to show with him he told me that he had named his space ‘projects’ instead of ‘gallery’ because he really wanted it to be a place where artists were free to experiment. Sounded great to me: that’s what I was good at! So in my first show with him in 1994, I truly experimented and I made a show that set many personal precedents that I’m still exploring today. Stuart’s openness worked; I experienced actual discovery. And Stuart, God bless him, had my back.
Emboldened by my first experience, I wanted to make my 1996 show at Regen Projects completely strange and unexpected. I can’t even tell when I look at these pictures today whether they are successful or not. I made a whole show of image paintings (new for me at the time) featuring hallucinating colonial tavern drunks based on a William Hogarth painting called A Midnight Modern Conversation (1733). They are terrible or magnificent depending on which side of the international so-bad-it’s-good line you are on.
The end of the ’90s for me was the instant that the crate containing these paintings was pried open and Shaun Caley Regen got her first glimpse of them. In a fraction of a second, her big pretty brown eyes shot me a look that said, ‘Your career is over honey!’ I’m not saying that it wasn’t a sympathetic look but it was like buckshot through the heart just the same. What I didn’t realize was that ‘playtime’ was officially over and ‘business’, which had been suspended since the late 1980s, was back on.
I was naive and thought that if you just put on blinders and made art to entertain yourself that everything would be OK. Well, in the end it was, but I’m not going to lie to you, it really sucked for me for a while there. I guess the lesson is that sometimes you have to stand for something and resist the urge to mass-produce your greatest hits solely for the sake of cashing in.
Now before I become too sanctimonious, let me just say that I think making money is fucking great, and I don’t blame any artist for making lots of it. But the truth is that it’s not everything. One huge thing that it’s not is ART. Art is not money, and when the two get too close together money takes over and makes art into itself. It’s kind of like God supposedly making man in his own image. Well, money makes art into its own image. If you let it.
So, now what? Well, now I get to answer the question: What am I looking forward to in 2009? With another art market crash seemingly inevitable, I’m looking forward to seeing some art. Art unfettered by the market frankly. I’m looking forward to visiting a few art colleges and not seeing blatant careerism in each studio and art dealers stalking every hallway. I’m looking forward to seeing young and established galleries showing weird young artists with nothing to lose, making art that they know no one will ever buy, and in the process fearlessly stumbling onto the next big thing, whatever the hell that turns out to be.
Most of all, I’m looking forward to leaping into the void again myself, like in the famous 1960 Harry Shunk photograph of Yves Klein (figuratively if not literally). I have never shown reluctance to saut dans le vide. The truth is, however, that I do have something to lose now. This is a major mixed blessing for all artists as they grow older and more bourgeois. So, please promise me something art world. In the future, when I risk everything and do something totally non compos mentis, like the aforementioned Hogarth show, could you please, please, please, still love me tomorrow?
Sean Landers
Sean Landers is an artist who lives in New York.
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extemeblackmagic
The letter to God can be sent via e-mail as well.
our town authur miller
How Do Spells Work???
Is there anything I have to do???
Well, if you are asking yourself these questions then here are the answers. Spells are two parts, one consists of your part and my part. The part that is your to do is this....
A simple Negative Releasing Prayer. Why you ask, do I have to do a Negative Releasing Prayer? The reason is simple. When you are wanting a spell, you are in essence asking God (Divinity) to help you with a situation and grant you your request. Well, in the World of Magic, you have to give something to get something. Nothing is free. Well, this is what you have to give in order to get what you are wanting.
What the Negative Releasing Prayer does is it helps to make you a better person. It helps you to release negativity in your life. So what you are giving in return for your spell is that you are giving Divinity a better person.
The Negative Releasing Pray is a very important part of the spell. It will decide how fast your spell works and if it even works. If you decide that you want to work on the Prayer hard and concentrate on it and take the actual time to do it, then your spell will work fast. On the other hand if you do not spend as much time with it and do not work as much on your negative qualities, then your spell will not work very quickly. If you do not perform this spell, or have no desire to, then your spell will not work and their will be not since in even getting a spell from me. I have included in my normal prices the price of the Negative Releasing Prayer at which I will send you and you do not even have to make it. Just pull it out of the box and perform it. It is not a long spell. The normal time it takes to perform the spell is about 20 Min. a night for 9 nights.
To make the Negative Releasing Prayer work, then you need to continue to work on your Negative qualities after the spell is completed. REMEMBER, this is what you are giving for your spell. So, Please continue to work on the negative qualities after you complete the 9 day spell. If you do this then Divinity will make sure that you get what you are requesting.
As far as my part of the spell. I write up the literature of the spell which can be from 10 to 40 pages in Ancient Alphabets. (Hebrew, Angelic, Runes, etc.) The reason that I use these Alphabets are because these letters contain special energies in each one that call certain Entities into the spell. This helps in the actual spell. One of the other parts that I do is, make wax doll effigies. These are not voodoo dolls they are dolls of each of the people involved in the spell to use as a map and concentrate energy into the direction of the spell. To be able to point out certain spots that I can work on. One of the others is, I make Astrological Charts. These can be viewed on the Spell Previews Page. This is actually where I call in Angelic Hosts for the spell. Then of course I perform the spell, which can take up to 4 to 6 hours to complete.
http://www.extremeblackmagic.com/online_library/john_dee.htm
http://www.extremeblackmagic.com/online_library/grimoire_turiel.htm
http://www.extremeblackmagic.com/online_library/grimoiri_armadel.htm
keinholz
The Portable War Memorial
1968
Tableau: plaster casts, tombstone, blackboard, flag,
poster, restaurant furniture, photographs, working
Coca-Cola machine, stuffed dog, wood, metal, and fiberglass
114 x 384 x 96 in. (289.6 x 975.4 x 243.8 cm)
Museum Ludwig, Cologne
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mike nelson continued
Podcast
http://creativetime.org/programs/archive/2007/nelson/nelson_artist_talk.mp3
rebuilding of a disused cannabis farm urban archeology rebuilding what potentially had been there in a sculptural fashion.
Disused reptile house fifteen different vetrines
Self indulgent? Taking a disused building, ambiguity between built and found undermined the viewers expectation. What they knew to be the work vs what they didn’t. There is an artifice involved. Make physical a narrative structure. A pact with the viewer to suspend your disbelief. A prop from a non existant film, make a reference to the site political and parralel literary natarative. Theatrical in a sense but also real, the worst floor boarding you’d ever seen, like a jigsaw puzzle trying to put the wood down. Rummaging in the world for material that informs the content of the world, coral reef – details – hunt for things which some how articulate. Create spaces for other peoples imaginations manipulate peoples empathy. Abject installations with sculpture, religious shrine type situations kennedy refferences, conspiracy theories venacular religion, Chinese restaurant into a series of absent collection of two parlors conscious reworking of the structure of coral reef – the first work which was a full labarynthine work which narrative space into found space, series of receptions based on London mini cab offices, place their identity through a few objects, the first reception I rebuilt the fake reception – each reception was used a vessel to represent a different belief structure, complex and fragile system – like an economic structure of capitalism. Revisit the coral reef were the oceans surface becomes a litteral sea of sand a visibility something which seemed very much inspired by the phsychic voodoo more present than in any other city i’ve been in, ultimately for an artist that has somehow made the majority of work about the presense of absence of the skyline of the city desire for a belief in religious structures biggest city full of the most junk I’ve ever seen. Joseph Beuys the gothic poe to lovecraft to Stephen king, the witch trials to macarthy islamaphobia – American darkness primitivism desire to find a handle of belief in the face of such absolute belief in other places in the world. Patriotic – American flag torn in half with a map – disperate and desperate found space – collection of memorabilia bits of sordid underwear and ducksauce a series of booth like rooms for some sort of naferious goings on – upstairs was this map seemed poiniagnt somehow bleek and sort of apocalyptic way of a country devided – a non lenear narrative an assemblage of atmospheres to get a meaning – instinctiveness informed by research, you have a certain sense of what your looking for – I always amass far more than I ever use meaning and formality – sculptural space convinces you to believe in what is actually there, finely tuned instrument – mechanics of disorientation mimic the waiting room at the beginning and repeat it at the end. Questioning of reality whats real and whats not - in each room theirs something different in each room – bearskin in the corridor makes it odd its mimicking what it once was – dreamlike space getting lost – david lynch film characters that look like eachother – two or three people is the preferable amount – half aware that there was someone else in there – undermined by the amount of people passing through – if theres too much in one room it destroys the whole thing.
taking audiences on an unexpected journey through reconstructed rooms, passageways, and meticulously assembled environments of his installation titled A Psychic Vacuum. Inspired by the building’s history the surrounding neighbourhood, literary and cultural references, and the current social climate in the United States, the project comes to life via materials gleaned from local salvage yards and debris from the market’s heyday.
The work draws visitors into a parallel universe by way of a series of deeply believable and disquieting architectural spaces, confusing the real with the fictionally derelict. Entering Nelson’s work is an active, and sometimes anxious, experience in which viewers move through an elaborate labyrinth of rooms often concealed within rooms, surrendering their bearings to experience the artits’s three dimensional narrative.
Notably ray Bradbury William s borroughs and HP lovecraft to create an enironment that can be seen as a metaphor for the turbulent geopolitical landscape of today.
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