October 8, 2013 § Leave a comment
Color studies of book covers in the painter Richard Baker’s studio.
Via Hyperallergic‘s very nice article by John Yau, “Richard Baker: Physiognomist of Our Past and Future.”
July 6, 2011 § Leave a comment
“Untitled” from 2005.
“In the only written statement Mr. Twombly ever made about his work, a short essay in an Italian art journal in 1957, he tried to make clear that his intentions were not subversive but elementally human. Each line he made, he said, was “the actual experience” of making the line, adding: “It does not illustrate. It is the sensation of its own realization.” Years later, he described this more plainly. “It’s more like I’m having an experience than making a picture,” he said.” ["American Artist Scribbles a Unique Path" by Randy Kennedy, in the New York Times]
June 13, 2011 § Leave a comment
May 25, 2011 § 1 Comment
Michael Taussig on Burroughs’ color walks:
“That was in 1964. Brion Gysin was his painter pal in those days and when you look over Gysin’s work, playing with color in relation to written words, let alone Burroughs’s own color work, as in the 1960s scrapbooks and the 1980s paintings, it suddenly hits you that there is a tight connection between the mad desire to cut out, on the one hand, and this fascination with color, on the other.
As when, in his homage to Gysin, Burroughs invokes the idea of going on “color walks”—which are a good deal more than color-coded walkways through Tangier or New York or Paris: red on Wednesdays, blue on Fridays, or whatever. A delightful idea, to be sure. But that is only the beginning because the idea here is that the very notion of a code is to be cut out, meaning that color is invoked so as to loosen the restraint of coding and that there is something about color that facilitates this, as if colors love to betray themselves like yellow means gold, awesome and holy, but also treason and cowardice, and it has a long history in the Christian West of marking adulterous women, Jews, Muslims, prostitutes, heretics, witches, and executioners.
Could we not say, therefore, that with the color walk we are alerted to the singular and beautiful fact that color itself walks?
This would make color even more of a ﬂâneur than Burroughs,who liked to call himself el hombre invisible in his walks through the market in Tangier in the late 1950s. What was invisible in Tangier became color in Paris, thanks to Gysin’s paintings painted in Tangier. Maybe people have to lose themselves first and become invisible as long-term residents in a third world country before being readied for the color walk? But then Burroughs was continuously marginal in utterly realistic as well as in utterly romantic ways. He was queer. He was a heroin addict. He loathed America. And he had weird ideas about most everything, especially writing. Being marginal can mean you switch on and you switch oﬀ because you are either too conspicuous or invisible. Too invisible, that’s the point, at which point you emerge as color, walking color at that.
And, remember, the original insight for the color walk lay in Gysin’s playing with letters, letters that form words. Here color and the decomposition of written language signs go hand in hand. What also happens when Smoker comes in from the cold is that the old writer in the boxcar by the junkyard is once again able to write. As colors pour from tar, he unblocks. He pours. The cat purrs. And guess what? All his stories are animal stories. (“Of course,” adds Burroughs.) The old writer ﬁnds them in an illustrated book. There is the Flying Fox with his long black ﬁngers and sad black face, just like Smoker. There is a Fishing Bat peering from under its shell. There is the Black Lemur with round red eyes and its little red tongue, the beautiful Ring-Tailed Lemur hopping through the forest as if on a pogo stick. “So many creatures, and he loves them all” (WL, p. 248).
The old writer caresses these pictures.
After all, “I have been a cut up for years,” the writer told us. “I think of
words as being alive like animals. They don’t like to be kept in pages. Cut the pages and let the words out.” Now the words and the animals become united in the stories the old writer found welling up inside himself as colors pour from tar.”
Michael Taussig, What Color is the Sacred
More here: Color: William Burroughs Walking on Color
May 19, 2011 § 5 Comments
William Burroughs’ Color Walks
“Another exercise that is very effective is walking on colors. Pick out all the reds on a street, focusing only on red objects–brick, lights, sweaters, signs. Shift to green, blue, orange, yellow. Notice how the colors begin to stand out more sharply of their own accord. I was walking on yellow when I saw a yellow amphibious jeep near the corner of 94th Street and Central Park West. It was called the Thing. This reminded me of the Thing I knew in Mexico. He was nearly seven feet tall and had played the Thing in a horror movie of the same name, and everybody called him the Thing, though his name was James Arness. I hadn’t thought about the Thing in twenty years, and would not have thought about him except walking on yellow at that particular moment.”
(From “Ten Years and a Billion Dollars” William S. Burroughs in The Adding Machine: Selected Essays, Arcade Publishing, New York, 1985)
“For example, I was taking a color walk around Paris the other day…doing something I picked up from your pictures in which the colors shoot out all through the canvas like they do in the street. I was walking town the boulevard when I suddenly felt this cool wind on a warm day and when I looked out all through the canvas like they do in the street. I was walking down the boulevard when I looked out I was seeing all the blues in the street in front of me, blue on a foulard…blue on a young workman’s ass…his blue jeans…a girl’s blue sweater…blue neon…the sky…all the blues. When I looked again I saw nothing but all the reds of traffic lights…car lights…a café sign…a man’s nose. Your paintings make me see the streets of Paris in a different way. And then there are all the deserts and the Mayan masks and the fantastic aerial architecture of your bridges and catwalks and Ferris wheels.”
(Burroughs, from an interview with Brion Gysin in 1960)
May 14, 2011 § Leave a comment
The stripe paintings
["Time Away" 2008]
“The paintings are color sensations in which a complex range of feelings and possible readings are evoked. It used to be, or so some people claim, that when a painter did something new and different, others would notice it. Except in the case of very few artists, this hasn’t been the case in years. Wilson doesn’t care, and that is to her credit.”
Hayden Herrera Interviews Helen Miranda Wilson in Provincetown Arts: [PDF]
May 6, 2011 § Leave a comment
via Jeremy Bushnell’s Raccoon (thank you, Jeremy)
April 24, 2011 § Leave a comment
from Rochelle Fenstein’s
“The Estate of Rochelle F” at On Stellar Rays in which she recycles content from her studio:
“The Estate of Rochelle F. began during the economic downturn of 2009, when Feinstein surveyed her studio’s assets, counting among these older stretchers, unfinished paintings, unused art supplies, and an assortment of other resources. Feinstein ventured to optimize these assets’ value by recombining the materials into a new body of work. In making The Estate, Feinstein 1) would not spend any additional money on this work, 2) would use any and all supplies as “assets,” and 3) would use maximal material and minimal gesture.”