Monthly Archives: May 2013

Associated Artists for Propaganda Research Stickers

I’ve been thinking for some time now about making a book about the Associated Artists for Propaganda Research that would act as a catalogue for all of the projects that I developed for it. I find that with art projects I tend to bounce back and forth between showing only what I think is “important and impressive” artwork and all of the “failed” projects that never saw full fruition. Below is a series of graphics that I did that became stickers for various projects that I either made, had made, or never made at all. I like to mix up the kind of medias that I use and I would often make stickers and other propaganda for the project that I was working on so that people would have a piece of free propaganda to take away from my shows. Often I would never get the stickers printed and they only existed as digital copies since I couldn’t always get the the projects exhibited. Early on I was interested in making stickers that were akin to those made by punk rock bands and wanted to mimic the look.

I have since removed most of the unused graphics from the existing AAPR website for the most part because I’m not sure if they really qualify as art. The idea of something not really being art excites me and stickers were something early on that I was really attracted to as ephemeral objects that could be taken and/or discarded as need be. I used a lot of these for my first AAPR website and even came up with texts that aligned the poster/sticker with a point in the AAPR’s fake history; One of the earlier ideas for the Associated Artists for Propaganda Research was to create a fake timeline for its various activities that would place it farther back in history than it really was. Here is a selection of stickers. The earliest ones were used using sticker paper and xerox machines and the last 3 I had “professionally” made.

Office of Strategic Affairs Original Stickerconsumestickersboywithgun1An Architect for Future Gen. StickerBlack Box Logo Sticker OriginalHesWatchingYouTank Sticker (No Layers)AAPRPlaneDiagramSticker

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A Theory of Forms and Ideas Gouache Paintings in Progress

I made some more gouache on paper paintings today and yesterday. Here’s a composite of what 12 of them look together.

Also here’s something that I found today on Wikipedia when I was looking up information on the Avant-garde. I’ve been thinking a lot lately about the role of art in society and feel that it’s only real purpose is as a product/idea of continual change outside of economic influence and egotistical personal gain. I’ll write more about this at another time.

The Frankfurt School coined the term mass culture to indicate that this bogus culture is constantly being manufactured by a newly emerged Culture industry (comprising commercial publishing houses, the movie industry, the record industry, the electronic media). They also pointed out that the rise of this industry meant that artistic excellence was displaced by sales figures as a measure of worth: a novel, for example, was judged meritorious solely on whether it was a best-seller, music succumbed to ratings charts and the blunt commercial logic of the Gold disc. In this way the autonomous artistic merit so dear to the vanguardist was abandoned and sales increasingly became the measure, and justification, of everything. Consumer culture now ruled.

The avant-garde’s co-option by the global capitalist market, by neoliberal economies, and by what Guy Debord called The Society of the Spectacle, have made contemporary critics speculate on the possibility of a meaningful avant-garde today. Paul Mann’s Theory-Death of the Avant-Garde demonstrates how completely the avant-garde is embedded within institutional structures today, a thought also pursed by Richard Schechner in his analyses of avant-garde performance.

Composite 2

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Filed under Drawing/Works on Paper, Painting

Andre Cadere

I’ve been slacking on my discussions about other artists. I discovered Andre Cadere about a year ago and was impressed by his particular solution to the problems of exhibition and curation. He essentially reclaimed artistic opportunities by carrying and exhibiting his sculptures in museums and gallery shows uninvited; He would leave behind his self-styled striped pole sculptures in spaces without permission, foregoing traditional ideas about hierarchical curation and the role of the artist as a vetted commodity. Here is some biographical information about him that I found and some photographs.

André Cadere was born in Poland, grew up in Romania and, before his early death from cancer in Paris in 1978, was a nomadic presence in the European art world. He was best known for his Barres de bois rond (Round Wooden Bars, 1970–78) – long poles made of coloured wooden cylindrical units. The colours on each rod were arranged according to a system, yet each stick contained one anomaly, confounding attempts to identify the system with ease. On a formal level his work certainly disrupted the traditional boundaries of painting and sculpture (disturbing the distinctions of these two media in a completely different way from Donald Judd’s ‘Specific Objects’), but in the context of 1970s’ art made in Paris the work was relatively traditional. (Just compare a hand-painted wooden object with a conical cut in a disused building by Gordon Matta-Clark.) Because his objects were ostensibly polite, it remains even more compelling just how challenging his practice was as a whole. This is a result of the ways in which Cadere chose to deploy these poles. Cadere was one of the first artists to realize that objects were inseparable from market and institutional contexts: half of his focus was on the systems of distribution in the art world. His Barres could be positioned in all sorts of relations to their surroundings (on walls, floors, propped between the two and so on), but he would also carry them around a number of outdoor locations and, most famously, into other people’s shows and openings, even when not invited.tumblr_m7bsu9fvZR1qanhido1_500andre-cadere-untitled-1345110610_bAndrE_Cadere_2

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A Theory of Forms and Ideas Gouache Paintings in Progress

Today I worked on more gouache on paper paintings. Here is a composite of the first 12. I’m not sure how many I’m going to make.

Composite

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A Theory of Progress (An Accurate Model for a Cohesive Distributive Communication System) in Progress

Today I started working on A Theory of Progress (An Accurate Model for a Cohesive Distributive Communication System) which is a sculpture made using colored pieces of wood that are then attached to a telephone pole. The idea is to make a semi-permanent sculpture outside that functions as both graffiti and as art. I had originally thought that it would be great to build the sculpture slowly to let it evolve over a couple of years by adding new pieces to it every now and again. Unfortunately I’m leaving my studio soon so it has become necessary to build the sculpture rather quickly in order to achieve a quicker final result. Today I painted some long pieces of wood with Glossy Blue Enamel and Glossy Yellow Enamel. I painted strips of wood that I have in my studio that are probably never going to be used. I used paint that I had in my studio already that I used for From At the Gates of Dawn, From Dawn To Dusk and New Dawn Fades. I also have a can of Glossy Red Enamel and I plan on buying some green and orange. Here is a photo of the painted strips in my studio.

photo

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In Progress

Today I re-stretched the 4 pixel paintings that I took to The Hague and then varnished 3 of the pixel paintings and Nothing Ever Stays the Same and Nothing’s Explained. I decided a while ago that I needed to start varnishing my paintings to keep the sun from affecting the colors and to keep them from getting dirty in my studio. Unfortunately varnishing comes with its own risks and ultimately changes the surface of the painting but this can’t be helped. I like to use Golden Matte varnish with UV protection in it (UVLS). It’s important to make sure that the surface of the painting is clean before you start otherwise dirt, dust and hair will get stuck in the varnish and dry there. I allow a certain amount of surface imperfection but I make an effort to pull out anything that I think will be a noticeable distraction.

I also started working on these small gouache paintings. They were made using cheap paper that I bought in China many years ago that school children use. I wanted to get away from feeling like I needed to make pristine objects and instead wanted to use a water based medium that would ultimately wrinkle and semi-destroy the flatness of the paper. I want them to exist as tactile objects. The compositions are taken from old corporate logos that I cropped into abstract shapes. Again, I’m not sure how these pieces fit into a larger context within my work; I’m only interested in pursuing my interests intuitively without any concern for how it might or might not benefit my less-than-stellar art career.

Scan 1Scan 2

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