See some of my assemblage/preservation specimen work in this show curated by Allison Meier at Urban Glass, Brooklyn. The show focuses on Dead Horse Bay, a little known New York beach park on Jamaica Bay, where refuse of several decades can be found washing ashore. Among the detritus, horse bones, remnants of the bone rendering plants from the turn of the century give the place its name. The place has been an inspiration to some of my work; I find it’s glass bottles and bones, old toys and everyday objects in various states of tide and weather worn decay fascinating.
The show opened February 1 and remains on view until April 1, 2017. I have three pieces on view, two of them are wet preserved specimens: Seahorse and Irwin, both of which utilize decorative Assemblage in the style of Frederik Ruysch, and another is a Natural History Sculpture using only elements from DHB.
“The satisfaction which no longer comes from the use of abundant commodities is now sought in the recognition of their value as commodities: the use of commodities becomes sufficient unto itself; the consumer is filled with religious fervor for the sovereign liberty of the commodities. Waves of enthusiasm for a given product, supported and spread by all the media of communication, are thus propagated with lightning speed. A style of dress emerges from a film; a magazine promotes night spots which launch various clothing fads. Just when the mass of commodities slides toward puerility, the puerile itself becomes a special commodity; this is epitomized by the gadget. We can recognize a mystical abandon to the transcendence of the commodity in free gifts, such as key chains which are not bought but are included by advertisers with prestigious purchases, or which flow by exchange in their own sphere. One who collects the key chains which have been manufactured for collection, accumulates the indulgences of the commodity, a glorious sign of his real presence among the faithful. Reified man advertises the proof of his intimacy with the commodity. The fetishism of commodities reaches moments of fervent exaltation similar to the ecstasies of the convulsions and miracles of the old religious fetishism. The only use which remains here is the fundamental use of submission.”
(‘The Society of the Spectacle’, Guy-Ernest Debord)
An experience brought me back to an idea I had last year of putting things into channels via YouTube and curating my own television station of video content gathered from YouTube, the internet, uploaded myself etc. Not only music videos, but Documentaries, films and clips of subjects I want to portray, things I’m interested in. Even hosting my own show cooking, introducing music videos, talking about movies, whatever. There’s a ton of things to show available, all open licensed or not yet taken down.
I dont own a television myself, and more often than not most of my friends haven’t had television, at least in the past few months while I’ve stayed in a variety of homes and apartments. I do have the habit of watching certain series from time to time, Dexter, Madmen, Band of Brothers, Farscape, etc, but these I watch online, with no need of a television. I also have the habit since I almost always eat alone, of wanting to watch something while I eat at dinner.
I came home this evening to make another grilled cheese sandwhich deluxe and pondered what to watch. This came to mind, from the book I’m reading at the moment. ‘Tropic Of Cancer’ by Henry Miller.
Watching Miller as an old man rising from bed and slowly examining the pictures covering his bathroom walls, I recalled my old studio-bedroom wall, and as he explained the effect all those images had on him, I remember the same experience. He goes into his admiration for Hermann Hesse, discussing Buddhist iconography versus christian, the breasts of the woman bathing in his shower and the streets of New York. This is Anarchistic Evening Entertainment.
“Here we cast anchor in rich ground. Here we have a right to do some proclaiming, for we have known cold shudders and awakenings. Ghosts drunk on energy, we dig the trident deep into unsuspecting flesh. We are a downpour of maledictions as tropically abundant as vertiginous vegetation, resin and rain are our sweat, we bleed and burn with thirst, our blood is vigor.”
Di·o·nys·i·an (d-nshn, -nzhn, -ns-n)
1. Greek Mythology
a. Of or relating to Dionysus.
b. Of or devoted to the worship of Dionysus.
2. often dionysian Of an ecstatic, orgiastic, or irrational nature; frenzied or undisciplined: “remained the nearest to the instinctual, the irrational in music, and thus to the Dionysian spirit in art” (Musco Carner).
3. often dionysian In the philosophy of Nietzsche, of or displaying creative-intuitive power as opposed to critical-rational power.
[From Latin Dionsius, from Greek Dionsios, from Dionsos, Dionysus.]