— New RSShole

I don’t normally do this but I’d like to shout out my new favorite art blog.  It is dead now, so I don’t feel too self-conscious by promoting it.  Granteeny documents painter Joe Penrod‘s son’s magnificent forays into art production.  The 4 year old artist works in various media, including photography, performance, poetry, and drawing.  His portfolio is lovely; I am equally impressed with the considered analysis given to each work by Papa Penrod.

Girl with Hair Ribbon–After Lichtenstein: “While Lichtenstein sought to elevate a cartoon to high art, Grant works backwards and takes Lichtensteins painting past its comic roots and back to the origins of the comic- grafiti scrawled on a wall.”

The documented conversations between artist and father artist are equally enlightening, such as the following which occured while viewing a Rothko painting:
Papa, does red mean Rothko is warm?
Does blue mean cold and maybe lonely?
-It can, yeah.  What would you paint if you were an abstract expressionist?
I would paint a yellow painting. It means bananas and also you feel kind of weak…. or weaky…….. or something?

I am so inspired.

Thanks to Peter for showing me this.

Another roundup of child art I mean contemporary art I mean child art.

“Arrows” by Chandler Meyers, age 16.  Artist statement: “I like many many things.”

Sure, comparisons galore here.   The Kruger emotional caption.  The Calder slinky arrows.  The LeWitt rainbow palette.  But I love this piece, and I love it for none of those reasons.

I have said before that I like the fake Hollywood version of contemporary art because it is so obvious, so hyperbolic.  I think child art gets at that.  Buchloh’s critique of Beuys was that has use of symbols was too basic, too A=B.  If Beuys eschewed symbolism [he wouldn't be Beuys he would be Duchamp], A would equal A, and if A is a good idea what’s the problem?

“Untitled” by Francis Gellman age 12.

Francis Gellman.  Frank Gellman.  Frank Stellman.  Frank Stella.

Not that much of a stretch, people.  But Stella never had those colors, so Gellman is really coming into his own.

“Why her?!?” by Freya E, 13 years old.

This one’s just so obvious.

I’ve been wanting to write an essay on this for a while.  Well well well.  Looks like someone beat me to the punch.  But the town of essays on fake nostalgia is big, and I think there’s room enough for both of us.  Mine will be different.  For one, I would like to write it without mentioning “authenticity” 24 times.

The Faux-Vintage Photo by Nathan Jurgenson: “The faux-vintage photo, while getting a lot of attention in this essay, is merely an illustrative example of a larger trend whereby social media increasingly force us to view our present as always a potential documented past.”

“The issue comes down to one of Content. Content is the holy grail of beleaguered designer. The misconception is that without content, design is simply a hollow shell of dubious “gestures”, wholly without value. In addition, a century of modernist mantras have hammered home, in one variation or another, the notion form follows function. Its only a slight variation to say: form follows content. And so content is seen, invariably, as the source of form making, always preceding it. Form without content then is some kind of bastard child, unloved and unloving, cloying, sallow and craven.”

-“Fuck Content” by Michael Rock on 2×4

I’ve been trying to redesign this blog, gettin my shoes muddy with CSS.  It’s going slowly.  In searching through old web files I found an original New Asshole “about me” image I made in the spring of 2009.  It seems appropriate, and I don’t know why I never published it.



People are talking about death a lot right now, or at least one death in particular.  I am not interested in talking about that, but I am interested in the metaphorical implication of death with the unnatural.  2 tracks plus a B-side for today:

“The Death of the Author” by Roland Barthes in Aspen

“The Death of Books and Bookstores” by Michael Dyer on Design Assembly

“The Rise of Network Culture” by Kazys Varnelis on Networked Publics