slim to ...

"Today, see if you can do the opposite of your ordinary personality pattern. Give up trying to avoid conflict and see what happens." enneagram num nine thought of the day

materiality

materials I have played with that I would like to explore merging/combing--tar, plaster, rubber, domestic thresholds (doors/windows and parts), mattress quilting, found metal and LANGUAGE. ha, all of which are a bit heavy or loaded.

other skills sets I have that could be incorporated but that I don't feel strong compulsion for -- 2d animation, video, photography, interactive media...so they are in my tool box. 

think. think. think. 

I love my weeds

gone for a week and bam, i reap what i did not sow! i find this to actually be the norm. much in life is a reaping of what has not been sown in our lifetime or as an extension of our own actions--either pro or con. to think we truly reap what we sow is crap. every day for my entire adult life i have reaped both pro and con from things i did not sow. do i play a role, can i have influence, absolutely. much in life is not earned or deserved. each stands on the shoulders of what came before. to believe that one is truly autonomous is just arrogance.

not that I actually spend time indoors

but I've moved my grown up furniture from storage a plopped it down in the hermitage. a little large for the space.

pretty much yup

All our life, so far as it has form, is but a mass of habits. -- William James, 1892

diggidy dogineering

toady from Pan's labyrinth, wonderland or Chinese take out. dopty I know I was late today, but....

Not once did I bore an art historian in grad school in spite of my failure to comply with typical standards! Revisiting old writings and laughing as my narrative stands still. What was I thinking? Bahahaa.

Essay excerpt written by Kathryn Kelley, 2007. Essay "like a dog gets excited about going for a walk on a leash" on Post Modern art for Dana Padgett was written in response to several questions Dana posed to the group.

Excerpt [full pdf]

On the heels of Modernism, I fall into a void where there is no individuality, no unique private world, no authorship or originality. I find myself not in utopia but dystopia. There is no space; there is no silence. All inventions have been invented and recombination replaces creation. I fight the void. Unable to focus on my present, I become incapable of representing my current experience except through things that already exist. I dredge the archives seeking new meaning through new combinations. A rapid rhythm of change accelerates as I move through the limited number of combinations. Empty space is filled up. I consume all. Time becomes fragmented. I become isolated, disconnected and discontinuous. Signifiers fail to link into coherent wholes. My mimicries of other styles and mannerisms are hollow. I pile up the appropriated fragments ceaselessly and empty them of their significance. The promise of new meaning evades me. The narrative stands still. My reality becomes that which is defined by media. Life is subordinate to the laws of the market. High and low culture merge. I sense loss. I drink Diet Coke “like a dog gets excited about going for a walk ON A LEASH.” 1 I define myself not by what I am but by what I am not. Who am I? I am Post modern...part I: SIGNIFIERS FAIL TO LINK INTO COHERENT WHOLES [Salle, Polke]...MY REALITY BECOMES THAT WHICH IS DEFINED BY MEDIA.  I CONSUME ALL [Sherman, Bickerton, Koons]...I DREDGE THE ARCHIVES SEEKING NEW MEANING THROUGH NEW COMBINATIONS [Stockholder, Calame, Appelbaum].

admittedly these are older and surely need refined but read more anyway [pdf]

Not once did I ever bore an art historian in grad school in spite of my failure to comply with MLA standards! Revisiting old writings and laughing at Greenberg's great Pea-ness. what was I thinking? Bahahaa.

I contemplate developing time to start writing about art again. I need to direct my writing more purposefully. Why? Besides because I need it for myself my writing is highly accessible, funny, and educated. I am not always funny, but I always take a stand, and that is funny cause frankly it is just art. Ha!

excerpt from The Formal | Cunt Positive | Bad Painting essays by Kathryn Kelley, 2007. Written in response to three questions proposed by Dana Padgett on Greenberg, Feminism, and Bad Painting in an Art History Post Modern course.

Clement Greenberg’s views on Modern art can be summed up in his eating habits. Imagine the round white disc of the dinner plate sitting in front of Greenberg— gravyless mashed potatoes neatly stacked to the left, tightly corralled green peas on the right, low and central on the plate a bland pork chop (oops, not pork) filet of fish. Most assuredly, Greenberg carefully compartmentalized this meal, breaking it down into the most elemental groupings, never allowing his food to become co-mingled or touch. Each item would remain independent of the others; each basking in its own uniqueness and being most palatable in its pure form. For instance, a pea would lose value if it became embedded in the potatoes or mixed with the fish. The pea should be valued for its innate structure of being a pea. This formal structure was to be fully explored—the surface, the shape, and the properties of its pigment. The pea should justify itself; render itself pure by making explicit that which was irreducible about it. The pea should avoid anything that called up associations with potatoes or fish. Then Greenberg, with great authority, could speak and write to the power of the pea. He would stand tall and firm and promote his formal view of the modern pea. The pea would justify the pea in the same way that logic established logic or paint, the painting. All other foods would fall by the way side and he would proudly tout this pea-ness. It would simply be the pea-ness for pea-ness’ sake. Simply substituting the pea for painting reveals truths and fallacies in Greenberg’s theories of Modern Art. As far as I am concerned the story of the pea sums it up, but, since you need to know that I know what you expect me to know, I shall set silliness aside and connect some of the peas...read the rest [pdf]