Absolutely My Last Retrospective

please enjoy this selection of images in the form of a transferable .jpg file

Something I thought you folks might be interested in. May 13, 2011 to August 7, 2011, Tales (not truths) by The Mechanic & The Handyman, Jno Cook and Gordon Ligocki, Valparaiso University, Brauer Museum of Art. Curated by the wonderful and insiteful, Linda Dorman and Tom Torluemke. For those not in the know, Jno Cook is an unparalleled artist with a sardonic streak a mile wide. He is a maker, a tinkerer, and thinker of sentences that almost always involve punctuation. Mr Cook has aggressively investigated aesthetic with camera's, computers, soldering irons, and screwdrivers. He has displayed his works with such great spaces as NAME, Randolph Street, Artemesia, and Tough. Jno maintained representation with one of the final Uncomfortable Spaces, Beret International Gallery through (2000) and then with Uncle Freddy's Gallery, in Indiana through (2009). Prior to Facebook Jno developed spaces.org the go-to spot for indy programs happening in and around Chicago, the site also featured invited artist's very early experimental projects with the web. Later on he assumed the caretaking responsibilities for the othergroup listserv. His work has been reviewed in the New Art Examiner, The Chicago Reader, The Chicago Tribune, The Sun-Times, The Atlanta Journal, U-Turn, Dialogue, and Sculpture. A sketch of the show can be found here http://jnocook.net/valpo.htm. It might be a hike, but the work is amazing in it's breadth and farsightedness.

A brief review by Martin Jon is available here at Gapers Block

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The apologist and the appraiser have decided to stay put

dashed wet and grim Oh now, Reagan of steel glitter in pants with which to shake them on down. Oh now, I shit you not for these are the things. Yes in any order you should choose these are the things to please please me, Oh Yeah. - Unmarked letter signed, A to A They'll say to me that it's safe to say so much for ubiquity, for disenfranchisement, and the terrorism of privilege. They'll say to me, With all of the effects from these profoundly toxic effects, is the project of our shared humanity effectively being dismantled. Are these the idle thoughts and sad tidings of despots and the tyrant kings inside of their comfortable towers of raised muck. As I've said before, They're not so far gone as to be gone for the good of all. This is plain to be seen in a world of bent backs and gross hyperbole. I'll sit in any unused doorway. I'll be beside myself while every door is locked. I'll dream of the halls and listen as the curtains, the drinking, an...

Piles of leaves: Letters Campaign

Suddenly old but feeling perfect, my wet underwear is on the the floor. It's gathered round my ankle. Myko laughs, just as wet and full of piss as ever. The violence of our togethering already feels like more than something. I reach out, taking the back of her neck with my hand. She's stepping in as I lean over to write; Dear, Temperance, October, and Brine, You are more than a place to me. More than walls and simple chimes, but I'll write to you anyway. This you'll know as you read my words. From here beside the lark's buttered breast, from under the heavy lids and the bright side kettle where we'll hum. We'll hum together, Bunny. Dickens be damned, we're now brightly doomed. Soon enough we'll see, the forest within the trees. To you, Tigre PS. are more or only this bed, maybe the floor too. We spend the day in, ordering takeout and hiding under the sheets. I get up and pee while Katt is talking about Milton. Her mouth's open, it's as rou...

Not the Willem DeKooning Retrospective (Not Even Close)

Willem DeKooning, Excavation (1950) oil on canvas Yesterday at work I bumped into this piece by Donald Kuspit on DeKooning's retrospective over at Artnet . Then this morning I bumped into this one on L Magazine's site, by Paddy Johnson . I don't know that Paddy Johnson demystifies DeKooning as much as she takes issue with his pallet, declaring it repetitive and boorish en masse. By contrast, Donald Kuspit writes an article painting DeKooning as a sadistic brute inextricably tied to the modern tradition in general and Picasso specifically. Together they make for some interesting reading, particularly as Kuspit never addresses the show itself in favor of drawing his conclusions from individual works. While Johnson seems to wear the show like an imaginary wool shawl, noting it's uncomfortable, out of style, and the zipper is broken. But she doesn't seem to get to a place that addresses what was actually there either, only what she felt was missing or to her mind ...

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