Cloud City Industries

The blog for me, steve AKA White Lando, head of Cloud City Industries and The Arts Council of Doom...

blakegopnik:

THE DAILY PIC:  Today, I begin a Koons-o-rama. Once a week for the next little while, the Daily Pic will visit and revisit the almost-perfect Jeff Koons retrospective at the Whitney Museum of American Art in New York. I have huge respect for my fellow critics who feel that Koons is nothing more than a  symptom of everything that’s wrong with our art world, and maybe with our culture in general. On my first visit to the show, to shoot a video with my chum Christian Viveros-Fauné, I almost let him convince me that Koons was precisely as bankrupt and shallow a figure as his fiercest critics say. Since then, I’ve spent longer with the Koons show than with almost any display I can remember (with the very notable exception of my week-long inspection of “Las Meninas” at the Prado). On visit after visit, accompanied by any number of deep thinkers on art, I’ve found that Koons has payed major intellectual and visual dividends.  His art is simply too productive to be dismissed. I feel as though his haters’ larger, principled – and admirable – objection to certain Koonsian trends in art-world dynamics have blinded them to the details of what Koons has produced. 
Today’s Daily Pic, for instance, shows the Whitney digging deep into a little-known prehistory of Koonsiana. It turns out that as far back as 1979,  Koons was acquiring and displaying product  from some of the stranger corners of popular culture. With “Inflatable Flowers (Short Pink, Tall Purple)”, he makes us want to know how it was that certain late-70s tchotchke producers felt it worth their while to make dumb inflatable flowers with such complex engineering. Koons so appreciates this redundant complexity that he displays his vinyl blossoms on mirrors, just as museums show Fabergé eggs, so that we can take in their details from every side.
Here’s another peculiarity of these works as shown at the Whitney: Koons cares so much about the details of his original vinyl flowers that he has had them laboriously refabricated for this retrospective, making sure that passing time and decaying matter would have no leverage on their appearance. That means that they pass out of the realm of normal Duchampian readymades – objects purchased and presented as art, mostly for the sake of the gesture itself – into a new realm of “re-made readymades”, where the objects themselves matter as much as the action of showing them. (At the risk of once again incurring the wrath of some of the more simpleminded Duchampians, let me say that I consider Marcel’s artisanal remakes of his classic found objects something else altogether than Koons’s; Duchamp’s 1950s urinals are not a recapitulation of the original Dada works, but a piss-taking new riff on what “Fountain” had come to mean.)
On one visit to the Koons retrospective, the room with his vinyl flowers was full of tiny children whose art teacher had told them to draw Koons’s inflatables. This struck me at the time as one of the more colossal misunderstandings that I’d  witnessed in a museum: Works of tremendous conceptual complexity were being used to teach kids the most conservative notions of what art should be. But then I was forced to rethink. One of the glories of Koons’s works is that every one of them is a kind of Trojan horse, coming across at first as the simplest, dumbest aesthetic gift, and then turning out to ambush almost every conventional artistic model. I’m afraid to say that some of my Koons-hating colleagues may be a bit like those Koons-sketching kids: They’re stuck on first impressions of the art, and that keeps them from feeling obliged to look deeper. (Collection of Norman and Norah Stone; ©Jeff Koons) 
The Daily Pic also appears at ArtnetNews.com. For a full survey of past Daily Pics visit blakegopnik.com/archive


Interesting take on the whole Koons thing…

blakegopnik:

THE DAILY PIC:  Today, I begin a Koons-o-rama. Once a week for the next little while, the Daily Pic will visit and revisit the almost-perfect Jeff Koons retrospective at the Whitney Museum of American Art in New York. I have huge respect for my fellow critics who feel that Koons is nothing more than a  symptom of everything that’s wrong with our art world, and maybe with our culture in general. On my first visit to the show, to shoot a video with my chum Christian Viveros-Fauné, I almost let him convince me that Koons was precisely as bankrupt and shallow a figure as his fiercest critics say. Since then, I’ve spent longer with the Koons show than with almost any display I can remember (with the very notable exception of my week-long inspection of “Las Meninas” at the Prado). On visit after visit, accompanied by any number of deep thinkers on art, I’ve found that Koons has payed major intellectual and visual dividends.  His art is simply too productive to be dismissed. I feel as though his haters’ larger, principled – and admirableobjection to certain Koonsian trends in art-world dynamics have blinded them to the details of what Koons has produced. 

Today’s Daily Pic, for instance, shows the Whitney digging deep into a little-known prehistory of Koonsiana. It turns out that as far back as 1979,  Koons was acquiring and displaying product  from some of the stranger corners of popular culture. With “Inflatable Flowers (Short Pink, Tall Purple)”, he makes us want to know how it was that certain late-70s tchotchke producers felt it worth their while to make dumb inflatable flowers with such complex engineering. Koons so appreciates this redundant complexity that he displays his vinyl blossoms on mirrors, just as museums show Fabergé eggs, so that we can take in their details from every side.

Here’s another peculiarity of these works as shown at the Whitney: Koons cares so much about the details of his original vinyl flowers that he has had them laboriously refabricated for this retrospective, making sure that passing time and decaying matter would have no leverage on their appearance. That means that they pass out of the realm of normal Duchampian readymades – objects purchased and presented as art, mostly for the sake of the gesture itself – into a new realm of “re-made readymades”, where the objects themselves matter as much as the action of showing them. (At the risk of once again incurring the wrath of some of the more simpleminded Duchampians, let me say that I consider Marcel’s artisanal remakes of his classic found objects something else altogether than Koons’s; Duchamp’s 1950s urinals are not a recapitulation of the original Dada works, but a piss-taking new riff on what “Fountain” had come to mean.)

On one visit to the Koons retrospective, the room with his vinyl flowers was full of tiny children whose art teacher had told them to draw Koons’s inflatables. This struck me at the time as one of the more colossal misunderstandings that I’d  witnessed in a museum: Works of tremendous conceptual complexity were being used to teach kids the most conservative notions of what art should be. But then I was forced to rethink. One of the glories of Koons’s works is that every one of them is a kind of Trojan horse, coming across at first as the simplest, dumbest aesthetic gift, and then turning out to ambush almost every conventional artistic model. I’m afraid to say that some of my Koons-hating colleagues may be a bit like those Koons-sketching kids: They’re stuck on first impressions of the art, and that keeps them from feeling obliged to look deeper. (Collection of Norman and Norah Stone; ©Jeff Koons)

The Daily Pic also appears at ArtnetNews.com. For a full survey of past Daily Pics visit blakegopnik.com/archive

Interesting take on the whole Koons thing…

(via darksilenceinsuburbia)

nevver:

Revealing skeletons in souvenirs, Maskull Lasserre

Cooooooooool…

(Source: maskulllasserre.com)

exhibition-ism:

"Moon" by SpY in Lausanne, Switzerland.

apolloniasaintclair:

Apollonia Saintclair 486 - 20140521 La fille cruelle (Alice in furs)

apolloniasaintclair:

Apollonia Saintclair 486 - 20140521 La fille cruelle (Alice in furs)

thugkitchen:

There’s nothing wrong with a cold beer on a hot day but sometimes you’ve got to change shit up. Don’t let summer slip by without sipping on this refreshing son of a bitch. Plums, plucots, pluots, use whatthefuckever you can find. Any of these sweet ass stone fruits will work. Level up your libations, motherfucker.  
 
STONE FRUIT SMASH 
makes 2 drinks
2 plums or similar sized stone fruit
6 sprigs fresh thyme
4 ounces gin
2 tablespoons lemon juice
1-2 teaspoons agave or other liquid sweetener*
ice
splash of tonic or soda water**
Cut the plums up into bite-sized pieces. Leave the skin on, don’t overthink this shit. Thrown them in a jar or large glass with a lid. Add the tiny ass branches of thyme, gin, lemon juice, sweetener, and a handful of ice to the jar and throw on the lid. Shake the ever-living fuck out of it until the ice smashes the fruit pieces and everything looks banged to hell. Strain out all the big chunks of fruit and thyme and pour the remaining drink into some glasses over ice. Everything should be all plum colored and looking fancy. You can drink this beautiful bastard as is but feel free to add a couple splashes of tonic if that’s you’re shit.
*If your fruit is sweet enough you can just leave this shit out. Do whatever tastes right to you.

** Optional but add this if you like your drinks to have a little less bite.

thugkitchen:

There’s nothing wrong with a cold beer on a hot day but sometimes you’ve got to change shit up. Don’t let summer slip by without sipping on this refreshing son of a bitch. Plums, plucots, pluots, use whatthefuckever you can find. Any of these sweet ass stone fruits will work. Level up your libations, motherfucker. 

 

STONE FRUIT SMASH

makes 2 drinks

2 plums or similar sized stone fruit

6 sprigs fresh thyme

4 ounces gin

2 tablespoons lemon juice

1-2 teaspoons agave or other liquid sweetener*

ice

splash of tonic or soda water**

Cut the plums up into bite-sized pieces. Leave the skin on, don’t overthink this shit. Thrown them in a jar or large glass with a lid. Add the tiny ass branches of thyme, gin, lemon juice, sweetener, and a handful of ice to the jar and throw on the lid. Shake the ever-living fuck out of it until the ice smashes the fruit pieces and everything looks banged to hell. Strain out all the big chunks of fruit and thyme and pour the remaining drink into some glasses over ice. Everything should be all plum colored and looking fancy. You can drink this beautiful bastard as is but feel free to add a couple splashes of tonic if that’s you’re shit.

*If your fruit is sweet enough you can just leave this shit out. Do whatever tastes right to you.

** Optional but add this if you like your drinks to have a little less bite.

thauma-trope:

Masaaki Sasamoto- 羽化 (Feather)

thauma-trope:

Masaaki Sasamoto- 羽化 (Feather)

(Source: www16.plala.or.jp)

hernelille:

follow catpee

lohrien:

Paintings by Masaaki Sasamoto

thauma-trope:

Masaaki Sasamoto- Cocoro


Daaaang…

thauma-trope:

Masaaki Sasamoto- Cocoro

Daaaang…

(via actuallygrimes)

thisisindustry:

Absolutely great photo shoots! 

Jeneil Williams, Melodie Monrose, Ajak Deng, Ataui Deng, Cora Emanuel, Anais Mali & Alek Wek for Vogue Germany, March 2014. Photographed by the one, Mario Testino

I completely loved this photo shoot, the style is great the whole contrast makes it unique. Beautiful.

This is Industry.

(via pussylesqueer)

mymodernmet:

Japanese illustrator and designer Akihiro Mizuuchi used precise molds to make LEGOs out of chocolate, opening up a whole realm of possibilities for building and snacking.

mymodernmet:

Japanese illustrator and designer Akihiro Mizuuchi used precise molds to make LEGOs out of chocolate, opening up a whole realm of possibilities for building and snacking.

fer1972:

On Fire by Lauren Cohen

fer1972:

On Fire by Lauren Cohen

(via h-ilsid-e)