It reminds me of this awesome quote from Fran Liebowitz from that documentary about her. She is talking (with her inexplicably Close Personal Friend Toni Morrison, natch) about writers that do not get better with age. Writers that get worse with age. She says: "If you're a writer that specializes in youth, then you're going to get worse with age." To be quite honest, that did send something of a shiver down my nubile young spine. But then again, I don't specialize in youth. I specialize in me: and up until quite recently I have been part of the Youth. You know.
Anyway, back to this weekend, when I meant to post all of this.
Saturday mornings were always a very special time in my house, because it was on weekends only when my little brother and I were allowed to play video games. Also, Friday afternoon after school was the time that we got to eat fast food, once a week. I do love designated "Me time".
The Legend of the Mystical Ninja. I have this game on my Mac. I still love it. It's really, really fucking hard.
Been listening to these two records nonstop this weekend. It definitely says something about me. Maybe that I need another vacation? Maybe I'm just in touch with the fact that I ache for other experiences, places, moods.
Thinking a bit lately about the last time I did a brand-new performance art piece, which is when I made the piece about styrofoam and recycling and Beyoncé this past summer, which you can see here.
Comme des Garçons is releasing a new perfume (named Comme des Garçons) next month, which has a cute little press description:
"we can find beautiful things, without consciousness
a fragrance that couldn’t exist in a bottle that shouldn’t exist
what qualifies anything for the right to exist?
who has the right to decide what should be rejected?
A rejected bottle survives to hold an imaginary flower constructed linearly, the fragrance opens with the man made organic composites of aldehydes and safraleine, opening up slowly to hawthorns and derivations of lilac, before exploding in a riot of flower oxides, then finally succumbing to notes of industrial glue and brown scotch tape with hints of musk and styrax
purposely taking a bottle that has been disqualified from existence and purposefully giving it its right to exist."
Nice, huh? I love that Rei Kawakubo and I are on this same wavelength about repurposing materials. How nice to use something like perfume design as a way of asking "What qualifies anything for the right to exist?" I would say that the project seems to be about recycling, but really it seems more interesting in re-making something, than, say, reducing waste.
Some more exciting things include this awesome interview with Brontez by Michelle Tea.
Love this zine so much.
OBVIOUSLY I am a huge fan of Michelle Tea's work and OBVSIOULY I adore Brontez. I am duly honored to be mentioned in this interview! Speaking of Brontez, he will be coming to NYC next month, and we will be doing a reading together, with Kat case and Joseph Whitt at PPOW Gallery on 11/9. Mark your calendars! It's gonna be amazing!
Also fantastic to note that Brontez will be touring as part of this year's Sister Spit roadshow, along with Erin Markey, Justin Vivian Bond, and Dorothy Allison. Yes, really. Doesn't that blow your fucking mind? It ought to.
Hey speaking of nice shout-outs, our dearly-departed-to-the-West-Coast-and-making-us-all-wanna-move-there homegirl Jeffery Self dropped yrs truly's name in a rad article he wrote for The Huffington Post. So into everybody! Dang.
Finally, I went this weekend to see Richard Serra's Junction / Cycle at Gagosian. I kind of went for the spectacle of it, not out of some deep need to see the work. I thought to myself, ironically "Oh, this'll be a real cheery experience."
Guess what? It totally was. I definitely think that if you are in New York, you should absolutely go and wander through Gagosian's Chelsea gallery and see these pieces. They're up till the end of November and really beautiful.
I do want, however, to intentionally kind of undermine the strength of the work by noting that one of my favorite things about the pieces was that although they are constructed of "weatherproof steel", they have the patina of beautifully carved mahogany. For me, the piece had a very retro, 1970s interior decorating feel. I loved it.
Richard Serra is kind of the Frank Sinatra of art, you know? Like, you more or less know what kind of thing to expect, and it's a fairly conservative thing. It's not the most radical thing out there. It's not, strictly speaking, an entirely new form of art-making. You can critique it on several points, up to and including it's engagement with modernity. But, like Frank Sinatra, major strength of Serra's work is this kind of de facto mastery. He is, kind of, the King. As much as I want to say "fuck off" to the creepy scary monoliths, I can't help but be in awe. Still. In spite of myself.