December 4th, 2009 | Work
December 3rd, 2009 | people I know
I have here the sizzle reel for your new favourite TV show. It’s OCEAN’S ELEVEN. The Sixties original. In space. With Sean fucking Pertwee. Devised by old crony Mike Sizemore, directed by Steve Barron. It’s called SLINGERS.
(The bit with the gun cracks me up.)
December 1st, 2009 | people I know
In February, I’ll be presenting a gallery show that I’m calling Speaking to Las Vegas in the Language of Las Vegas. This is going to be an art installation that combines sculptural elements, performance, audio, video, photo documentation, and illustrated portraits of Las Vegas sex workers. The purpose of this show is to investigate the connections between the Las Vegas economy & the legal & illegal sex work that happens there….
December 1st, 2009 | brainjuice
December 1st, 2009 | researchmaterial
Do projects. Books and art and things. Available as paid print object or free digital object.
Do is Nurri Kim and Adam Greenfield, "accompanied by a loose network of friends and collaborators", and I love their statement of purpose:
Some of our ambitions are to:
- develop words and images that make the people who encounter them re-see themselves and the world around them;
- find the most appropriate containers for our ideas;
- craft the kind of books that please their readers in the details of their conception, design and construction as much as in the things they say;
- and figure out what “do-it-yourself” might mean in an age when new production technologies, informational and logistical networks give the independent amateur producer unprecedented power to reach out and make things happen.
Now available for purchase or free download, Tokyo Blues is a photographic record of Nurri Kim’s 2002-2003 investigation into this humble industrial material and the very wide variety of uses to which it’s put in the everyday life of Japan.
From construction sites and homeless settlements to cherry-blossom viewing parties in the park, the ubiquitous blue tarp is a constant of Japanese life and a bearer of multiple registers of meaning. In sixty-four images from the boulevards, alleys, sidestreets and interstitial spaces, Tokyo Blues explores these dramatically different contexts, returning something “we see too often, and then forget to see” to full, vivid visibility.