ARCHIVE - 12/16/09 - 6/8/10


  1. Eva Hesse, No Title, 1964

    Comment by violet — December 16, 2009 @ 10:22 am

  2. I’m still thinking about gravity and different senses of gravity with Balka and Hesse.
    Gravity in retrospect with Hesse because of what we know, but with Balka, how to approach the question of gravity.

    Comment by Chris Sands — December 16, 2009 @ 12:07 pm

  3. What do we know about Eva Hesse’s gravity Chris?
    I don’t think I know it.

    Comment by sil — December 17, 2009 @ 5:59 am

  4. Has Sol become Sil?
    Eva Hesse’s work had a profound effect on me as a young art student and at the time it was her sculpture that I noticed. Later on her death at such a young age touched me. The sculpture, that is her late sculpture, seemed about possible connections, with gravity playing an important part. When she fought a brain cancer, the work seemed even more poignant and the gravity of her situation, seemed ever so slightly mirror by a contingent gravity evident with her sculpture. I felt her loss and remember the moment very well.

    Comment by Chris Sands — December 17, 2009 @ 9:16 am

  5. Sol became Sil after Lucky became Locky… between you and me Chris, I think with Lucky it was a slip, not with Sol — she may be parodying Lucky
    Funny enough both of them had to be allowed in again, as all new users do.

    Comment by violet — December 17, 2009 @ 11:10 am

  6. Well you have to be careful!

    Comment by Chris Sands — December 17, 2009 @ 1:00 pm

  7. Akismet is the name of the one doing the miracle…

    Comment by admin — December 17, 2009 @ 11:33 pm

  8. I was being silly and forgot to change it back
    in my computer. More of an appreciation
    of Lucky’s Locky than a parody.

    Comment by sol — December 18, 2009 @ 6:21 am

  9. I may not know enough of Lucky’s Locky, can you tell me about it, Sol?

    Comment by violet — December 19, 2009 @ 10:27 am

  10. instead of the horseshoe of luck
    he had an ‘o’ closed up
    Luck is important in any case don’t you agree?

    Comment by sol — December 19, 2009 @ 10:08 pm

  11. of course sol, I see what you mean with the “o” being enclosed distinct from the “u” being open and receptive…
    luck is important… specially because it isn’t a given you better be open to let it reach you, hold it in

    Comment by violet — December 21, 2009 @ 1:59 am

  12. Nice to see Eva at the top and nice what you say at the end Violet, and the thought perhaps that you are saying something about love too

    Comment by Chris Sands — December 21, 2009 @ 5:43 am

  13. Don’t know about you Chris, but violet is always saying something about love, ‘the active gift’, to me.
    Happy Holy days to you violet and you Chris, and silly and locky and perfume and all. Thank you so much. May the next decade come to be known as a golden one

    Comment by jampa — December 22, 2009 @ 9:25 pm


  14. Yes, Happy Holy days as jampa spells… to all and especial ones to you jampa and to you Chris, and to you silly and to you locky and to the readers we don’t get to talk to. Thanks to all, next decade will be a golden one!

    Comment by perfume — December 23, 2009 @ 4:13 pm

  15. Best wishes for all Holy days and the holey ones as well
    to Jampa, Chris, violet, Lucky Locky, rupert, perfume and
    the silent ones.
    Especially best wishes for your recovery
    Chris.
    Thanks all for all the words.

    Comment by sol — December 24, 2009 @ 9:13 am

  16. Merry holydays to Chris jampa pampa sol perfume vilets and ,, all

    Comment by locky — December 24, 2009 @ 12:58 pm

  17. Happy Christmas to one and all x

    Comment by Chris Sands — December 25, 2009 @ 9:07 am

  18. (can la) violetta? felice navidad? On the good doctor’s silence, the world turns and still unravels. such quiet and patience.
    in a world where nothing can be left unspoken, no wondser the visitors have nothing to say

    Comment by jampa — December 26, 2009 @ 5:07 pm

  19. felice navidad, yes jampa, sounds lovely in Italian… !

    Comment by violet — December 27, 2009 @ 10:59 am

  20. how is it going Chris, healthwise I mean?

    Comment by violet — December 27, 2009 @ 11:17 am

  21. Sol, what I cannot spot are the holey ones……. who are they?

    Comment by violet — December 27, 2009 @ 6:49 pm

  22. Days with holes in them, gaps, blunders, slips
    and mysteries, all of them!

    Comment by sol — December 27, 2009 @ 11:27 pm

  23. sol – like in the yellow submarine… remember those white floors with holes?

    Comment by violet — December 28, 2009 @ 12:17 am

  24. 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o
    0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o
    0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o
    0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o
    0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o
    0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o
    0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o
    0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o
    0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o
    0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o 0 o O 0 o O 0 O o O O 0 O o

    Comment by sol — December 28, 2009 @ 6:50 am

  25. sol…that is the most beautiful Holy days card, thank you!

    Comment by violet — December 28, 2009 @ 6:41 pm

  26. my pleasure

    Comment by sol — December 29, 2009 @ 4:31 am

  27. re 20 thanks Violet
    Have reached last few days of treatment and after New Years Eve it will be all over.
    I feel well and am at the moment more of less free of side effects of radiotherapy.
    On a quite personal level, it’s been an extraordinary time.
    A time of some happiness and renewed optimism …

    Comment by Chris Sands — December 29, 2009 @ 9:43 am

  28. That’s good news Chris, great to hear!
    Happy New Year

    Comment by sol — December 30, 2009 @ 12:28 am

  29. thanks Sol! Have noticed again that Allen Ginsberg seems stuck on the messageboard.
    What a howl as one year thinks about turning towards another.
    It might call for a particular resolution

    Comment by Chris Sands — December 30, 2009 @ 8:27 am

  30. Is that like a needle at the end of a record, everytime you wake up there it is, despite the booze and drugs, the reality of the really real quotidian, less howling than whimpering into the new year until you throw a shoe at it… then the ticking of the bloody clock. Like sol’s holey mysteries, or the vaguaries of this new keyboard, even the pause between ticks makes you itch…

    Comment by happy new year from jampa — January 1, 2010 @ 2:15 pm

  31. It must have been an extraordinary time Chris — much as you achieve success in the very fact of saving your life…
    very nice to read that after New Year’s Eve it will be all over
    A Very Happy New Year 2010 to you Chris and A Very happy New Year 2010 to the rest of us who love Chris and want his prompt recovery!

    Comment by violet — January 1, 2010 @ 10:17 pm

  32. thank you Violet.

    Comment by Chris Sands — January 3, 2010 @ 1:26 pm

  33. the moment of treatment
    is of course not what you expect,
    but even more surprising was meeting
    someone and going on to see more of
    her (at a time like this) …

    Comment by Chris Sands — January 3, 2010 @ 1:33 pm

  34. love and luck!?

    Comment by sol — January 3, 2010 @ 7:54 pm

  35. now we know what it was that cured you Chris…such a blessing!

    Comment by violet — January 4, 2010 @ 2:25 pm

  36. now is your winter love (not of our discontent)
    so warm
    is there art to be made of such ?

    Comment by jampa — January 7, 2010 @ 2:51 am

  37. I feel still in the middle of some pausing for thought and with it comes looking at work. Most things stopped during a long treatment, but still did a little writing and filmmaking. The reserve I have about what comes out of this, feels a part of everything else. If its starting up anywhere now, the starting up might have to do with looking after not knowing what to do next. Wanting to look after something but not knowing (too much) what to do next or what to do with the first part of a video and what the second part might be like … !?

    Comment by Chris Sands — January 7, 2010 @ 7:23 am

  38. Am just beginning new blog called ‘dropinocean’
    http://chrissands2.wordpress.com/
    and below is image from it
    …’dropinocean’ will be the name of ongoing blog, video and text

    Comment by Chris Sands — January 7, 2010 @ 9:10 am

  39. 37 sounds like dating to me! x

    Comment by jampa — January 8, 2010 @ 12:16 pm

  40. ! nice re reading

    Comment by sol — January 11, 2010 @ 9:06 am

  41. I like this sentence:
    ‘Myself, I am preoccupied with knowing if works of art delight in being looked at all day long’
    (from text called ‘A Dream of Eternity’ by Gerard Wajcman p.133 Lacanian Ink 34)

    Comment by Chris Sands — January 13, 2010 @ 6:37 am

  42. it’s a good thing works of art can look back

    Comment by violet — January 18, 2010 @ 4:13 am

  43. But I think Gerard Wajcman asks another question which I interpret in terms of something disconcerting: do works of art want to be looked at day in and day out? And does new practice sometimes reflect new privacy, which moves away from the work always being a subject (privacy) despite the gaze (am thinking of sem. X1)?

    Comment by Chris Sands — January 18, 2010 @ 5:20 am

  44. I’ve been watching messageboard conversations and think I should say something here after a gap.
    But what to say?
    Here, right now, it’s sunday morning, still cold with winter not turning into spring yet. Its valentine’s day, I’m reading Mrs Dalloway and am wearing a grey polo neck jumper, which was given to me today. It seems there are no chickens or eggs on this side of the fence, but admire Virginia Woolf’s long sentences. It seems she wrote this after reading Joyce’s Ullyses.

    Comment by Chris Sands — February 14, 2010 @ 8:46 am

  45. It sounds like a nice and homey Valentine Day, Chris… you were given a nice present
    And what about her? “the moment of treatment is of course not what you expect, but even more surprising was meeting someone and going on to see more of her (at a time like this) …
    is she still around?

    Comment by volet — February 14, 2010 @ 6:43 pm

  46. Oh yes!

    Comment by Chris Sands — February 15, 2010 @ 7:30 am

  47. Bravo Chris… nothing is bad that ends well?, this is how you say it?

    Comment by violet — February 18, 2010 @ 4:54 am

  48. all’s well that ends well?

    Comment by Chris Sands — February 20, 2010 @ 9:27 am

  49. You know the story, Chris… In any case, the play concerns Helena, who cures the King of France of a disease, then asks for Lord Bertram’s hand in marriage. Bertram indulges, then quickly flees to Italy to engage in war, counting on death to avoid marriage. Helena, very hurt, sets out on a pilgrimage only to wind up in Florence, Italy, where she meets Bertram’s new young mistress, Diana. In a perplexing “bed trick,” Helena sleeps with Bertram, while Bertram believes he is sleeping with Diana. This act secures Helena’s bond to Bertram, and Bertram, matured by war, consents to happily love Helena and their future child.

    Comment by violet — February 20, 2010 @ 11:50 pm

  50. thank you Violet

    Comment by Chris Sands — February 22, 2010 @ 2:30 am

  51. could all’s well that ends well be reference to scansion too?

    Comment by Chris Sands — February 26, 2010 @ 5:17 am

  52. YOU TELL ME — I don’t know much about scansion

    Comment by violet — March 1, 2010 @ 1:45 am

  53. Well, my own take on scansion might be a bit personal.
    Going back a long way I seem to have had in mind a writing. Despite sometimes saying that I’m an artist, my work often begins with a text (of sorts) and the writing these days sometimes has to do with sometimes trying to say something (well enough). For me, there’s another link in a failing chain when text and saying something can go no further which amounts to a picture of sorts, as some kind of surplus to inevitable impasse or scansion. So perhaps my scansion, in this sense and not the sense of it in a session, has to do with taking gulps of air at the end of a text or something to say or some kind of picture.
    If I could write a lozenge (here) I’d write it:
    writing-lozenge-sore throat-lozenge-(what stands in for a) picture = (my version of) scansion

    Comment by Chris Sands — March 3, 2010 @ 8:08 am

  54. It occurs to me that there’s been little or no reference to music here or next door on messageboard.
    There are times just now when it seems I want to listen to music and other times when I don’ amd I have a place for it making videos sometimes or on my car radio, but generally I don’t hear much that inspires me at he moment. Can you (out there) solve my problem with a few suggestions?

    Comment by Chris Sands — March 22, 2010 @ 4:03 pm

  55. The Handsome Family, Black Cab. TV on the Radio, Schoenberg, Tex Perkins, The Wagons, Julie London and for heart wrenching compassion, Shostakovitch (Quartets). Some on my recent iTunes

    Comment by jampa — March 25, 2010 @ 2:43 am

  56. Chris if you can find this, I can’t go past it at the moment
    Erkan Ogurt & Okan Murat Ozturk,
    album : Hic

    Comment by sol — March 25, 2010 @ 5:57 am

  57. Chris — Synchronicity? see in LI 35 the article on “Trascendental Black Metal” by Hunter Hunt Hendrix http://www.lacan.com/lacinkXXXV7.html

    Comment by violet — March 26, 2010 @ 1:13 am

  58. mmmm I keep looking at this intro to an article. Have so much resistance to theory at the moment and recovering from illness has changed what I

    want to look at and work through. I like the look of the paintings in new LacInk

    Comment by Chris Sands — March 29, 2010 @ 4:29 pm

  59. Yes Chris, Mike Kelley’s show at Gagosian was really nice – on the cover of the new LacInk

    Comment by violet — April 1, 2010 @ 2:28 am

  60. As always, I particularly appreciate Gerard Wajcman’s text, where he talks of ‘a loss of the jouissance of seing’ (p122) … and images ‘but not enough gazes’ (p124) and says we ‘are living in a time of the dematerialization of the object’. (p142).
    ‘Objets are becoming reduced to images. Every object has as much thickness, density and hardness as an image’. (p142)
    ‘What characterizes our times is that intimacy has become ‘extimate’ (extime), to use Lacan’s term. It is no longer a matter of thinking that the innermost core of the subject is outside him, but that intimacy this time is no longer extorted but exhibited’. (p143)

    Comment by Chris Sands — April 2, 2010 @ 2:00 pm

  61. … so, perhaps, in the context of contemporary art,
    an exhibitionism
    without an audience?

    Comment by Chris Sands — April 2, 2010 @ 2:07 pm

  62. Somethingnewandwalkingdownthestreet
    1. Something new twice in a few months
    2. Walking down the street

    ONE

    Something jumped up and bit me a few months ago at the Tate Modern taking in the work of Miroslaw Balka, then something similar happened more recently reading an E-Flux account of the Contemporary Artist Talks at the Guggenheim Museum (6.4.10). This is quite a mouthful as around the time of the E-Flux account, I also read Jacques Alain Miller’s reflections on the film Avatar.
    Why do I put this all together?
    Does it have to do with accessibility?
    E-Flux descriptions of the work of Luis Jacob, Idris Khan, Sarah Charlesworth and Walead Beshty perhaps highlight the potential of what is sometimes called ‘media arts’ even when the work is much more than this and Miroslaw Balka’s work illuminates the potential of arte povera to access what we might consider inaccessible in recent history.
    JAM’s grumpy interview bemoans a splitting apart of mind and senses with Avatar and the tone is critical of high tech violence tucked away in shady cinemas.
    If some of the best of contemporary art makes uses of what is contemporarily accessible, Miller draws a line, but why does the tone of this interview worry me a little?
    Do I have an answer? Am I blinded by my laptop and iPhone?
    Did I come across one response down the high street where I live?

    TWO

    I sometimes paint in my studio and sometimes think up responses to why I paint as well as make films and the occasional photo text. What can a poor artist touched by arte povera, conceptual art and media arts do? Hot on the heels of recent work referred to at the Guggenheim, I notice, once again, a colourful collection of paintings etc. in the window of a shop now no doubt closed due to a recession effecting even once affluent locations. There are no curators here and a local initiative points to there being no infrastructure to support contemporary productions locally. The work adds a little colour in surroundings which are no dissimilar to surrounding elsewhere in the United Kingdom. The work draws attention to work that can only be housed alongside other merchandize. The work is for sale but homeless, but not unlike Guggenheim work or the work of Miroslaw Balka, that prompts questions surrounding what is accessible and what is not.
    Balka poses questions about the location of works of art and work at the Guggenheim is sensible to the production aspect of works of art and Miller implies there’s more to do than going to the cinema.
    Where is my mouthful of anxieties leading me?
    To the symposia as a space which isn’t a ready made?

    Comment by Chris Sands — April 9, 2010 @ 10:17 am

  63. “…but why does the tone of this interview worry me a little?” I would love to know more about that

    Comment by violet — April 10, 2010 @ 5:52 pm

  64. Well, I don’t know anymore than I know why a rose is a rose is a rose …
    But if I’m going to guess, I’d take what I think Gerard Wajcman means when he talks of too many images and not enough gazes.
    In a world of too many images why does JAM put himself through Avatar?
    I was once a friend of Malcolm Mclaren, a long time ago, at art school and remember many Gertrude Steins in our midst, disdaining explanations which were like too many images saturating our world.
    I suppose the situationists have not gone away, but would they bother with Avatar?

    Comment by Chris Sands — April 11, 2010 @ 8:33 am

  65. Chris – It’s Le Point interviewing him… they probably wants something like everyday actuality in there
    And are you coming to the Congress? and to the Paris- USA Seminar?

    Comment by violet — April 12, 2010 @ 12:11 am

  66. Goodness me I wish I could, but just pulling myself into shape after radiotherapy and follow ups etc. Hope to start going to things quite soon

    Comment by Chris Sands — April 12, 2010 @ 4:56 am

  67. Can’t wait to see you walk in… wouldn’t it be nice?

    Comment by violet — April 15, 2010 @ 1:09 am

  68. Well who knows?
    A lot has been put off since last summer and I hope I’m now finding my feet but they feel like new feet!
    Illness then hoped for recovery leads passed limited energy in the direction of a clearer head, but it takes time.
    Am working on the third part of a video + phototext project, and hoping it lends me some wings later on. The first two films were made during and just after treatment and a third work-in-progress part starts with a text that follows the gist of a conversation translated into a children’s story.
    This last part will take some time and I’d like to find a way to turn it towards video and some of the preoccupations that come with it.
    ‘Coming through the door’ is an idea for this third part perhaps…

    Comment by Chris Sands — April 15, 2010 @ 1:50 pm

  69. the door – the law – the wheel, do you know of those three having the same meaning because the sum of the letters amounting to the same?
    from my Kabalah studies — long ago

    Comment by violet — April 17, 2010 @ 10:41 am

  70. can you explain how the summations are identical ?

    Comment by K — April 17, 2010 @ 12:02 pm

  71. Tarot is what they call a Notariqon of the Hebrew Torah: the Law, and also of ThROA: the Gate. By what they call Gematria, the numerical value of ThROA is 671 =61 x 11. Now 61 is AIN, Nothing or Zero; and 11 is the middle number in the series of the Tarot cards and in the Hebrew alphabet: 22 Hebrew letters, 22 Tarot cards. The correspondence between words and numbers is given by the Hebrew letters, i.e., A: Aleph: 1, I: iod: 10, Nun: 50. I think the studying of the Kabalah is forbidden for women, and for men under 40 years old.

    Comment by violet — April 18, 2010 @ 9:28 pm

  72. iod is it yod?
    or what number is yod, do you know violet?

    Comment by sol — April 19, 2010 @ 6:23 pm

  73. iod is yod, yes. but as I said don’t take me too seriously…

    Comment by violet — April 19, 2010 @ 9:18 pm

  74. Have a printer but rarely print photos and rarely put images into notebooks.
    My photo-texts are mostly virtual. Does this effect the way I see images or don’t see them? I have no idea but I take to notebooks, rarely access anything printed and want to know why images don’t come readily to hand.
    It seems I distance myself from images (retroactively) or, as an artist, forget about them on a day-to-day basis. That is I have to go and find them when I go to studio, then do the best I can in a virtual sense, which is never enough. The work is missing!
    ‘Coming through the door’ ties into some of Gerard Wajcman’s preoccupations (LacInk) concerning privacy and a photo taken recently.
    My mother, nearly ninety, has placed her music in a doorway. She still plays piano, but cannot read music because of poor eyesight. She parts with one selection but eventually decides to keep another and finds a place for it on shelves next to my father’s art books…

    Comment by Chris Sands — April 30, 2010 @ 7:22 am

  75. The text above (74) is a blog item of mine
    and it comes with a photo which I will try to insert below.
    It wasn’t the image first intended.

    Comment by Chris Sands — April 30, 2010 @ 7:31 am

  76. What a great idea, an artist with missing work?
    I for one am looking forward to the image Chris or another installment

    Comment by sol — May 4, 2010 @ 4:27 am

  77. I think Violet knows how to bring thumbnails (75) to life, so we might have to wait a few days!
    I wrote something after, which I’ll put below.
    (text for blog)
    Have been writing on iPhone about an unavailable picture/image but two not so interchangeable words can be problematic. A picture is not an image but in a way they fall into each other in a world of too many images and not enough gazes (Wajcman).
    To retrace my problem, I would say there are pictures in my studio, but photos on the screen of iPhone or laptop take on something of the status of an image if an image steals something of the trace of a picture. So there are only ghosts or a text functions as refrain.
    There are few pictures when I’m not at my studio, but what crops up with my iPhone seems memorable when I forget what’s hidden …

    Comment by Chris Sands — May 4, 2010 @ 1:39 pm

  78. what am I supposed to bring to life Chris Sands?

    Comment by violet — May 6, 2010 @ 2:19 am

  79. What is your studio like Chris?
    Can you describe it?

    Comment by sol — May 9, 2010 @ 9:44 am

  80. (bring it to life for us)

    Comment by sol — May 9, 2010 @ 9:45 am

  81. Violet, tried using instructions above re inserting an image with comment 74, but you seem to have more luck or know how.
    The image is at
    http://chrissands2.files.wordpress.com/2010/04/p1010707.jpg
    As for the studio, went there today
    but how to describe it?
    Perhaps, just now, it seems like an area between prostate and large colon
    and somewhere there tonight there are two paintings drying.
    I spend more time thinking about video and various texts
    and this thinking sometimes seems to be about something other than forgetfulness…

    Comment by Chris Sands — May 10, 2010 @ 3:00 pm

  82. Thanks Violet, how was Paris?

    Comment by Chris Sands — May 13, 2010 @ 7:48 am

  83. Paris was great, I liked the Paris-New York Seminar with all those people telling about their first session. And Miller’s speech was specially good, and clear, talking of a bubble we enter when starting analysis. And Laurent’s speech on the analyst discourse more in concern with searching the ucs. than the behaviour, was excellent. And Marie-Hélène Brousse’s and Pierre-Gille Gueguen’s coordination a pleasure to watch, really neat.

    Comment by violet — May 14, 2010 @ 6:36 pm

  84. Are there plans (as before) to publish some of the talks?

    Comment by Chris Sands — May 16, 2010 @ 11:04 am

  85. I didn’t see anyone recording the talks, unfortunately

    Comment by violet — May 16, 2010 @ 9:59 pm

  86. I keep wondering about technology and contemporary art and the need to update Benjamin’s ‘art on an age of mechanical reproduction’. No doubt there are already many updates, but I felt a little queasy yesterday looking at slick Deutcher and Satchi online presentations and something of the eloquence of a few artists talking about their work. In a sense contemporary art is both accessible and inaccessible despite the alliance of corporate values and aesthetic sentiments evident in new presentations facilitated by the Internet and the warm air of a new intensity.
    If something open and closed carries with it something of the ‘object a’ there must be more, something more than cause and object …?Am writing this in Costa using an iPhone and imagine failing grammar slipping passed any object of desire…

    Comment by Chris Sands — May 17, 2010 @ 6:05 am

  87. Ooops sorry about spelling above!

    Comment by Chris Sands — May 17, 2010 @ 8:15 am

  88. What did you spell wrongly Chris Sands… I submitted your text to the Spelling and Grammar Dictionary twice –no spelling mistakes

    Comment by violet — May 19, 2010 @ 10:06 pm

  89. Saatchi + Deutscher

    Comment by Chris Sands — May 20, 2010 @ 1:58 am

  90. I did think to myself Satchi was Saatchi, but Deutscher completly escaped me. Did you ever submit your movies and work to their site? And did you see you can do that?

    Comment by violet — May 21, 2010 @ 8:15 pm

  91. Not sure if this is the appropriate forum for such an announcement but a Lacan reading group is being organized in Cambridge this summer. Appropriate for students of either Harvard or MIT, or the general public. We will probabl

    y go through Ecrits. Email readlacan@comcast.net to join.

    Comment by James — May 24, 2010 @ 10:36 pm

  92. Thanks for this tip Violet
    I seem to be producing a lot of work just now but sustaining it as far as showing it is something else! Or put another way what does showing work entail post-Art in an Age of Mechanical Reproduction? At a time of too many images and not enough gazes (Wajcman), does the work tend to show itself?

    Comment by Chris Sands — May 25, 2010 @ 5:45 am

  93. actually, this is what I mean, Chris: http://www.saatchi-gallery.co.uk/yourgallery/

    Comment by violet — May 26, 2010 @ 12:44 am

  94. Thanks Violet x

    Comment by Chris Sands — May 28, 2010 @ 7:37 am

  95. It seems a long time since we put one of Eva Hesse’s paintings onto this site

    Comment by Chris Sands — June 8, 2010 @ 5:01 pm

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