Mon 08 Feb 2010
Game
Game, 20100208, HTML, 380 x 360 pixels
Posted by Chris Ashley under 
01. HTML 2010 Tags: 2010 Feb 
4 Comments »
It’s a Wonderful Tenth, Sideshow Gallery, Brooklyn, Jan 9 - Feb 20 2010
Evergreen, George Lawson Gallery, San Francisco, Dec 12 2009 - Jan 14 2010
Happiness, curated by Sherman Sam, Pro Arts Gallery, Oakland, CA, Nov 24, 2009 - Jan 15, 2010
HTML Color Codes, Curated by Carolyn Kane, Rhizome at the New Museum, New York, Aug - Dec 2009
Aqua Art Miami (Wynwood), George Lawson Gallery, Booth #38, Dec 3-6, 2009
Faraway, So Close, Recent-Projects, Berlin, Germany, Nov 28 - Dec 29, 2009
Touch Faith, curated by Jeffrey Cortland Jones, SEMANTICS, Cincinnati, OH, Nov 7 - 28, 2009
Sun 07 Feb 2010
Brocade
Brocade, 20100207, HTML, 420 x 390 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Feb 3 Comments »
Sun 07 Feb 2010
JOHN ZORN’S ENNIO MORRICONE TRIBUTE BAND with FRED FRITH
Download this from bigO audio archive:
JOHN ZORN’S ENNIO MORRICONE TRIBUTE BAND with FRED FRITH
Verona 1988 [no label, 1CD]
Live in Verona, Italy, July 27, 1988. Excellent FM stereo.
Track 01. Battle Of Algiers (5.2MB)
Track 02. The Sicilian Clan (5.5MB)
Track 03. Metamorfosi (5.2MB)
Track 04. Poverty (Once Upon A Time In America) (6.1MB)
Track 05. James Bond Theme (John Barry) (4.2MB)
Track 06. Taxi Driver (Bernard Herrmann) (8.8MB)
Track 07. Milano Odeo (5.1MB)
Track 08. Once Upon A Time In The West (8.6MB)
Track 09. Erotico (The Burglars) (8.5MB)
Track 10. The Lie (John Zorn) (4.1MB)
Track 11. Death Waltz Fantasy (John Zorn) (5.1MB)
Track 12. Batman (John Zorn) (3.6MB)
Encore:
Track 13. Chinatown (Jerry Goldsmith) – there’s a skip at the 5.13m mark (9.8MB)
All Morricone compositions except where noted.
Lineup:
John Zorn – alto sax
Carol Emanuel – harp
Wayne Horvitz – keyboards
Mark Dresser – bass
Bobby Previte – drums
Cyro Baptista – percussion
Christian Marclay – turntables
Fred Frith – guitars
Posted by Chris Ashley under 08. Misc No Comments »
Sat 06 Feb 2010
Filter
Filter, 20100206, HTML, 380 x 360 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Feb 2 Comments »
Fri 05 Feb 2010
Cascade
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Cascade, 20100205, HTML, 480 x 300 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Feb 2 Comments »
Thu 04 Feb 2010
Surf
Surf, 20100204, HTML, 400 x 320 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Feb 11 Comments »
Wed 03 Feb 2010
Alpine
Alpine, 20100203, HTML, 250 x 150 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Feb 1 Comment »
Tue 02 Feb 2010
Crown
Crown, 20100202, HTML, 350 x 250 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Feb 2 Comments »
Mon 01 Feb 2010
Speaker
Speaker, 20100201, HTML, 460 x 390 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Feb 1 Comment »
Sun 31 Jan 2010
Drone
Drone, 20100131, HTML, 300 x 450 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan 1 Comment »
Sat 30 Jan 2010
Key
Key, 20100130, HTML, 200 x 450 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan 1 Comment »
Fri 29 Jan 2010
Palm
Palm, 20100129, HTML, 350 x 260 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan 1 Comment »
Fri 29 Jan 2010
Frederick Bell
“Return Trip: Bologna Antwerp Oakland Brussels”
Some Walls, Oakland, CA
January 23 – March 14, 2010
In Section I of Pensées, “Thoughts on Mind and on Style,” Pascal ponders the difference and integration of the mathematical and the intuitive mind, and writes that “True eloquence makes light of eloquence… to make light of philosophy is to be a true philosopher.” One might extend this to the idea that to be a true artist is to make art that makes light of, or reveals, characteristics of Art’s foundational basis, including personal aspects such as sight, reason, and feeling, institutional aspects such social relations, value, and politics, as well as an artwork’s material and aesthetic aspects. A conceptual work such as Joseph Kosuth’s “One and Three Chairs,” 1965, may have shed light on Art’s purpose, while also, unfortunately, to this writer’s mind, shedding personal, material, and aesthetic aspects, ultimately becoming merely a kind of visual text providing a minimal art experienceFor eloquence and philosophy, consider a recent work by Brussels-based British artist Frederick Bell. His “Return Trip: Bologna Antwerp Oakland Brussels” is a single sixteen-part work consisting of thirteen inkjet prints, one drawing, and two paintings pinned directly to the wall in four rows and four columns. The cities in the title refer to four locations from which images for this work originated: the Morandi Museum in Bologna; the exhibition space Ruimte Morguen, in Antwerp, where Bell has regularly exhibited, most recently in spring 2008 and fall 2009; an installation of three inkjet prints of installation views of the 2008 Ruimte Morguen exhibition installed at Some Walls in Oakland in summer 2008; and Bell’s studio and home in Brussels.“Return Trip: Bologna Antwerp Oakland Brussels” is an intimate, materially humble, thoughtfully composed group of images that provoke consideration of: time and place; uses of memory and documentation; the balance of logic and intuition; and linear and non-linear narratives and iteration. In this piece Bell continues his exploration of the experiential and cognitive act of looking at, seeing, and thinking about art, the artist’s and viewer’s roles in that act, the influence of art institutions as scholarly, solitary, and social places that frame this act, and how this multi-leveled and layered experience provokes and sustains sensation, memory, cross-references, the impulse to understand, and the need to create. Bell’s work involves observation, order, and logic, but is also intuitive and emotional: philosophical inquiry complemented by poignancy and eloquence.For all of its order, it can be confusing to outline or describe the relationships between the pieces which comprise this work, although it is much easier to grasp this when viewing the images as they hang together. The genesis of “Return Trip” is a photo of a salon-style hanging of Morandi’s paintings shot during a visit to the Bologna museum. The subsequent pieces comprising “Return Trip” have spun out over time from this initial image. For example, a neighboring photo shows the view of a group of paintings by Bell, similar in size and tone to Morandi’s paintings and hanging in the same salon configuration, installed at Ruimte Morguen in Antwerp. Another photo shows the same Antwerp hanging from the point of view of the viewer, and another is of Bell’s painting of this same group of paintings hanging in his studio. Photos, drawings, and paintings from this group were incorporated into Morandi Sequence, shown at Ruimte Morguen on the same wall in spring 2008 as the previous paintings after Morandi. Documentary photos of Morandi Sequence were emailed as JPEGS, printed and hung at Some Walls in summer 2008, and photographed and sent back to Bell. To further interconnect images and places Bell made drawings and paintings from the Oakland installation of his Antwerp photos, and used a photo and made a painting from this photo of the previous Some Walls exhibition, work by A. Bill Miller, which hung on the same wall on which Bell’s “Return Trip” hangs during this exhibition.Similar to other works by Bell, “Return Trip” employs and repeats a number of images and ideas which, because his method and attitude is porous, absorbs new material over time as his art circulates. This work includes: a set of motifs of personal significance; the same walls in Bologna, Antwerp, Oakland, and Brussels used repeatedly; cycling from original to copy and back to original (the actual artwork, the view of the artwork, the documentation of the artwork, the copy of the artwork, any of which can become another artwork); references to, place, chronology, and distance; and the notion of how context affects what we see, and how objects affect context.Bell’s work is about how looking, thinking, and remembering can be connected and holistic acts. As viewers we observe and hypothesize about the artist’s narrative and process, about how what he sees is extrapolated from or connected to another image, a specific place, a similar idea or context. “Return Trip” takes us from one location to another over time; we know we are seeing an artist’s work, but also his life. We enter into those places and shifting times. As we observe this, we also begin to observe ourselves, and think about how we connect and inter-relate images and contexts in our own lives. Bell’s “Return Trip: Bologna Antwerp Oakland Brussels” heightens our own awareness of what we see, what we notice, where meaning lies, and how we think about it, making light of both art and life.Chris Ashley
Oakland, CA
January 2010
Posted by Chris Ashley under 05. Exhibit, 06. Words, 07. Artists Tags: Frederick Bell No Comments »
Thu 28 Jan 2010
Receiver
Receiver, 20100128, HTML, 300 x 75 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan 2 Comments »
Thu 28 Jan 2010
Frederick Bell
“Return Trip: Bologna Antwerp Oakland Brussels” at Some Walls
January 23 – March 14, 2010
Some Walls is pleased to present Brussels-based British artist Frederick Bell’s first U.S. solo exhibition, “Return Trip: Bologna Antwerp Oakland Brussels,” from January 23 – March 10, 2014.
Frederick Bell’s “Return Trip: Bologna Antwerp Oakland Brussels” is a single work consisting of thirteen inkjet prints, one drawing, and two paintings pinned directly to the wall in four rows and four columns. The cities in the title refer to four locations from which images for this work originated: the Morandi Museum in Bologna; the exhibition space Ruimte Morguen, in Antwerp, where Bell has regularly exhibited, most recently in spring 2008 and fall 2009; an installation of three inkjet prints of installation views of the 2008 Ruimte Morguen exhibition installed in a home in Oakland; and Bell’s studio and home in Brussels.
“Return Trip: Bologna Antwerp Oakland Brussels” is an intimate, thoughtfully composed group of images that provoke consideration of: time and place; the act of looking, thinking, and reflection; uses of memory and documentation; the balance of logic and intuition; and linear and non-linear narratives and iteration.
Frederick Bell’s “Looking at looking (a retrospective),” took place in fall 2009 at the cultuurcentrum Hasselt, Belgium; a PDF of the catalog can be downloaded. Installation photos of the recent exhibition, “Looking at Looking (new work),” at Ruimte Morguen, Antwerp are at Bell’s blog.
Some Walls is a curatorial and writing art project in a private home in Oakland, California. Some Walls is open by appointment only. To view the exhibition online please visit somewalls.com. To schedule a visit, or for more information, please contact Chris Ashley at info@somewalls.com.
Posted by Chris Ashley under 05. Exhibit, 07. Artists Tags: Frederick Bell No Comments »
Wed 27 Jan 2010
Bank
Bank, 20100127, HTML, 320 x 480 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan 1 Comment »
Tue 26 Jan 2010
Player
Player, 20100126, HTML, 330 x 450 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan 3 Comments »
Mon 25 Jan 2010
Trellis
Trellis, 20100125, HTML, 310 x 210 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan 5 Comments »
Mon 25 Jan 2010
RDK: AIR
Raoul De Keyser, Museum voor Schone Kunsten, Gent (tot 20 september 2009) (KIJK, LEES)
Posted by Chris Ashley under 07. Artists Tags: Raoul De Keyser No Comments »
Sun 24 Jan 2010
Blind
Blind, 20100124, HTML, 340 x 170 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Sat 23 Jan 2010
Metro
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Metro, 20100123, HTML, 490 x 490 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Fri 22 Jan 2010
Eave
Eave, 20100122, HTML, 420 x 410 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Thu 21 Jan 2010
Fountain
Fountain, 20100121, HTML, 370 x 30 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Wed 20 Jan 2010
Die
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Die, 20100120, HTML, 400 x 400 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Tue 19 Jan 2010
Furrows
Furrows, 20100119, HTML, 280 x 526 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan 2 Comments »
Mon 18 Jan 2010
Depressor
Depressor, 20100118, HTML, 300 x 290 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan 7 Comments »
Sun 17 Jan 2010
Keeper
Keeper, 20100117, HTML, 360 x 360 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan 2 Comments »
Sat 16 Jan 2010
Pose
Pose, 20100116, HTML, 100 x 100 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Fri 15 Jan 2010
Span
Span, 20100115, HTML, 210 x 200 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Thu 14 Jan 2010
Station
Station, 20100114, HTML, 500 x 620 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Wed 13 Jan 2010
Exposure
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Exposure, 20100113, HTML, 240 x 190 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Tue 12 Jan 2010
Lock
Lock, 20100112, HTML, 300 x 370 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Mon 11 Jan 2010
Corners
Corners, 20100111, HTML, 320 x 60 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Sun 10 Jan 2010
Landing
Landing, 20100110, HTML, 120 x 120 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »
Sat 09 Jan 2010
Luck
Luck, 20100109, HTML, 120 x 120 pixels
Posted by Chris Ashley under 01. HTML 2010 Tags: 2010 Jan No Comments »