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

 

Mon 08 Feb 2010

Game

 

 

Game, 20100208, HTML, 380 x 360 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 4 Comments »

Sun 07 Feb 2010

Brocade

 

 

Brocade, 20100207, HTML, 420 x 390 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 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

 

 

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Sat 06 Feb 2010

Filter

 

 

Filter, 20100206, HTML, 380 x 360 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 2 Comments »

Fri 05 Feb 2010

Cascade

 

 

Cascade, 20100205, HTML, 480 x 300 pixels

 

 

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Thu 04 Feb 2010

Surf

 

 

Surf, 20100204, HTML, 400 x 320 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 11 Comments »

Wed 03 Feb 2010

Alpine

 

 

Alpine, 20100203, HTML, 250 x 150 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 1 Comment »

Tue 02 Feb 2010

Crown

 

 

Crown, 20100202, HTML, 350 x 250 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 2 Comments »

Mon 01 Feb 2010

Speaker

 

 

Speaker, 20100201, HTML, 460 x 390 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 1 Comment »

Sun 31 Jan 2010

Drone

 

 

Drone, 20100131, HTML, 300 x 450 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 1 Comment »

Sat 30 Jan 2010

Key

 

 

Key, 20100130, HTML, 200 x 450 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 1 Comment »

Fri 29 Jan 2010

Palm

 

 

Palm, 20100129, HTML, 350 x 260 pixels

 

 

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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 experience
 
For 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 Posted by Chris Ashley under Filed under 05. Exhibit, 06. Words, 07. Artists Tags: Comments No Comments »

Thu 28 Jan 2010

Receiver

 

 

Receiver, 20100128, HTML, 300 x 75 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 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.
 
See images, an essay, and biography.
 
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 Posted by Chris Ashley under Filed under 05. Exhibit, 07. Artists Tags: Comments No Comments »

Wed 27 Jan 2010

Bank

 

 

Bank, 20100127, HTML, 320 x 480 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 1 Comment »

Tue 26 Jan 2010

Player

 

 

Player, 20100126, HTML, 330 x 450 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 3 Comments »

Mon 25 Jan 2010

Trellis

 

 

Trellis, 20100125, HTML, 310 x 210 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 5 Comments »

Mon 25 Jan 2010

RDK: AIR

 

Raoul De Keyser, Museum voor Schone Kunsten, Gent (tot 20 september 2009) (KIJK, LEES)

 

 

Posted by Posted by Chris Ashley under Filed under 07. Artists Tags: Comments No Comments »

Sun 24 Jan 2010

Blind

 

 

Blind, 20100124, HTML, 340 x 170 pixels

 

 

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Sat 23 Jan 2010

Metro

 

 

Metro, 20100123, HTML, 490 x 490 pixels

 

 

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Fri 22 Jan 2010

Eave

 

 

Eave, 20100122, HTML, 420 x 410 pixels

 

 

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Thu 21 Jan 2010

Fountain

 

 

Fountain, 20100121, HTML, 370 x 30 pixels

 

 

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Wed 20 Jan 2010

Die

 

 

Die, 20100120, HTML, 400 x 400 pixels

 

 

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Tue 19 Jan 2010

Furrows

 

 

Furrows, 20100119, HTML, 280 x 526 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 2 Comments »

Mon 18 Jan 2010

Depressor

 

 

Depressor, 20100118, HTML, 300 x 290 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 7 Comments »

Sun 17 Jan 2010

Keeper

 

 

Keeper, 20100117, HTML, 360 x 360 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments 2 Comments »

Sat 16 Jan 2010

Pose

 

 

Pose, 20100116, HTML, 100 x 100 pixels

 

 

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Fri 15 Jan 2010

Span

 

 

Span, 20100115, HTML, 210 x 200 pixels

 

 

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Thu 14 Jan 2010

Station

 

 

Station, 20100114, HTML, 500 x 620 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments No Comments »

Wed 13 Jan 2010

Exposure

 

 

Exposure, 20100113, HTML, 240 x 190 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments No Comments »

Tue 12 Jan 2010

Lock

 

 

Lock, 20100112, HTML, 300 x 370 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments No Comments »

Mon 11 Jan 2010

Corners

 

 

 

Corners, 20100111, HTML, 320 x 60 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments No Comments »

Sun 10 Jan 2010

Landing

 

 

 

Landing, 20100110, HTML, 120 x 120 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments No Comments »

Sat 09 Jan 2010

Luck

 

 

Luck, 20100109, HTML, 120 x 120 pixels

 

 

Posted by Posted by Chris Ashley under Filed under 01. HTML 2010 Tags: Comments No Comments »

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