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New York

Alex Cruse

Posted 8/8/13

Film still: underground Prohibition-era tunnels of Los Angeles. September 2012. “The Unbuilt City.” a romantic paradox, ontologically confused.civilization’s concrete arcades, filled with sempiternal winter and major symptoms of volume, atmospheric pressure, and hyphenated, masculine names of corporations, that act as bellows to Industry’s grid. freeways are numbers; streets bear names of old colonizers. the proximity of these nomenclatures to one another magnifies the bru... [more]

"WISH I WASN’T HERE": Poems for Buildings  
Posted 8/8/13

Essentially: …using governmental systems to antagonize other systems. …tacit critique of urban centers’ dual-function as sites of leisure/tourism and criminal activity. …employing the last mode of relatively anonymous communication in an era of dialogical archiving and surveillance/sousveillance. (note: text of third card is just a list of bands on the cover of Search and Destroy, Issue 8.) [more]

Kubrick at LACMA  
Posted 8/8/13

“2001”: Obsidian mass of geometric secrets in time’s interstice—like Trumbull’s psychedelia undone and de-processed back to Original Object. Magic was returned to form and curated for the vaguely interested eye… on the wall, a lineage of clapboards, line of asynchronous guillotines: “Lolita”; “Barry Lyndon”; “Paths of Glory”; “A Clockwork Orange,” mounted, made meaningless—all the once-palpable pressure to... [more]

Marina Abramović: “The Artist is Present”  
Posted 8/8/13

Abramovic transmuted a Nothing into Spectacle. “She slows us down.” Yet they ran to her en masse. The ran to stare into her monochrome, her blank slate, desperate for vindication from a gaze which has stared into extremes of self-deprivation—they wanted to indulge in this, be cured by it. “She slows us down,” yet a man got a tattoo (“21”) to mark the number of times he sat with her. To aggregate and totalize the ephemeral; scarification of the unseen. She wanted to become a mirror, 750,000 times:... [more]

Letters to a Corporate Yard  
Posted 8/8/13


Posted 8/8/13

Auto-destructive art demonstrates man’s power to accelerate disintegrative processes of nature and to order them. Auto-destructive art mirrors the compulsive perfectionism of arms manufacture - polishing to destruction point. Auto-destructive art is the transformation of technology into public art. The immense productive capacity, the chaos of capitalism and of Soviet communism, the co-existence of surplus and starvation; the increasing stock-piling of nuclear weapons - more than enough to... [more]

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