Monthly Archive for October, 2010

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Calendar. 10.12.10.


Jardin de Luxembourg (man reading newspaper with feet on chair), 1928, by André Kertész. Part of the exhibit On Reading: André Kertész, at the Carnegie Museum of Art in Pittsburgh, which opens next Saturday, Oct. 23. (Image courtesy of the CMOA.)

The Digest. 10.11.10.


Cocoon, by Kate Browne, in Mexico City. Part of a series of public cocoon sculptures she has constructed in various locations around the world. See the building of the Mexico City project here. (Image courtesy of Browne.)

Uncovering historical graffiti.

Brad Downey spent two days working with professional conservator Magdalena Recova to uncover 15 years worth of graffiti that had been painted and repainted on a small section of a graff wall in Vienna. Think of it as graffiti history, played backwards.

Find more on Downey’s work here.

Calendar. 10.07.10.


My Jeff Koons’ sexy pictures write-up, along with plenty of artsy New York goodness, is now up at Gallerina. (Image courtesy the artist and Luxembourg & Dayan.)

The Digest. 10.05.10.


Somewhere in the vicinity of Check, Virginia. April, 2010. (Photo by C-M.)

On real estate.

Open house, L.A. (Photo by C-M.)

In April, Celso and I drove cross-country, from Los Angeles to New York. We did the southern route, using mostly back roads: through the Southwest, into Louisiana and the Florida panhandle, before turning north and hitting the Blue Ridge Parkway into Pennsylvania. We shacked up with friends or stayed at the Motel 6. Along the way, we hung out with reality TV producers, small-town cops, artists, oil men and retired military. The whole trip took three and a half weeks.

Besides the economy, one of the favorite subjects of conversation — regardless of who we were with — was real estate. In each community, whether it was middle-of-nowhere Arizona or metro Atlanta, we’d hear about which homes were selling, and more likely, which ones weren’t. We got the lowdown on floreclosures, on the neighbors who had gotten in over their heads, on districts that were emptying out and others that were filling up. On the Gulf Coast, we talked about what Ivan and Katrina and Rita and those other first-name basis storms had done to the market. (This was pre-BP spill.) In Alabama, we stayed with friends who had been foreclosed.

In so many ways, this obsession of middle class American life imbued much of our trip. In L.A., we visited open houses, in an old African-American enclave from the ’60s that is being transformed by Hollywood types. We went on dozens of personal home tours, respectfully attending to discussions about wall paint and roofing. And in New Mexico, we hiked around a gated subdivision that channeled a rugged, mountain aesthetic. The area was wooded, the houses nestled deep into the forest and the roads were winding. But the rustic look was engineered. The place was governed by a strident homeowners association that, among other things, forbade the installation of above-ground propane tanks for cosmetic reasons. Barbecues as big as a storage shed, however, were a-okay.

Throughout the country, whether in blue states or in red, in burned-out refinery towns or genteel beach communities, the one subject that seemed to bring everyone together was property — it’s acquisition, it’s maintenance and it’s display.

Politics may tear us apart, but real estate brings us together.

Perfect City: New York and the Art That Changed the World.

Hey Y’all:

Have spent the better part of the last two months doing a two-part audio doc for WNYC on New York City during the time of the Abstract Expressionists. On top of learning all kinds of stuff. (A beer at the Cedar cost 15 cents and a cold-water flat went for $17 a month!) We also turned up some pretty rad vintage audio. This includes a 1960s-era interview of Peggy Guggenheim describing herself as the “enfant terrible of the Guggenheim family” and Robert Motherwell telling a particularly touching story about Mark Rothko in the early ’50s.

Anyhow, if you could click over, download and listen, I’d be forever grateful. And don’t laugh too hard. This is my first time doing something of this nature. (What I learned: Narrating is HARD.)

Many thanks to producer Ave Carrillo for her patience and support and mad editing skillz.

xox,
C.