Today, let’s give ourselves permission to make art that pays absolutely no regard to what art is supposed to be like. It might suck! Who cares! This song sucks! I listen to it all the time!
why is everything so great.
I wrote about a few of my favorite shows this year for Artlog.
(above: Anna Betbeze, Sphinx, 2011, wool, acid dyes, watercolor, 120 × 120″. Courtesy Kate Werble Gallery)
i was so into lacuna and i am so into this.
angela simione, i will not die in front of you, hand-crocheted sweater
feminist permission slips to feel how you feel! i actually love to be asked how i am feeling or even, as my dad asks me some mornings, “how is your head today?” particularly if the other person’s reaction is not disingenuous or dismissive or disdainful or angry or incredulous or condescending, or otherwise manipulative or controlling, but some version of ”your feelings are valid and understandable.” also, if someone can come up with a slightly cooler way to say “what do you need?” i would be really into that, too. you have to create a whole atmosphere for that one to work, though. like this.
deleuze, a conversation: what is it? what is it for?
lydia lunch’s installation at maccarone gallery, 2011
deleuze and guattari, kafka: toward a minor literature
elissa goldstone, untitled (we heart)
so bennett posted this the other day and it poses such a good question: what is the most important aimee mann to discuss/ventriloquize during therapy? this was my favorite and most relevant song in 1995. but this is a serious contender. there is no best line because they all are, but “so i wasn’t thinking clearly/so you didn’t think at all” captures something that i’m not sure anyone else does.