29.1.10
'coming'
This is my favourite Origami to make and was inspired by Hannah Wilke's chewing gum cunts. It doesn't get enough outings! This is pencil dawings over a scan of an Origami and is by yours truly sometime in 2005 ish I think. I always thought it would be funny to sell them as limited editions although giving them away for free is more my style, any takers?
being brave and hannah wilke
I recently discovered with some Joy that this now exists.
Way back in the day the first and second and third times I read the incomparable 'I love Dick' by Chris Kraus of semiotexte it was nearly impossible to find any information about Hannah Wilke (who she valiantly champions) on the web so it is truly wonderful to see this website which is run by her sister on behalf of Hannah's estate.
I have been thinking about Hannah recently in relation to her performance work 'Through The Large Glass' in relation to my research on Roy Ascott, a theorist of telematics and the art of connectivity. Ascott's work at its best is a profound mediation on art as the agent of change and transformation and at its worst naively gauche guru-style posturing. He interests me on several levels, both where I agree and disagree with him. Hannah Wilke's take on his beloved Duchamp and 'The Bride Stripped Bare By Her Bachelor's, Even' seemed the perfect illustration both of his victories in describing an art operating across media and dimensions and of what he neglects most criminally, the body, mortality, specificity.
At the same time some kind of synchronicity or something gives me a real live happening now illustration of these issues in the Strange Tale Of Amanda Fucking Palmer and The Golden Globes which could also be entitled something along the lines of 'The Bride Stripped Bare By Her Bachelor's, Even' she is stripping, getting married, transforming, performing and connecting left right and centre and in the meantime causing deliciously actual debate (commenting on this blog is of a very thoughtful nature, I am taking myself back to web-fandom debating in the form of patiencescalpel - its been a while since I got in fights with people I don't know on the web...I'm rusty) around feminism, art making, the music industry. Apparently the technical term in the web/gossip commentary axis of wierd is Fame Whoring. Wonderful I say.
We are all Fame Whore's now, baby.
I'm trying to do this whole webpresence thing properly all collaborations, altercations and interventions from others eagerly awaited.
(image still from 'Through The Large Glass' at www.hannahwilke.com copyright the artists estate)
Way back in the day the first and second and third times I read the incomparable 'I love Dick' by Chris Kraus of semiotexte it was nearly impossible to find any information about Hannah Wilke (who she valiantly champions) on the web so it is truly wonderful to see this website which is run by her sister on behalf of Hannah's estate.
I have been thinking about Hannah recently in relation to her performance work 'Through The Large Glass' in relation to my research on Roy Ascott, a theorist of telematics and the art of connectivity. Ascott's work at its best is a profound mediation on art as the agent of change and transformation and at its worst naively gauche guru-style posturing. He interests me on several levels, both where I agree and disagree with him. Hannah Wilke's take on his beloved Duchamp and 'The Bride Stripped Bare By Her Bachelor's, Even' seemed the perfect illustration both of his victories in describing an art operating across media and dimensions and of what he neglects most criminally, the body, mortality, specificity.
We are all Fame Whore's now, baby.
I'm trying to do this whole webpresence thing properly all collaborations, altercations and interventions from others eagerly awaited.
(image still from 'Through The Large Glass' at www.hannahwilke.com copyright the artists estate)
12.1.10
11.1.10
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