Site Q: Painting

the thing itself
substrate and paint
no stretchers
if the substance has demonstrable girth then the painting will have demonstrable girth

Notes

In an interview with Rae Armantrout, Michael Silverblatt describes her poetry:

It's really extraordinary that things have two faces. And it seems to me that in your poetry much of the design is to see that things are double-faced, meanings are inter-penetrating with one another, not separate from one another. And that the interest is in the simultaneity.

Les Voleurs
from William S. Burroughs' The Adding Machine

Out of the closet and into the museums, libraries, architectural monuments, concert halls, bookstores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief. All the artists of history, from cave painters to Picasso, all the poets and writers, the musicians and architects, offer their wares, importuning him like street vendors. They supplicate him from the bored minds of school children, from the prisons of uncritical veneration, from dead museums and dusty archives. Sculptors stretch forth their limestone arms to receive the life-giving transfusion of flesh as their severed limbs are grafted onto Mister America. Mais le voleur n'est pas presse' --- the thief is in no hurry. He must assure himself of the quality of the merchandise and its suitability for his purpose before he conveys the supreme honor and benediction of his theft.

Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louvre! a bas l'originalite', the sterile and assertive ego that imprisons as it creates. Vive le vol-- pure, shameless, total. We are not responsible. Steal anything in sight.

Site Q

Monday, November 17, 2008

Painting

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