January 31, 2009
Ok, so, these are a couple favorite scenes of lots of cavalry riding all over the place.
I think the one from Waterloo is the biggest scene ever filmed, like most extras or something.

Selling Ideas as Artwork

January 30, 2009

I created an event called “Do Nothing or Do Not Do Anything.” (the rules are self-explanatory.) When it came time to document me doing this event, I became cautious of documentation due to the nature of the event. But if I didn’t document it there would be little record of it ever happening. This inspired my thinking about selling intangible ideas (for example if I was to sell the instructions of the do nothing event as a work of art) outlined below.

It is very hard to sell an idea. In particular I’m talking about a conceptual art idea. You are selling an abstraction that can only be realized with imagination but nevertheless will always remain in ephemeral form. Someone may decide to execute the idea and it’s execution may, (depending on the idea) or may not create a product. But if it does not create a product it becomes even harder to sell it. On top of these difficulties lies the challenge of finding a willing buyer—not necessarily in terms of money but more in terms of believing in the art, the artist and the art theories which create value for the idea that is being offered. In order to put this idea up for sale, it must not be known. This means the idea is kept secret until the buyer pays for it—only then it is revealed to the buyer much like Tino Sehgal’s work. The buyer must therefore be convinced that whatever he is buying is valuable. In the “real” world—outside of conceptual art we inspect products before we buy them to know what exactly we will be paying for and to compare it to other products. The packaging largely assists in this along with branding and the company’s marketing. However, ideas do not have the same kind of packaging or marketing. Their packaging and marketing are controlled by the artist, the person representing the artist or work and the venue representing the artist or work. If you have a name like Gagosion behind your work telling the buyer how significant and important this idea is, the idea will increase in monetary value. On the other hand if you are just entering the art scene and have not made a “name” for yourself—your name is not a brand—then the value of your idea is very low. It can be very difficult to start out as a conceptual artist who makes ephemeral art because you will have a hard time finding an audience, buyers, making money and finding a venue to display your work. A big factor in being an artist who sells ideas is gaining popularity and a celebrity status. In order to make decent money selling paintings you need to be a decent painter, but in order to make money selling ideas you need to be an excellent idea originator, entrepreneur and marketer.

IN SHORT, if you document the idea and present it to the buyer, then there is no reason for the buyer to buy it because you just gave him the product (the idea). But if you do not show him the product, or idea, then how do you get the buyer to believe in it? And by revealing it to more than one person you are making it less singular and less precious in a way which could drive the price down. Help me think out with this issue. What is your take?

Slippery Slope of Slanted Death

January 28, 2009

For those of you who are familiar with the Japanese game show “Takeshi’s Castle” (Most Extreme Elimination Challenge, in the US) I think it’s fair to say that one game show may have provided all of the elements pivotal in today’s contemporary art movement. This is an internationally syndicated program adapted in several languages including English that actually adds to the level of Post-Modern theory leaking from every pun, joke, and broken knee. Whether you’re a fan of art theory or not, this is the moment where mass-media manipulation opens up a broader context of psychoanalytic query in it’s adaptation. Whether in violent opposition to the show’s overt racism and sexism or a big fan of the same qualities, stop and think about the last biennial you attended or the last studio visit you made and ask yourself, did I see that on MXC?

For a more detailed show history, go here.

January 27, 2009

My first post! I thought I would share with you all a delightful nugget from our interwebs…

One of my favorite blogs –  Portraits as Living Deads

Here is a recent post of Margaret Thatcher as a zombie.

Margaret Thatcher


How to Beat a Cold (20 Steps)

January 26, 2009

Found this in an old Journal of Medicine (JOM November 1962):

You have the ache in your body.

Maybe a brand new sore throat.

1. Do not hesitate.  A cold moves quickly.

2. Do not cry. Crying wastes a lot of energy that you are gonna neeed.

3. Drink one sixteen ounce container of Kombucha.

4. Find a clean, body-sized spot on the floor. Do 15-20 push-ups.

Lay still for a moment.  Think about a time when you were breathing clearly and  your muscles were strong and then realize that…you are going to beat this thing, “champ”!

5. Drink a gallon of distilled water in two hours.

6. Find yourself 3-4 pieces of fruit noted for their high levels of vitamin c. (Oranges are great in the winter.)  Do not forget that red bell peppers have more vitamin c than any citrus fruit.

7. Eat them.

8. Create soups. Eat them.

9.  Spit on the ground as you remember people who made fun of you and your family and your pets.

10. You are strong.  Like iron.

11. Listen to Danzig and punch walls.

12. Listen to Lisa Loeb and dress your knuckles.

13. Sleep for 13-28 hours.

14. Drink another gallon of water.

15. Now you’re better!

16. Open your window (best if you break it open) and yell to the doggies of the neighborhood…”Bark Bark, Motherfuckers!! Let’s take this town over because we are healthy now!!”

17. Serenade the cats and squirrels of your neighborhood with strange glances and low hums.

18. More push-ups.

19. Small Dancing.

20. Shower for an hour.  Now you can cry.  Cry.

Collaboration, Posthumous With Flat-File Guy

January 26, 2009

Guy like supplies and other kits in intent (infer)

A guy in his wood-paneled

Once I painted a dresser; ashamed, not sure what became

of it

for instance, bluffs




in the way land (in)forms our architecture

photo-82many people find that they prefer this over the original

in the flat files were:


wants, needs, desires

everything left over and come-acrost

a guy contains and “dreams”

leaving her to loaf in shammy sets;

a bargain

photo-83NOT MY WIFE, 1977

This could be considered exploitative except that his name is never used; although, one can imagine. In some way it is like a crest, obligatory and glaring, a hairshirt. His name is that of one thought asleep, one rocking in Williamsburg, one ransacked. There would be more but for my own lack of understanding of various imaging studies. I have an uncle, a technician. The guy had wanted, on a rocky shore, a beach cliff; something like a Round House, something akin to contemplative or solitude, something gained or to show; to bear witness. To be mocked, sincerely.

photo-84collection of the artist-ish

photo-85and yet; and yet

flat dog; round bottom

the things we pat

things we dream and copy

and mock, sincerely

photo-86trucks grow larger into specks


monsters loom with blue arms (trucks taketh, bear witness(es))

Some Recent Poems. Patricia Murphy

January 25, 2009


I Know This


I noticed

I get side

flipped ov-

er on the                                                                 edge


of losing it


circle a few rods or ords

or hard wide meanings

squeaking high pitch            




                            in            with      tered

                                                   scat-               seas




floating     ICE    CHUNKS    in muddy rivers

between cities clouds

of light floating over

parking lots and grasses where

queasy children soak up in airs

on strips of seats and chairs

jump off in mid air hit




I Can Only


let the room

fill up w the day

it’s clear and still

say u only like


still in this sense

even the breeze


whipping thru trees

is discreet


quiet today

spring winter wind


pushing window panes my

nose pushing cheeks


I only

hear it


I only

feel it



              hopeful and




Things’ Hurrah


I’m always all over

between things of

some awestruckness


although sometimes

tracks and things stick out

vibrations’ hurrah


I want a star not a man

a unicorn in unison

cords so discordant


or melodic whale

stomach flops

hearts skip throb


like a porcupine

wobbling a



forgot to hop

possibilities of

possible explanations


things get stepped on

squeezed out

collide with other things


companions make colorful

outer patterned layers

bloated red flowers


push off in space