Review | I like to work moldi...

Generated on 2022-08-01 20:42:06

Result #1

I like to work molding magic situations where magic really happens because I'm acerience the subtle layer of reality antary which is actually all one thing and my path as an is my ecause and gold symbolize exactly where i want th unglue inside in a also the little bathn because there I live I felt suspended I and no one knew about me but myself and I smiled alone in a pact with myself I will alwalr night the the blue glow with black and gold ie that s my hair andhen i hold inr and gold i symbolize mechoice of whet to of the world I imagine very quickly even every corner including on the otherne that everything was silent even thouwere so many and broth watched the golden light that came through the window of my bedroom in back scorching afternoon sun this is what I feel in the morning sun and its for that reason not scary.Theres a good reason why even from afar Pumkins woodblocks with their the hot red hues of the California west look so familiar and you know youve just lost your Phil Wilson or David and imagine for a minute that you know the same number of people are hidden behind a pile of wood blocks as you are in a backyard garden shed, the same number in a leafy tree as a little darling in your bedroom, the same number in a person sitting in the back seat of your car in the same seat as you on the hood of your car. You know the faces and you think you can say whats happening, but I dont think you can. Pumkin has been doing this type of work for a long time, one after another. His method of grafting on sketches of the kinds of person who inhabit such places as mall entrances, subway stops, office interiors, and bathrooms (where those same figures were assembled in an in-joke that perfectly captured the L.A. underworld) has a long and successful history. Like Frederick Kiesler, who also makes office furniture, Pumkin takes the recognizable things of daily life—the people who live there—and turns them into the signifiers of coded materiality. His beige hot rod, a fourteen-foot-high suspension bridge, and his signature custom car door are things I remember the second I saw them. I lived in a house where the person in the kitchen always came home to his desk; I stood in front of his place on the Friday and Saturday before church, and had to talk to him before he came home, so he must have been a sweet guy, a real friend. Pumkin is not presenting these kind of mundane objects as a symbol, but as something one might find in a bathroom cabinet or a common desk drawer.

Result #2

and the whole world was suddenly plain white. Suddenly my right hand, part of a thickly raked sign of erudition I put up the whole contents of my refrigerator on the mantel as a Bache in the Bronx Plaza I wanted to create a bizarre image that was so complex as to be in itself, and in many other ways I wanted to be an artist in the snooty, garrulous, swaggering, A-hole-liss-liss-man manner of the New York art public I had to write poetry. And now, some time, I feel that Im almost got out of the pinhole session of an imaginary portrait for my own self. I was always trying to make my, you know, the painting, like this, where it felt like being part of a group of paintings with somebody else painting at the side of it and showing how they were all made. And there was nothing to see with the paint on the hole in the refrigerator, nothing to see with the paint on the hand, but nothing to see with the paint on the wall. I was sitting there, a rock-star, doing the same painting the people who had to see it. I found myself just being. . .putting up with it. And then I realized Im still very much in it, that this was only a glimpse. I still found myself creating images and meanings for myself, so I looked to painting and then to the world to find out what the world looked like. In this way, I was used to being a real artist. I had to find out what I was and to find out what I was not, and then to find out what I was and to make an image of what I was. The same was true with the art world.

Result #3

I like to work molding magic situations where magic really happens because I'm acerience the subtle layer of reality antary which is actually all one thing and my path as an is my ecause and gold symbolize exactly where i want th unglue inside in a also the little bathn because there I live I felt suspended I and no one knew about me but myself and I smiled alone in a pact with myself I will alwalr night the the blue glow with black and gold ie that s my hair andhen i hold inr and gold i symbolize mechoice of whet to of the world I imagine very quickly even every corner including on the otherne that everything was silent even thouwere so many and broth watched the golden light that came through the window of my bedroom in back scorching afternoon sun (or it can be used to mark them as magic.) The real magic in it is that her magic comes through and she stands next to the canvas on which she had once again been as a child and shes no longer only a woman and her magic flows through her.The pictorial tradition is all going a bit haywire and the result is a part of the sensation of moving in these rooms and doing new work that was not always so brilliant to me, and sometimes it was almost brutal to abandon the weirdness of something old, but at least you dont have to worry about it.The funny side of the change from washy, hard, color to a just, intense color was that the colors were just as vivid. The less interesting side of it is that the tone changed a lot and the size of the work went down and in the middle there was the usual question of how one looks to art. The weirdly softened, greenish gold was the best and the strangest in the room but its depth was, as always, very much diminished and it was the only piece in the show that didnt quite work. There was a painting, a ceiling piece, and an oil and aluminum work which were much better than the others but neither was better than the others but they didnt do it for the town I grew up in.That wasnt a coincidence and I dont really mind telling the story but I didnt understand how the series looked and I wonder if Im completely wrong but thats all right I just wanted to make an art that was more interesting and that had more vitality. The normal rules of an art show are that there be no grandly garish paintings, no delectable pictures in one or two of the galleries, and you should have no more than three or four in a show, and since the gallery is always going to have five or six, I didnt see the point of having to add anything really significant to what was already there.

Result #4

I like to work molding magic situations where magic really happens because I'm acerience the subtle layer of reality antary which is actually all one thing and my path as an is my ecause and gold symbolize exactly where i want th unglue inside in a also the little bathn because there I live I felt suspended I and no one knew about me but myself and I smiled alone in a pact with myself I will alwalr night the the blue glow with black and gold ie that s my hair andhen i hold inr and gold i symbolize mechoice of whet to of the world I imagine very quickly even every corner including on the otherne that everything was silent even thouwere so many and broth watched the golden light that came through the window of my bedroom in back scorching afternoon sun ; the choice of the gold symbolized a sexual struggle and the nakedness of male is inimical to its will not to be represented, so i had to put it on in the order of what I think a human being ought to be . . . and to make it ugly.The worst I have to say about this art is that its really all there. Why not a real nudity and still a real magic in it? Is there a craft in it? The fact of the work is there, but its too much of it and its down there in the pool at the bottom of the slide, maybe even on the floor. The nudity is there, but thats just a fancy for objects. If art wants to make art in a real way, it has to take it more seriously. The silliness of the art could be replaced by the silliness of the world, for the world is out of line with it. Nothing is off limits anymore and the world is ripe for art to use as material, but art is saying lets go for it. If I can make the world more artistically intelligent then I will, but its too important to be diverted from its cause. Thats why, as always, I like to think of it as self-creating and not just absorbed in the art.I cant see why the art needs to be anymore difficult than the world is; thats just too much the world. Even in the extreme, I am able to do it, and thats one of the things that it doesnt take responsibility for. If you want an example, look at any old French painting—a very, very close, very fast, and very very precise picture—it is always obvious that the drawing is wrong and youre right.

Result #5

the mysticism Ive longed for in the glow of the store windows is at the end of a life I can just as easily take as every city that could hear me and see me I was conscious in my body and I was not hypnotized by the magic of the vanitas because all the means of the spectral is the voice of the living spirit of the sesquipedalian, the polycanova, that sounds as if its was the voice of the childs incantations, the voice of God I am and that spoke for me.I found it extremely distracting. It was as though I had to look over my shoulder to see the flea market stall I was in or to stare at the necklace of the golden necklace by a doorman of someones religion, or even to see the luminous gold pillars which for a fleeting moment lit up for a very brief moment in the sky over the corner I was standing on. At any rate, I was unable to move and perform some activity which would have been much more comfortable in the traffic world, which is one way to move and play.