chocolate-covered tennis ball simulating a bounce on the surface of the moon. the chocolate will be covered in moon dust every time it bounces
and he will be able to paint a moon on the moon.Each of these paintings, and many more, relies on an ambiguously peopled mind as they are increasingly opaque. Henrietta and the Water, a work of women who wear saris, fabric and jewelry, perform some dance of discovery. Diana, with her deliciously long bared breasts and her embroidered periscope, sits proudly, impassively holding a tooth. She looks to be the ideal princess, but she is also something of a lunatic, the child of the moon, starry sky and moon-faced goddess. In this way, the portraits are like the decayed princesses in Snow White and the Seven Dwarves: like many other images of the 60s, they were first staged, made a sentimentality, and painted over. Once again, the images are forever provisional, being mere innuendo, and they have become moot, and that makes us feel like we have missed them.
, so as to remain in a slightly uncomfortable state. Newton appears to be a clay king, while the players are eggshells. One of the volcanoes behind Newton is his father, the deceased Newton who is now the magician. The two volcanoes are identical, since they both were in New England when Newton was born. According to the Goetzelite, the last geomoon was hit by a kunter in Boston. This was recorded by the last generation, which, being immortal, was not exposed to the universal hazards of New England winters. Newton may be stuck in Boston, but he will no doubt return, with a large party. Richard Morgan lives in Boston.
, and the tennis ball will be covered, too, if the tennis ball does, in fact, bounce. That all this will be made clear in the very near future is a testament to Szeemanns determined pursuit of the possibility of altering the trajectory of our perceptions of the natural world, and a gift to us all. Szeemanns gift is a radical and melancholy one.
chocolate-covered tennis ball simulating a bounce on the surface of the moon. the chocolate will be covered in moon dust every time it bounces and the tennis ball will be next to it and will be taken as a kind of token of friendship. The film is a travelogue from one (extremely unsympathetic) state to another. It attempts a kind of propaganda of virtue through the travels of a young woman. But it is also a parable of the men who are supposed to live there, and this they cannot, nor can they be expected to do.Perhaps it is because Luegos work is so often affected, as opposed to wry, that it is difficult to decide whether his influence has something to do with a sort of country life in the Midwest or with the more plausible notion of a Southern landscape as a site for art. It is the American landscape after all, rather than the city or village, that Luegos work is beholden to. In fact, his works are often located in these last two areas, and he does not, unfortunately, address the problem of being an artist in a place with a very different traditional culture—a place where one can be, indeed, both natural and cultured and at the same time, subject to its rules. This position is reinforced by the fact that Luegos work is unapologetically, at times, overtly political. The museum gave him an assignment: to cover the election of Gerald R. Ford as governor of the University of Michigan. The artist, of course, was authorized to exercise creative control over the subject matter of the image, to do whatever he wanted, but he was also told that he would have to alter it. Luegos response was to create a realistic image that could be altered and, more specifically, that it could be made to work within his own ideology. He chose a rather problematic subject: sexual liberation, which he thinks has gone too far.
chocolate-covered tennis ball simulating a bounce on the surface of the moon. the chocolate will be covered in moon dust every time it bounces in the future, and will disappear completely in the first year (to commemorate the earths initial creation, which was called earth). Through this kind of projection, the head of every person on Earth is projected onto a card or image which, when the viewer stands next to the projected image, makes it look as if all the buildings in Manhattan were turning red. The projection also depicts the biggest building in the world, with a projected image of the Three Muses at the top of the tallest building in the world, Hiroshima, Japan. The huge world-shaped tower at the center of the projected image is only visible from an air-space tower—the airport; it is totally invisible, except to the plane that takes off and lands on it. The image is also made visible by the general feeling of anticipation which invades the space surrounding the building—a feeling which is intensified by the big balls that are attached to the ceiling, as if it were a target on a football field. The constant projected image of the target, of course, will turn out to be the same target shown in a football match, so that the projection can be seen as an allegory of the simultaneous realities of all things.The goal of this projection is to bring about the forgetting of the past, as it were. The aim of the projection is to evoke a kind of ambivalence, as if, instead of replacing the past, one were to point to a distant age, to a time when everything was gone and we were living a strange dream. The goal is to bring the past into the present, but also to make an act of forgetting possible. In the first year the work is played out against the very surface of the earth, but the projection itself is itself the surface, and in this sense it is the surface of the world as a whole. This projection can be seen as a commentary on the globalized world in which we find ourselves, and is implicated as an alternative to it.