Monthly Archives: November 2015

Monday 11/30 2015
On Bond, Sport, and Class

“The two great markers of a man’s social class are his name and his hobbies, and Fleming used both to establish James Bond as a class apart. While “James Bond” is now indelibly associated with sangfroid and sex, when Casino Royale came out in 1953, the name was “anonymous and sleek,” Matthew Parker wrote in Goldeneye: Where Bond Was Born. It was a name with no connotations. Fleming also endowed his character with a love for what Parker deems “consumer sports” like golfing, gambling, skiing, and skin diving—activities and distractions in which courage and capital and the next luxury are more important than a last name or coat of arms.”

Read the rest at VICE Sports

Tuesday 11/24 2015
The Lazarus Fleet

“McGinnis’ shipwrecks are not content with silent memory; they crash above the waves, their draft impossibly high, a spectral lack of weight, and they come down upon the observer and their resting places like axe heads. The portraits come mainly in two types, those depicting the ship in profile and round paintings showcasing the haughty bow. It is the round portraits which feel most sepulchral; made to recall submarine portals and the fine china plates which so often defined an opulent cruising vessel—and who have caused the death of more than one diver wishing to gather just one more for the mantle and the inches of his dick—they also call to mind Victorian post-mortem photography, the elaborate staging of the recently deceased as to appear living.”

Read the rest of my review of Renee McGinnis’ exhibition The Girls at New American Paintings

Saturday 11/21 2015
Two Paintings with One Stroke

“To create the paintings, Fletcher prepares two canvases, one on the floor—his tee box—and another on the wall; these are placed in what he call his ‘kill room.’ The opaque box made with plastic sheeting, clamped to the overhead light fixtures via silver alligators, drape down to the floor like ghostly kudzu. Fletcher steps into a Tyvek coverall, drapes his mask around his neck, and picks up his implement of choice, an Illinois-made Tommy Armour ‘Big Scot’ 7 iron, to tackle the par 3 opening of his second series.”

Read the rest of my profile of designer/artist Kyle Louis Fletcher’s golf swing series at The Creators Project

Thursday 11/19 2015
Art for Art’s Sake

“The [MCA's] design team of course does more than implement the new identity; they also create the labels for exhibitions, the layout of the member magazine and some of the museum’s catalogues, the website and press materials, including releases and the exhibition-specific, often gorgeous folders they come in. The David Bowie Is design, created by Wilner, is particularly wonderful, brilliant red with an iconic blue thunderbolt crashing across its front, screaming down from glam empyrean; think Hephaestus sloshed on Sherwin-Williams.”

Read the rest at The Creators Project

Monday 11/16 2015
Dreams of a Designer

“The lovely upholstered blobs of the “Gummi” series—in oh-so-fashionable and marketable cream, crimson, and coal—practically beg, with distended tongues and puppy dog eyes, to be caressed, collapsed upon and enjoyed with a blunt and a hi-fi in a living room out of a Jim Steranko comic, but they are not truly furniture, lacking as they are any ergonomic amenities, people properly excluded for aesthetic. So, too, is the suspended mirror or cushion contraption of “HdL (orange)”—a barber’s fever dream device consisting of a floating Spanish orange ottoman and a round mirror—a seemingly benign furnishing which refuses to be availed of with the haughty dismissal of its lofted position and the mirror’s laughable proximity to the surface, making it suitable for opticians and serial killers only. “

Read the rest of my review of Thomas Grunfeld’s Corbett vs Dempsey exhibition at Newcity

Monday 11/2 2015
On Cosmology and the Cretaceous

“Lisa Randall is a Great Spider, in the most generous and pulchritudinous way such an analogue can be extended. She gathers a great many threads—some immediate, sticky, miring us in our day-to-day lives, and others thin, invisible, the incomprehensible ligature of existence—and weaves them into a web encompassing, in this particular instance, nothing less than the entirety of the Universe. She then shares this entirety with academic grace in the telescopic Dark Matter and the Dinosaurs: The Astounding Interconnectedness of the Universe.”

Read the rest of my review at Paste Magazine