“Shards” is strongest when seen as a rumination on the Great Beast of the medical-industrial complex, rather than the action of care. Gentle color play is juxtaposed with the downright primeval patterns the collages take, an atavistic wardrobe which alludes to the rapidly dying nature of the medium. As new forms of medical imaging—and, more importantly, as new, digital ways to collect, collate and quickly share the data contained in said images—arise, tapes such as these will eventually cede to fully digitized portraits of us. The shining staples are not surgical, they are the staples which bind, coagulate and eventually clot our bureaucratic medical system; the delicate monsters they hold together are the skeletons in the filing and medicine cabinets.”
“Well now… and just what in the fuck are you doing here, hmm?, suspended or rising or, fuck, sinking, but underwater all the same, completely ensconced in this cool, sterile little personal void, a pet abyss in somebody’s back yard, all over your head at the bottom of a David Hockney painting, the anti-body fluid which releases your limbs and evokes a feeling of weightlessness, even as you sink, cool, calm, muted, in color and temperature and tone and vibe and feel and yet you are burning, immolating?, burning in the eyes—those chemicals, the chemicals of preventive healing … ”
“Burglary is unique among crimes in that it requires architecture for its execution. Human constructions are integral to its very definition, which involves the illicit entry of a structure with the intent to remove property. If there’s no structure, there’s no burglary—and you’re left with theft or robbery.
If burglary requires architecture, do burglars exhibit a predilection for architectural mores? When they cut holes in ceilings, tunnel into bank vaults, ignore well-guarded doors for the soft walls surrounding them, are burglars not demonstrating how an aberrant view of social and civil engineering can be brought to bear for personal enrichment?
In A Burglar’s Guide to the City, Geoff Manaugh, author of influential architecture siteBLDGBLOG, explores the unique relationship between architecture, civic planning and crime. Paste chatted with Manaugh on the phone about custom-made crime, the unique spatial relationships of bandits and how Die Hard can best illustrate complex architectural concepts.”
“It is an effort to combat the lasting, damaging impacts of underrepresentation. “You pick up art history books and they are always talking about those people, and it’s the same people from book to book to book,” Marshall explains. “At a certain point, it induces this notion that you are not one of those people that do great things.” Marshall’s technical proficiency is at once a wink at the sacred Western canon and the creation of his own—in essence, the redefinition of art history.”