May 22, 2008 § Leave a comment
I reluctantly purchased Madonna’s eleventh studio album, HARD CANDY, about three weeks ago. I was reluctant to get it at first because I was like…I don’t know how I feel about Madonna pumpin’ out that hip-hop.
In general, I think it’s a good album. However, after three weeks I am already sick of it. I think it’s because I’ve been listening to so much “hipster” music that I can’t do a processed beat. Give me some M.I.A. irony, or a piece of Arcade Fire apocalyptic thunder. Live instruments, please!
Usually when I buy an album – I sometimes get a couple a week – I play it on repeat for months at a time. Eventually, of course, I get sick of that shit, and then I’m all…UM, NEXT!
Vampire Weekend’s self-titled debut, for instance, I got the day it came out way back in January. I got Radiohead’s newest wonder the day it came out, too. I’ve played them both about 1,000 times each since then, prolly putting a dent in my ipod. And you know what? I’m not sick of them yet. It took me 3 weeks to get over Hard Candy; 5 months and I’m still not over Radiohead In Rainbows or Vampire Weekend.
Does that mean that Madonna is OVER?!?!?!?!?!?!?!?!
Of course, The Gays will continue to flock to Madonna and contribute to her billion dollar empire. They will buy every last ticket to her concert and it will obviously sell out within miliseconds.
May 21, 2008 § Leave a comment
May 20, 2008 § Leave a comment
When I first found out about Eliasson’s One Way Color Tunnel (2007) I pissed my pants. When they dried, I wanted nothing more than to board the next flight from New York to San Francisco to experience Olafur in person. I calmed down, though, when I found out that New York’s MoMA + P.S.1. would get Eliasson this summer.
The New York branch of the Olafur Eliasson show does an O.K. job of giving museumgoers a general sense of Eliasson’s particular brand of science and art. A clear favorite was Ventilator (1997) which consists of a fan that hangs and swings from MoMA’s atrium. The illusion is that the fan will come dangerously close to your head.
And yet, I felt that the show was deeply boring. Take, for instance, the entire gallery that’s devoted to photographs of Eliasson’s work, or the other gallery that’s wholly devoted to MODELS of hot pieces Eliasson made elsewhere. WTF!?
It’s like, “Look at this hot ass art I made! Oops, too bad you bitches can’t see that shit in person.”
One of my favorite works by Eliasson, Room for One Color (1997), which is supposed to fill an entire gallery with a thick, monochromatic yellow light, in the spirit of Dan Flavin, was not contained in a single gallery. Instead it was spread out in a hallway, insuring that museumgoers overlooked the experience.
What I like about Eliasson’s work is the way it encourages viewer participation; the way it begs the question, HOW DID HE DO THAT?; and the way it seamlessly melds science and art. As a child, I always hated science class, but the beauty of Eliasson’s work is in its simplicity and how it manages to visualize the wonder of science.
Come on now. Where were the really FUN pieces like Your Black Horizon (2005); Your Mobile Experience (2007) or Notion Motion (2005)? See below.
All I’m saying is MoMA + P.S.1. didn’t do justice to an otherwise super fierce artist. Their Eliasson retrospective was O.K., but doesn’t reflect his WOW! factor.