Wishful Reading: Art as Art, Electronic Media, Theory, Generatif

Step One: Invent time machine with comfortable reading situation.
Step Two: Acquire the following.

Art and Electronic Media

Walter Benjamin, Art in the Age of Mechanical Reproduction

Walter Benjamin, The Arcades Project

Marshall McLuhan and Quentin Fiore, The Medium is the Massage, 1967

Edward Shanken, Art and Electronic Media, Phaidon, 2009

Edward Shanken, Art and Electronic Media Online Companion, 2013

Lev Manovich, Software Takes Command, 2008-2013

Lev Manovich, Soft Cinema, 2002-2005

Lev Manovich, The Language of New Media, 2001

New Media Art, Mark Tribe, 2006

New Media: A Critical Introduction, 2nd Edition, 2009, Martin Lister

Domenico Quaranta, In Your Computer, 2011

Domenico Quaranta, Beyond New Media Art, 2013

Domenico Quaranta, The F.A.T. Manual, 2013

Expanded Internet Art and Information Milieu, Cici Moss, Rhizome, 2013-12-19

Curating in the Time of Algorithms, Christian Nagler and Joseph del Pesco, Fillip, Issue 15, 2011


Preparation readings from DMA, UCLA and BCNM, UCB


Design By Numbers, John Maeda

Computational Information Design, Ben Fry, 2004, Dissertation, MIT

Form+Code In Design, Art, and Architecture, Casey Reas, Chandler McWilliams

Generative Design; Visualize, Program, and Create with Processing, Hartmut Bohnacker, Benedikt Grob, Julia Laub, 2012

Visual Grammar, Christian Leborg, 2004

Carsten Nicolai, Fades

Carsten Nicolai, Static Fades

Carsten Nicolai, Moire Index

Grapefruit, Yoko Ono, 1964, 1971

Acorn, Yoko Ono, 2013


Earth Wind Interactive Graphic


Inkjet is the New Black Painting

Scott Rothkopf discussing Wade Guyton’s eight-panel painting Untitled (2008), 2013-01-11, WhitneyFocus on YouTube

Andrew Fisher and Christine S. Kim discuss Wade Guyton’s painting, 2013-02-28, WhiteneyFocus on YouTube.

“James Kalm” aka Loren Munk on video walkthrough of Wade Guyton’s OS show at the Whitney Museum, 2012-10-05.

Visual Culture, Aesthetics, Perception

James Turrell: A Retrospective, Michael Govan, Christine Y. Kim, Prestel, 2013

Emblemata, James Turrell, 2000, Segura Publishing Company, Tempe, AZ

Emblemata Sacra: Spe, Fide, Charitate, Guilelmus Hesius, 1636

Heraldry Symbols and Meanings, ThemesAchievement Elements, Animal Attitude, List of Heraldic Charges, Variations of the Field, Heraldic Phantasy Creatures

Light and the Artist, Thomas Wilfred, The Journal of Aesthetics and Art Criticism, June 1947

Marcel Minnaert, Light and Color in the Outdoors, 1995, ISBN 0387979352

Marcel Minnaert, Light and Color in the Open Air, 1954

Maurice Merleau-Ponty, Phenomenology of Perception, 2013, ISBN 1045834333

James J. Gibson, The Ecological Approach to Visual Perception, 1986, ISBN 0898599598

James J. Gibson, The Senses Considered as Perceptual Systems, 1966

ABC Art, Barbara Rose, October 1965, Art in America

Art and Objecthood, Michael Fried, Artforum, Summer 1967

Robert Morris, Notes on Sculpture, Part 3, Artforum, Summer 1967

Rudolf Arnheim, A Plea for Visual Thinking, Critical Inquiry, Vol. 6, No. 3 (Spring, 1980), pp. 489-497

Rudolf Arnheim, The Power of the Center, 1988

Rudolf Arnheim, New Essays on the Psychology of Art, 1986. Esp. “The Double-edged Mind: Intuition and the Intellect”, “The Tools of Art-Old and New”, “Emotion and Feeling in Psychology and Art”

Agnes Martin:Writings, Agnes Martin, 2005, ISBN 3775716114

Agnes Martin: Paintings, Writings, Remembrances, Arne Glimcher, 2012, ISBN 3775716114

Hal Foster, Vision and Visuality, 1988, Dia Art Foundation

Free is the Only Option

The GNU Manifesto, Richard Stallman, 1985-2014

Guerilla Open Access Manifesto, Aaron Swartz, 2008

Copy Culture in the US and Germany, 2013, ISBN 978-1481985925

Piracy is the Future of Television, Abigail De Kosnik, Convergence Culture Consortium, 2010

Online Piracy And China’s American TV Drama Fanatics, Ousha Yang, Disintermediators, 2013-05-01

In Praise of Copying, Marcus Boon, 2010, ISBN 978-0-674-04783-9

Peter Lunenfeld, The Secret War Between Downloading and Uploading, 2011, MIT Press

Copyright, Permissions, and Fair Use among Visual Artists and the Academic and Museum Visual Arts Communities: An Issues Report, A Report to the College Art Association, February 2014

Pew Internet Libraries, Pew Internet & American Life Project. See: The Rise of E-Reading, 2012. E-Reading Rises as Device Ownership Jumps, 2014.  Reading Habits in Different Communities, 2012. Library Services in the Digital Age, 2013. From Distant Admirers to Library Lovers and Beyond: A typology of public library engagement in America, 2014

Simon Parkin, The $5.7 Million Magazine Illustration, The New Yorker, 2014-02-20

Randy Kennedy, Richard Prince Settles Copyright Suit With Patrick Cariou Over Photographs, NYT, 2014-03-18

Randy Kennedy, Court Rules in Artist’s Favor, NYT, 2013-04-13

Anne Burdick, Johanna Drucker, Peter Lunenfeld, Todd Presner, Jeffrey Schnapp, Digital Humanities, 2012, MIT Press

Virtueel Platform Research: Born-Digital Kunstwerken In Nederland, English summary and recommendations, 2012 Project Conservation Media Art Collection, Netherlands.

Institutional Critique, Commodity Fetishism

Institutional Critique: An Anthology of Artists’ Writings, Alexander Alberro and Blake Stimson, 2009, MIT Press

Thoughts on Art Education, Rudolf Arnheim, 1990

Alternatives, Coco Fusco, Brooklyn Rail, Feb 5, 2013

Race in the Land of MFA, Alex Gallo-Brown, May 28, 2013

Art Schools: A Group Crit, AIA, 2007

An Artist’s Education, Thomas Lawson, The Core Program, catalogue, Museum of Fine Arts, Houston, 2008

9.5 Theses on Art and Class, Ben Davis, 2013

After Art, David Joselit, 2013, ISBN 978-0-691-15044-4

What Is a Warhol? The Buried Evidence, Richard Dorment, NYT, June 20, 2013

Red Obsession: The vintage of the century in the year of the Dragon, 2012

The Global Contemporary and the Rise of New Art Worlds, Hans Belting/Andrea Buddensieg/Peter Weibel, 2013, MIT , ISBN 0262518341

Michael H. Miller, Ways Forward: What’s Next for the Dia Art Foundation?, 2014-02-04, galleristny

Michael H. Miller, Philippe Goes to Hollywood: With Vergne In Place as New Director, L.A. MOCA Looks to the Future, 2014-02-05, galleristny

Visual Forms of Gentrification vs. Ruin

Rosalyn Deutsche, Evictions: Art and Spatial Politics, 1996, MIT press

The Fine Art of Gentrification, Rosalyn Deutsche and Cara Gendel Ryan, October, Vol. 31, Winter 1984

Rebecca Solnit, Get Off the Bus, London Review of Books, Feb 20, 2014.

Kim Velsey, It’s Not About Yuppies Anymore: Gentrification Has Changed and So Has New York, New York Observer, 2014-02-06.

How to Write About Tax Havens and the Super-Rich: An Interview with Nicholas Shaxson, Longreads, The Atlantic, 2014

Andy Rachleff, You Need Equity To Live In Silicon Valley,May 22 2013

Mission 20th Street Neighborhood Group, various email correspondence

The Embedded Landscape of Gentrification, Jason Patch, Visual Studies, October, Vol. 19, No. 2, 2004

Residues of a Dream World: The High Line, 2011, Michael Cataldi, David Kelley, Hans Kuzmich, Jens Maier-Rothe and Jeannine Tang, Theory Culture Society, 2011

The Name Game


According to a delightful entry in the book I Like Your Work: Art and Etiquette, one often-successful conversational gambit in artist-to-artist scenarios is gentle conversation about other artists, preferably ones safely not present.

On the internet, one can never be too safe. So, the criteria morphs to a more restrictive subset: those excellent artists in any medium, now deceased. Older may mean safer, but landmines persist: be careful out there, the road from A to Z can be trecherous. For a bit of added nuance, architects, type designers, etc. are also allowed if those playing the game are so inclined or wish to make an inclusive statement.

Apparently, it is customary to start with the first letter of the alphabet. As such, and without further delay:


Adams, Ansel

Albers, Josef

Alexander, Christopher

Ángel, Abraham

Audubon, John James

Arbus, Diane

Asawa, Ruth


Basquait, Jean-Michel

Beuys, Joseph

Boullée, Étienne-Louis

Brâncuși, Constantin

Bravo, Manuel Álvarez

Burnham, Daniel


Cage, John

Calder, Alexander

Capa, Robert

Cunningham, Imogen


da Vinci, Leonardo

Dalí, Salvador

Daguerre, Louis

Duchamp, Marcel


Eiffel, Gustave

Escher, M.C.


Fee, James


González-Torres, Félix

Goya, Francisco


Hiroshige, Utagawa


Ireland, David


Judd, Donald


Kahlo, Frida

Kahn, Louis

Kiitsu, Suzuki

Klein, William

Klein, Yves


Lissitzky, El


Martin, Agnes

Matisse, Henri


Miró, Joan

Moore, Charles Lee


Nevelson, Louise

Noguchi, Isamu


Obata, Chiura

Oliveira, Nathan


Picasso, Pablo



Rauschenberg, Robert

Ray, Man

Rivera, Diego

Rothko, Mark


Siqueiros, David Alfaro

Siskind, Aaron

Skiold, Birgit

Soleri, Paolo


Talbot, William Fox

Twombly, Cy




Warhol, Andy

Wilfred, Thomas

Wright, Frank Loyd




Zapf, Hermann

(Off the internet, on rare occasion, there is another overlay.)

decrypting for david

The Anti-Archive

Starting late November of last year, I’d often find myself walking through the Mission District in San Francisco shortly after sunrise. The walk itself was seven blocks, and due to a combination of the topography and my obsessive desire for the most efficient route, I passed by the house on the south-west corner of 20th and Capp street a minimum of twice a day.

500 Capp street. It’s a faded two-story old home, across from Alioto Park. The exterior is matte gray, the kind of gray that looks to be rescued from painting the exterior of a Navy ship, battleship gray, uniform. There is a waist-high iron fence with an unlocked gate around the front entrance on Capp street, and all the first-floor windows facing the park on 20th are shuttered.

I walk by this house for weeks.

The first thing I notice about it was the faded lettering on the front window facing Capp street. Accordion, spelled out in a barely legible arc of deteriorated gold leaf.

Weeks later, I walk by late at night. The orange light-bulb outside by the front door is on, burning brightly. A bare phosphors bulb in a simple utility setting. Was this always on at night? I hadn’t noticed, and resolve to pay attention when passing by in the future.

Weeks go by. it turns out that the exterior light was not on all the time. Sometimes, it’s off, even late at night. Sometimes other lights are on in the building. A sign of life within?

More days, weeks pass.

One day, I am walking back earlier than usual. As I pass by the house, I unlatch the front gate on impulse, walk up to the door, and peer in through the glass. Inside, there is a bare plaster wall visible to the right of the door, with post-it notes of various colors stuck to it. A hat stand made of horns. A staircase leading up, made of wood, to the left. The interior lighting is markedly different in intensity, hue, and shape from contemporary fixtures, or what would normally be expected in a similar space. Something seems odd about the whole set-up, and I cannot help but be even more intrigued. It does not seem like a perfectly preserved historic house, full of period detail and slavish to the historical record. Something is amiss, even though the house is certainly old enough to delight historical preservationists.

I knock. Silence.

I knock again.

Silence again.

Over months, other things are revealed.

Late afternoon, on the days surrounding the weekend, the dice game from Alioto park migrates to the shade of 500 Capp street. People gather at the corner, and throw dice toward the house while joking in Spanish.

There is a window on the second story, facing the park. Standing on twentieth street by the gates of Alioto Park and facing  this window creates an interesting composition: looking into the house through this aperture shows some kind of table with a light made of horns, the horns protruding over the desk in a slinky manner, similar in form to live cats who peer out of other windows in other houses along Capp street on my runs through the Mission District. All eyes looking at me. Hunter, prey.

Also: a new piece of shiny galvanized metal pipe, improbably long, rising out of the back part of the lot. This seems to be a different structure than the house, a more recent add-on, or a old garage fallen into slight disrepair. There is a window, a triangle window beside two triangle dormers and it looks like this pipe intersects the window. All this intersecting geometry crystallizes into proof that old houses can have new pipes, which provides incalculable cheer.

From the roof of an adjacent structure, I gaze over at 500 Capp street and think: what’s on that roof? Some kind of structure. What has the owner done up on the roof, I wonder. Is it a lean-to? Rooftop greenhouse?

Who lives there. And what’s up with those post-it notes?

The answer is revealed unexpectedly.

Tom Marioni speaks off the top of his head at an event for the 50th year of Crown Point Press. He’s talking about David Ireland, his work on the back wall at the Museum of Conceptual Art, and maintenance art. That’s the beginning of his work on 500 Capp Street, he says.

This was the moment when I put together that artist I’d heard about in passing, David Ireland, with that house I’d been walking by for days, weeks, months: 500 Capp street.

That house.

That house with the cat sculpture at the desk overlooking the park, and the on-again, off-again lights, and the post-it notes by the door, the off-kilter vibe.

Eventually, the previous knocks are answered, and the front door of 500 Capp street swings open.

Inside the house.

A framed photo hangs on the wall in the entrance room, the oldest photo of the house. A photo of the house before the ravages of time: a beautiful tree in the backyard, the same elegant metal fence. The exterior of the house is slightly different: a door on the first floor 20th street side. Some windows. No adjacent outbuilding. Timeless elegance.

Light. Lights, lighting. Already noted as important on the outside, even more important on the inside. The light bulbs are phosphorous or silver mirrored. Most of the light fixtures upstairs seem to be original fixtures, but refinished, and double-hung, but hung with slightly different bulbs. Nothing matches, or perhaps the rare bulb matches. There is one circular fluorescent bulb, centred on the top of an exterior door on the second floor. There is a southern-facing skylight in a narrow, newly-created space adjacent to the stairwell on the second floor.

The windows often have the interior wood molding removed, showing a gap between the window frame and the rest of the plaster wall. The window shades go from the bottom of the window, to the top. The window treatments and support utilities are below, not above. Some of the shades are in a state of ruin, falling in irregular ways and with varying rope tension all the way to the floor. The reversed window treatments drive the Marin Headlands people bonkers, the curator says with a smile.

This is very typical, says the curator. He used to do this kind of stuff. He liked the light, wanted the light, and sometimes he wanted to walk around naked with some privacy, so window shade treatments that grew from the bottom, that echoed the pulleys and weights inside the window casing, were ideal.

I ask the curator: what is your favorite time to be in this space. Nighttime, she says.

Glass. He loved old glass, and so loved one century-old window pane that when it broke, he filled in the window pane with 5mm copper etching plates, and before he did so he recorded himself talking about the view, outside the window. There is a photo of the view, out the window. It’s completely different from what’s outside the window now, a church stood where Alioto Park is now, and as the participants look into the photo and our eyes go up Capp Street, we think we can see the back of the old movie theater, before catching sight of the 412 curved windows just before the photo’s vanishing point is reached.

Copper. Was important to David Ireland, for many factors. Used in printmaking. Used in electrical. Used in plumbing. Elemental, I say. Formed copper will last forever.

Cases and furniture filled with carefully-placed objects. Imprisoned inside furniture, there are cases with things inside of them, one on each floor. The things inside the cabinet upstairs include: a bottle of 100 year old water, from washing a 100 year old object. An implausibly large concrete sculpture, painted bright red, leaning nonchalantly against the back of the delicate antique cabinet. Next to it, smaller concrete in a natural color, some works on paper

Horn. Synthetic horn. A synthetic narwal horn. Luminescent, a beacon in the cabinet box. There are horns in the dining room downstairs, horns and a skull on the floor of the upstairs hallway, horns, horns, horns.

Concrete and wire.

There are concrete shapes all over the house. Some, affixed to the ceiling by the entryway. I call these satellites, and ask about them. They say: everybody asks about this.

Bag-cast concrete. Hand-molded concrete. Concrete on floors, in corners, with mirrors. Concrete used with electricity and lighting to make hybrid light/concrete/electrical sculpture. Clearly, if one considers electricity some generation’s new media, David Ireland was working in that generation’s new media. It’s as if he was working with electrical utilities in an alternate universe, with wires poking out of walls, with unfinished electrical outlets, ganged holes with some electrical, leftover holes int he floor from running electrical utilities. All the lights on the downstairs table have cast concrete bases, light switches explicitly noted with boxed terminals in the composition, simple no-fuss utility of construction, material, design.

Plaster. The walls have the same general idea as evidenced in later iterations of the same concept, ie Marin Headlands Rodeo room. Clearly, this resonates with Abigail and I since we’ve just spent months hand-chiseling paint off coved plaster ceilings, carefully stripping off wallpaper from ancient lime-coated plaster and adoring the faded yellows of aged plaster.

Type. Words. There are books. Scraps of paper affixed to the wall. Plaques installed in specific locations to commemorate the removal of a heavy safe, and the scrapes during the removal. And so on, for the removal of heavy industrial punch on the ground floor. Most of the hung art, if one looks closely, has type or letter forms. Some of the horn sculptures downstairs has a type component. Duchamp upstairs, Marioni downstairs. Downstairs, in the dining room, in a room of really incredible things, what do I look at? The Marioni beer bottle, and his MOCA print. Charming.

Time. He bought this in 1976, and worked for years and years to scrape down the walls, create the light and space desired. Year after year of perfecting a particular space, of refining rooms and spaces or destroying older, composed spaces and creating new spaces. What rooms are older? What’s newer? From personal experience, the bathrooms and kitchen areas are most malleable.

Archive. The accordion player who lived in the house before David Ireland bought it had a work room on the first floor, eventually filled with his horded items that were only gradually emptied out when David Ireland took possession. That room is currently not on the tour, doors remaining firmly shut for the duration. Inside is a room, filled with the horded personal items of David Ireland. The snake eats its tail. The impending seismic work, which was the determining factor for this tour: it is most probable that at least one wall, carefully refined to the most elemental and covered in an epoxied sheath, will crack or become ill-formed during the structural work. Will the walls be repaired? Or repaired to respect the crack? Will the small sign posted by this crack say, with appropriately small type: the structure has been secured. What of fire? A perpetual danger for a wooden house: at least two fires have been narrowly averted, in 1906 and 2007.  The roof structure remains a mystery, as does the excavated forms in the basement. This house seems to be always the outside, the viewer ever looking in.

There is some discussion, abbreviated and summarized here:

1) The high-gloss floors. Shiny floors. The photo of two wicker chairs, set on shiny shiny floors in front of the windows, shades down. The chairs were commissioned by David Ireland, and placed in front of the broom sculpture. This is the image used on the invite for the first NY art show featuring 500 Capp street. The floors are less reflective now, but will be restored to the original high-gloss finish.

2) Permitting. There’s something fascinating about the various rounds of historical surveys assessing 500 Capp street, and the story that this tells in the context of SF and the Historic Preservation and City Beautiful movements of the 1970s. Adaptive re-use? Adaptation? Something borrowed, something new.  I told one of the curators that I read the SFDBI permit for the seismic work, which was interesting and indicated the rebuilding of the outbuilding for an on-site curator or artist program. Clearly, the fire-damaged house next door is a better and more attractive choice for this. She indicated that the SFDBI inspectors or planning people picked her permit at their favorite of 2011, and had their annual party there. Hats off, I said. There’s some common rescue impulse between the initial purchase by David Ireland in the 1970s and the transfer to conservatorship in the 2000s. Pan pan, echoed across time. We discussed the 1976/1990 historical survey paperwork, and she indicated that there is a more recent one, that takes better note of the inherent architectural features of the house.

3) Fire. The recent fire of the adjacent buildings, the fire jump 500 Capp street but hit the two buildings to either side. One of which is damaged and now has squatters. Squatters living in the burned out shell next door sadly increase the probability of additional fire in the future. If then, what?

4) African travel, hunting, horn and trophy collecting. There is more African influence here than expected, from his travel and work.

5) Re-patriation of David Ireland work that has a strong context or relationship to 500 Capp street. They have one chair. Need another, perhaps can get it by acquisition or loan from SFMOMA? SFMOMA apparently has the broom sculpture.


500 Capp Street Foundation

Chinati Foundation

Judd Foundation 101 Spring Street

di Rosa

La Casa Azul


The White House

Conceptual Forms, Conceptual Cocktails

Le Classique, 2010

Photogravure, black ink on Somerset paper with plate mark and tone. 13 x 19″ (329 x 483mm).  Composition includes crop marks for A6 fill-in-the-blanks invitation, located at center-top of the plate.

This invitation reads:


Yes there will be booze.

Details Marked Below.


12   11   10   9   8   7   6   5   4   3   2   1


12   11   10   9   8   7   6   5   4   3   2   1



On the roof ____

With projection _____


San Francisco, CA


Also present in the composition, are registration lines and fades. As part of the registration, centered on the text for the invitation, is the following production metadata:


Ask me how. Email printer@gnu.org and cc bkoz@gnu.org.

Underneath this in very small type there appears to be a mis-print, or type overlay. It is repeated, with some overprints, and says:

Then tell me how you did it!


This is the first part of what was assumed to be a triptych composed of three etchings, all the same size. These were done half-way through the July 2010 Photogravure workshop at Crown Point Press, and etched and printed later in the summer and early autumn by Emily York. The workshop instructor was Emily York, with Asa Muir-Harmony. Attendees were Benjamin De Kosnik, Chayo de Chavez, Jay Dee Dearness, and Carolyn Dodds.

The three etchings are: Le Classique, Conceptual Cocktail, and a yet-unfinished piece that I call List Form. Plus one idea for another form, called SHOUT! All these engravings are arranged somehow on a wall, and also some kind of archival media that contains all the digital files used in the production of the plates is either attached to the back of the prints or otherwise incorporated into the display. In the summer of 2010, the archive consisted of a data DVD with outlines in Inkscape SVG files and TIFF files for photos, along with detailed system documentation for a linux print production workstation.  I did some cool drips on the DVDs with metallic ink to signify that they were ART, not DATA. That was what was attempted, at least. Now this part would probably be a folder on Dropbox and some links.

This is how I’d been looking at it for most of last year:

Le Classique, 2010

Conceptual Cocktail, 2010

List Form Plans, 2010

SHOUT! Idea, 2011

Production files for the third conceptual form, List Form, exist but have not yet been printed. This is in collaboration with Tomiyoshi Tsukada and is photogravure, guilloche, scanner-art with a three-layer silver overlay of text and fades.

There was another version of these prints conceptualized. It involved engraving a version of this with kif ink, presenting said version to John Gilmore in collaboration with Roland McGrath, and getting invited to James Turrell‘s Roden Crater. I’d like to think this version is still in development, but is admittedly a long shot.

These prints are very dear to me. But have largely defied any coherent explanation. Below is my latest attempt. Hopefully the passing of time has made it easier to explain what I was going for here.

This project is an investigation into printing forms and methodologies.

For the form experiments, I thought of printed matter, and tried to categorize them into distinct types or forms.

The first two etchings, Le Classique and Conceptual Cocktail, are examples of one of the most endearing and essential forms of printed communication, the invitation. This invitation is to an imaginary party. The third etching, List Form, is an example of another classic form of printed communication, the list. Grocery lists, to-do-lists, etc. The forth etching, SHOUT!, is an example of protest communication, the classic form for getting attention.

For the methodology experiments, I was trying to get at the essence of printed matter through the centuries, and the specialized knowledge and tools necessary to produce fine works on paper. Often, this knowledge is lost. Exact descriptions of some of the early photographic processes are lost forever. Hot type, ditched. Film pre-press, gone. Distressingly, digital files used in the production of works less than ten years old can become obsolete and rendered useless by proprietary format, abandoned products, and the inability to transfer/convert to newer production methods.

Influenced by the production methodologies of the free software movement, (started by Richard Stallman trying to freely communicate with a printer), I created a reference platform for the archiving of print production, based on the free/open source linux operating system and applicable tools, transforming proprietary curves used in the production of photogravure with free intellectual property. And a documentation system for production notes. Then, I used these files to create a reference print. The final step was to then attempt to dethrone this canonized static object, by inviting other participating printers to use these files to create this or altered works, and send me a copy, with documentation on how they got the print so that I could incorporate any new techniques.

Chayo Chavez indicated that this is a way to explain the free-software movement to art people, using their terminology. I considered this a pleasant by-product of the experiment.

As such, I expect this project to be ever-unfinished. But always worthwhile.

As Shown

Conceptual Cocktail, as above but in a swank frame, will be shown as part of “Traces, Marks, Fragments” at the San Luis Obispo Museum of Art (SLOMA) January 20th-February 26, 2012. This is a show juried by Sandow Birk.

Of Interest

Hiroshi Sugimoto, Conceptual Forms, as seen at Altalier Brancusi, Paris, 2006
Man Ray, Objet Mathematique, 1934-36
Edward Ruscha, Stains, 1971-75
Richard Stallman, The GNU Manifesto, 1985

Piracy Project, Counterfeit Passport Plates

Piracy Project, Counterfeit Passport Plates, 2011

Set of six etched plates. Plates are steel-faced 5mm copper, each measuring 127mm by 177.8mm (5×7″ imperial). Impressions unknown, plate condition excellent, each has hand-scratched orientation arrows on the back made with a sharp tool. Two plates have landscape photogravure, three plates have security guilloche printing, one plate has identity and biometric grids with text. Text inscription reads: “United States of Sharing”. Name appears as Asta De Kosnik, but the information is not complete. Photo not present, signature not present. There also appears to be space for left/right thumb and finger prints: all missing. Perhaps this identifying information was on a lost plate.


Of Interest:

Louise Nevelson, The Night Sounds, 1972. Pace Prints

Louise Nevelson, Night Tree, 1972

NASA, Voyager Golden Record, 1977

NASA, Pioneer Plaque, 1972

United Nations laissez-passer

Stephanie Syjuco, Syjuco on counterfeit, 2010

Anti-MFA Art Project

Whereby one lucky individual is allocated the sum total of one year of expenses for a for-profit MFA program. For 2011, the AMAP project is budgeted $38K USD, based on SFAI and an assumed cost of living for San Francisco, CA.

These funds can be used only for art production or acquisition. Keep all receipts, and categorize expenses as per Getty taxonomy.

At the end of the year, total up the amount spent and art processed. Based on these experiences, create installation for display on site of a MFA-granting institution.


Hennesy Youngman, Art Thoughtz: Grad School

Hennesy Youngman, Art Thoughtz: Performance Art

Creative Capital