Repost: People applauding commuters in Port Authority

Repost Link from Youtube

Aesthetic Thursday: Bradley Rubenstein

Bradley Rubenstein, Unititled (Girl with Puppy Dog Eyes), 1996

What Is The Gotcha! in This Photograph?
At first I see this image as a brash conceit. All art is a conceit - right? - but this image forces me to see the conceit, to see that it's a mash-up. Maybe I am troubled because I have this ontological conviction that a photograph tells me something about reality. Maybe so. But maybe the reality that I am seeing is not so conceitful as I first think. What is going on here? Through the use of digital manipulation puppy dog eyes are inserted into a girl's eyes.

I Like Images That Make Me Re-Think What I am Seeing
I like images that ask me to question the image, to make me consider its mode of production. How did the artist do this? What was his method? I suppose this is Rubenstein's point. By making me aware of how this particular image was produced I am struck by another possibility - the genetic manipulation that would be required to produce a real girl born with puppy dog eyes. Rubenstein is playing with conceit to alert us to the biogenetic possibility that what we see as conceit could become a reality. What if someone decided that little girls and little puppies are a desirable combination? Is what we see in the art an image of a possible future? 

Two Paragons of Cuteness: Kids and Puppies
On the placard, a museum curator has written this, "Merging two paragons of cuteness—kids and puppies—into unsettling hybrids, the artist offers an eerie forewarning of the transgressive potential of genetic manipulation." Where is the transgression? In imagining such mutations? Is the point that the degrees that separate the photoshop touch-up from the biogenetic not that far apart? Perhaps. Maybe the most unsettling aspect of Rubenstein's photographs is that he is telling us we have already arrived at this stage - we are just waiting for the biotechnology to catch up. I think I need to go watch Bladerunner and re-read Kazuo Ishiguro's When We Were Orphans.

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Image: Metropolitan Museum of Art

Aesthetic Thursday: Matthew Jensen's "49 States"

Matthew Jensen, The 49 States, 2008-9

Google Streetview in Art
I am addicted to Google Street View. I am going to Philadelphia this weekend and I have already seen on Street View what the hotel will look like, what the front of a restaurant I want to have lunch at looks like — all as if I will have already "done" the trip before I even go. Someone else has already been there. Someone has already snapped a photograph. There is nothing new under the sun. But I like what Matthew Jensen has done in the Metropolitan Museum of Art display of his work — he has taken a collage of images from Google Street View and organized them alphabetically according to State (e.g., the fifty states of the United States).

Jensen's Work at the Met Reminds Me of the Iconic American Road Trip
Seeing Jensen's work at the Met, as part of an exhibit on contemporary photography, I think of travel, the association Americans have with the road trip and snapping pictures. What is a road trip without a camera? Now that we have Google to take our snapshots for us maybe the camera is dead on the road. *sad face*. The images Jensen has collected are absent individuals but it seems easy enough to insert a human being into each State's slot. Look, there is me in New York. There is me in Connecticut. I look at my home state of Louisiana and compare it to Wisconsin. They both seem the same — and taken as a whole the image captures a unity of sorts, the kind of unity I get when traveling on the interstate where every exit is the same as the ones that came before it and all the ones ahead will look the same and so on. Is this a new American flag? Maybe so.

Stray Observations:

• Why are there only forty-nine states in Jensen's collage? I did not have time to figure out what state is missing.
• Did Google allow Jensen to use their images?
• I feel like Jensen's work would be better if every picture in the series included a person whose face is blurred out.
• I want this piece to hang in a doctor's office.

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Found Objects: Jean-Paul Sartre Found On Construction Signage

In this post, I look at a sign that is supposed to be one thing, but looked at through the lens of existentialism means something else entirely.

This sign is on a fence meant to direct visitors to the 9/11 Memorial in Lower Manhattan away from construction on the new transportation hub for the PATH train at the World Trade Center Site.

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Video Repost: Nick At Nite Those TV Classics!

This is a clip from a Nick at Nite promo: "Those TV Classics!" 

I think lots of people from my generation will remember this advertisement.

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Aesthetic Thursday: Eva Hesse at the Whitney Museum of Art

Eva Hesse, No Title, 1970

I like to go to the Whitney to experience one artist's work — and that is it. The Whitney does a good job of showcasing one work by one artist in a collection of works dedicated to several artists' work. Here is Eva Hesse's sculptural evocation  — I call it an evocation of a sculpture because I am not sure if it is a sculpture or something else. Rope suspended from the ceiling in what appears to be haphazard, but on closer inspection, the organization of rope is purposeful, designed. Hanging rope. Hanging garden. Hanging. The feeling I get standing, hanging, hanging around, flapping my arms, my body, in space — this is how this piece makes me feel.

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Image: Whitney Museum of Art

Photographs: "Train Station" and "Orange Train"

"Train Station"

Orange Train

In this post, I showcase two photographs on a recent trip I took on the Amtrak Crescent — a heavy passenger train that travels from New York City to New Orleans daily.

image credit: Greig Roselli

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