““discrete affair”_FIC VA503+ jumpers_+gear +unix”
Pay-per-click is a form of online marketing in which advertisers pay an amount of money (fixed or determined by auction) when users click their ads to visit their website. Advertisers bid on the perceived value of a click in relation to the combination of keywords that an user employs such as “car rental”. Searching engines like Google are becoming the ultimate philosophical machine1 which regulates our dialogue with the world. In this way, individual words have gained power over grammatical constructions. As in plant reproduction, these words are packaged in a seed and used as an agent of dispersal through digital cut-and-paste actions on the internet. If thought corrupts language, then language can also corrupt thought. “Latte near me”.
“DEATHKARZ “australia” and “songlines” and “dreamtime”_102.1”
I saw Mondrian’s early work, paintings of flowers. Well, that sort of stuck in the back of my mind ever since: spring-time blossom. Why did he paint flowers for most of his life? On the Guggenheim’s website collection there it says that reflecting on his attraction to the subject, he wrote, “I find flowers beautiful in their exterior beauty yet there is hidden within a deeper beauty”2… It is also in these paintings that he began to employ techniques such as passage. Patch- like brushwork that breaks up the contours that seem to define two-dimensional forms, in a way that surfaces appear to flow together, blurring the distinction between solid form and surrounding space. Over a century later, using Photoshop in elaborating a painting resonates with former avant-garde methodologies. It allows for an extremely fluid means by which to produce new hybrid textures and to multiply endlessly the number of possible outcomes.
Let’s introduce a joke that accompanies the next argument: “If you think colours aren’t funny… then you lack a sense of hue-mour”. 😛
The eyes are most sensitive to red. Red has the longest wave length of the colours visible to the human eye whereas violet has the shortest (remember the acronym VIBGYOR to recall the order of seven colours in the spectrum of white light). If you look at this painting from far away, dust, moist and other elements in the gallery’s atmosphere will interact with the daylight as it travels to your eye. These interferences tend to diminish the strength of the light, a sort of glitch in our visual system. But red adapts the eye for the dark. Infra-red. “As a transparency, it is a mask in a way, filtering light, dramatically altering the perception of the piece, the writing, the composition”.
A hypertext is defined by the RAE as a system of data organisation based on the linking of text or graphic fragments to other fragments, which allows the user to access the information not necessarily in a sequential way but from any of the different related items. To stage painting as a discursive, fragmented medium makes it possible for single connecting threads to be assembled into a woven interconnectedness in which strength of connection derives from the partial overlapping of many different strands of connectedness (oil, pencil, marker, inkjet transparency, film gel, tape, collage on paper). It has suddenly become obvious that no topic neither image is as regular and simple as was once assumed.
1. As suggested by Boris Groys in the essay “Google: Words beyond Grammar” published for Documenta 13, 2012.
2. https://www.guggenheim.org/artwork/2999. Retrieved October 3, 2020.
Marc Horowitz (1976, Columbus, Ohio) is a Los Angeles-based artist whose practice takes form in painting, performance, video, and photography, along with an innovative social practice that highlights his experience in marketing. Equal parts postmodern and post-internet, Horowitz collages and manipulates images and objects – ultimately radically recontextualizing signifiers of historical and contemporary American culture. Referencing Francis Picabia as much as Mike Kelley, Horowitz creates a diverse but singular visual universe which aesthetically folds in on itself in unexpected and visionary ways.
Solo exhibitions include: Diagrams for Living, No Gallery, Los Angeles, CA (2020); Time Pools, Mindy Solomon Gallery, Miami, FL (2020); Nothing on the other side of the slash, Johannes Vogt, New York, NY (2019) and Thank you. That was quite illuminating, COMA Gallery, Sydney, Australia (2016). Group exhibitions include: Please Touch the Art, Utah Museum of Contemporary Art, Salt Lake City, UT (2020); Bodega Imprimatur, Face Guts, Los Angeles, CA (2019); A Store Show, Odd Ark, Los Angeles, CA (2019); The Barn Show, Johannes Vogt, East Hampton, NY (2018) and CA TROPICAL PUNCH Galarie Nathalie Halgand, Vienna, Austria (2016).
His works are in the collections of the Fondation Louis Vuitton, Getty Collection, Berggreun Collection, Hayward Gallery, Susan and Michael Hort, Beth DeWood, Jorge Perez, White Rabbit Gallery, Serge and Ian Krawiecki Gazes, Carole Server and Oliver Frankel.
Petra Cortright’s core practice is the creation and distribution of digital and physical images using consumer or corporate softwares. She became renowned for making self-portrait videos that use her computer’s webcam and default effects tools, which she would then upload to YouTube and caption with spam text. Cortright’s paintings on aluminum, linen, paper, or acrylic are created in Photoshop using painting software and appropriated images, icons, and marks. They become finite, yet their range of motifs and marks, and their disorienting perspectives and dimensions suggest dynamic change.
Petra Cortright (Santa Bárbara, California, 1986) is based in Los Angeles. She studied Fine Arts at Parsons School of Design, The New School, New York, NY (2008). Selected solo exhibitions include borderline aurora borealis. team, Gallery, inc, New York (2020); LUCKY DUCK LIGHTS OUT, 1301 PE, Los Ángeles (2019); Computer Paintings on Linen, Galeria Duarte Sequeira, Braga, Portugal (2019) and PLATINUM BLONDE BLACK KNIGHT, Société, Berlin, Germany (2018). Group exhibitions include: .paint, MCA, Chicago, IL (2020); The Body Electric, Walker Art Center, Minneapolis, MN,; Dirty Protest: Selections from the Hammer, Hammer Museum, Los Angeles, CA; Hate Speech: Aggression and Imitation, Künstlerhaus, Halle für Kunst & Medien, Graz, Austria (all 2019) and Electronic Superhighway, Whitechapel Gallery, London, UK (2016).
Cortright’s works are in the permanent collections of The Museum of Modern Art, New York; The Péréz Museum, Miami; LACMA; Hammer Museum, Los Angeles; Moderna Museet, Stockholm; MOCA Los Angeles; Rhizome’s Net Art Anthology; MOTI, Breda, in collaboration with Stedelijk Museum, Amsterdam; MCA Chicago; Kadist Foundation, Paris, San Francisco; BAMPFA, Berkeley, CA; San Jose Museum of Art, San Jose and MOCA Los Angeles.