Dennis Dawson'Over Under Sideways Down' at Frosch & Co. I am always a sucker for an expansive series of serial investigations. The limitations of format expand possibilities of individual investigations, forming a broader cohesive statement than any single work.

A Tree in Naples http://www.moma.org/collection/works/80116

My favorite David Novros #painting at Paula Cooper Gallery. Subtle color interactions within complex joinery. The tension of shape and negative space are in balance with traditional rectangle of painting. Untitled, 2024 oil on canvas 15 panels, overall: 96 x 126 in.

Between #drawing, #painting & #sculpture; between process, material, and landscape. Merrill Wagner Cat’s Cradle, 1989 Oil pastel, sewing thread, sewing hooks, steel, and slate in three (3) parts 42 × 69 inches

Merrill Wagner, two Untitled #drawing incorporating masking tape and pencil on paper.

Idiosyncratic progression, exploring material possibilities beyond #painting: Merrill Wagner Untitled, 1979 Oil and cloth tape on plexiglass in four (4) parts Each: 40 × 40 inches In Merrill Wagner: Marking Time at David Zwirner Gallery

Merrill Wagner: Marking Time at @davidzwirner. I love the combination of heavy steel and #painting. “Coast” “Untitled (Study)”

2 very interesting shows of #minimalist #painting up in NYC right now: David Novros at Paula Cooper Gallery and Merrill Wagner: Marking Time at David Zwirner. Both are less well known than they deserve to be, and make use of a complex integration of faceted supports and specifically keyed color.

Another #drawing that is inspired by the doubling in Pynchon’s #GravitysRainbow. This started with the same@structure as MP 38, experimenting with different materials for block text; playing with the division of the character and actor/ Hollywood star Mindless Pleasures 46

#Drawing as a study of contested territory. Pynchon’s zone as a mechanism driving the fragmentation of geography in the service of something more sinister. Mindless Pleasures 45 12” x 9” Mixed media, epoxy, #collage, and collage transfer on paper 2020 #art #contemporaryart #abstractart

Format comparison: #drawing as measure, #film sprocket as a trace of time. Mindless Pleasures 43 12” x 9” Mixed media on paper. 2020

Go make some good trouble today. 💚

#Drawing as notation and continuing exploration of variation. Using the same text and handwriting as MP 41, rotated and in grisaille. Mindless Pleasures 42 12” x 9” Mixed media and epoxy on paper. 2020

#Text broken into linked fragments; abstraction via erasure. Revisiting the text from Mindless Pleasures 35 to construct a very different drawing. A different journey despite the same start & map. Mindless Pleasures 41 12” x 9” Mixed media and epoxy on paper. 2019

Nice, send a pic of yours along when it’s ready to share.

Naming #drawing, linking The Plainsman with half-brothers driving the search for Rocket Zero in Gravity’s Rainbow Mindless Pleasures 40 12” x 9” Mixed media and epoxy on paper. 2019

Naming as #drawing. Mindless Pleasures 38

Watch Stalker, Andrei Tarkovsky’s Mind-Bending Masterpiece Free Online

Picking 1 artwork from the captivating Dorthea Rockburne exhibition ‘Time Measures Itself’ at David Nolan Gallery: “2, 4, 6, 8” 1969/70 graphite on brown paper

The USPS IS NOT LOSING MONEY. THE USPS IS SPENDING TAX DOLLARS ALLOCATED TO IT BY THE BUDGET. THE USPS SHOULD NOT BE REQUIRED TO ZERO OUT ITS BALANCE SHEET IT IS NOT A BUSINESS IT DOES NOT HAVE SHAREHOLDERS. IF THE USPS IS OUTSPENDING ITS BUDGET IT SHOULD BE ALLOCATED MORE BUDGET.

Nice

I very much enjoyed “Seeing Silence: The Paintings of Helene Schjerfbeck” at @metmuseum. Quiet painting from an often isolated figure, working through the implications of modernism on her own. “The Door”, 1884 reminds me of “Green Apples and Champagne Glass”,1934

hey if "the economy" is completely decoupled from the welfare of the people, WHAT IS THE FUCKING POINT OF THE ECONOMY

Found mandala, the centering an axial structure around the void of 0.

Glyph #drawing: alignment of letterforms, erased handwriting set against stencil fragments. #art #contemporaryart #abstractart #textart

Wall #drawing: handwritten letterforms worn away by material additions to the paper. #art #contemporanyart #abstractart #graphitti

#Drawing as repetition and variation on a structure; layering #film edges (sprocket holes), layering handwritten and stenciled text. #art #abstractart #contemporaryart

#Drawing as repetition: mapping travel, crossing & repeating landmarks. Hickok crossing Calvary & Calamity. I was not satisfied with Mindless Pleasures 23, so started with the similar structure to organize the text & pallet, ultimately adding new elements & complexity.

#Drawing inspired by film, mechanics and practice. Alternating projection of light & dark, the historic personage of Wild Bill Hickok becomes a character player by Gary Cooper.

Ratios: #drawing to measure film stocks.

Drawing as a ratchet of time; film tracking the flight of a rocket in 24 frames per second.

Drawing & collage as exploration of buried histories, the entropy of place. #art #abstractart #contemporaryart

Countdown #drawing, film lead and V2 launch.

an old writer—of whose works I possess the only copy extant

Thanks to Artsy.com for including my work in an article on extremely vertical paintings. I’ve been thinking about my consistent return to that attenuated format, and the influence of artists, like John Duff, with a similar formal exploration.

Michelle Stuart, Nazca Lines Star Chart and Nazca Lines Southern Hemisphere Constellation Chart Correlation, 1981-82 https://botfrens.com/collections/14377/contents/1135198

Drawing as a comparison between characters, looking at deep sources for Pynchon’s Gravity’s Rainbow: Calamity Jane and katje Borgesius.

Revisiting previous information, combining historic dates with a new drawing structure and the allure of the materiality of a “silver screen.” 16.11.36 - ‘The Plainsman’ released 16.12.44 - V2 rocket strike on the Rex cinema

I mean

Drawing as a study of material & colorfield variation; 35mm film aperture & sprocket holes as the template for color shifts.

Measurement drawing; comparing aspect ratios of film stock. #art

Text layered to generate a shifting colorfield within the drawing.

A drawing of irregular sets: numbers as the generator of abstraction. Dates for the V2 rocket strike on the Rex Cinema & the original release of de Mille’s ‘The Plainsman’; set in comparison to the aspect ratio of the film.

Process drawing integrating handwritten text and material signifiers of film. The composition was altered by the misspelling of “Latimer”, and the double-‘T’ correction to lock the surface & echo the abstraction of sprocket holes.

Found Guyton (sidewalk sculpture).

Drawing as a persona comparison from ‘The Plainsman’: Gary Cooper reads more as “Gary Cooper, cowboy”than as the historic personage of Wild Bill Hickok. By contrast, the villain Lattimer, portrayed by Charles Bickford, is not as iconic.

Zohran Mamdani doing governance, not theatrics. Schools open, workers respected, kids reassured with humor not fear. Competence plus humanity is what leadership looks like. This is how you earn trust, not demand it.

This is a turning point for the series (a year later), as I started looking at the foundation of Gravity’s Rainbow. The V2 bombing of the Rex Cinema was a touchstone for Pynchon’s novel; that cinema was playing the Cecil B Demille western ‘The Plainsman.’

Continuing a #drawing/ colorfield #painting based on #film as material. #art