As longtime readers will have surmised by now, Coilhouse has an excruciating artcrush on the entireJoslin clan. Gah! Hurts so good!
Just a quick head up to our readers in California: Jared Joslin’s latest exhibition, The Illusionists, opened tonight at George Billis Gallery in Los Angeles. Channeling 1930s circus and carnival imagery, the ghostly allure of abandoned amusement parks, and the dusty stillness of velvet draped parlors, Jared’s series of new paintings conjure the conjurers.
Jared’s wife, Jessica, whose own work was our biggest feature in Coilhouse Issue #01 (and who has since joined our staff roster, YIPPEEEEE) has been raving about this series for a while now:
This man is a magician. I’ve watched as each of these images has emerged, piece by piece, out of a pure white canvas. Once the eyes appear, they seem to take on a breathing life of their own. When they are finished, I can almost smell the air. In Shooting Gallery, it’s candied apples, popcorn, sawdust and the sharp tang of gun powder. In Fortune Teller, it’s incense and fading flowers, with a whiff of hay from a distant circus on the wind. Each piece brings you to a world that is seemingly of the past, yet so vividly rendered that it is timeless in its emotional resonance.
Mmmrrr. I’d give anything to see these in person. The Illusionists show also includes Carol Golemboski’s dreamy black and white photographs, and the mysterious photo montages of Liz Huston’s. Catch it between November 7th and December 19th at George Billis Gallery. Congrats, Jared!
Another week comes to a close here at the catacombs. Once again on I am on 24 hour lock down as my lithe and mysterious superiors sequester themselves in the lower levels to commune with the Ogdru Jahad in preparation for the dissemination of horrible and blasphemous texts. This isn’t as much of an inconvenience as one might think, as my movements are usually kept to a mere three hours outside of my cell. The current situation just means that I have to call for a eunuch in order to send faxes or make copies. It’s really not that bad, though it does mean that I know longer have access to the aging and, admittedly understocked vending machines. This may be a good thing. It really depends on how you feel about consuming soda past it’s sell-by date I suppose.
Besides, I still have the internet to keep me company, entertain me when I’m bored, and distract me from the horrible chanting and voices from outside time and space emanating from caverns miles beneath me. To that end the Friday Afternoon Movie presents the BBC Channel 5 program David Icke: Was He Right?, detailing the history of the chief crusader against the alien lizard people who control the world, who previously had gone on television to declare he was the son of God, and looking at whether or not he may, in fact, be correct in his various, outlandish assertions about What Is Really Going On. Icke has made an appearance on the FAM before, but I think it’s well worth further exploring his theories, because they’re just so damn crazy. There’s almost a perfection to his insanity, as to ignore it is to let him carry on about alien lizard people controlling the world but to argue it is to acknowledge the idea of alien lizard people who control the world. Either way, David Icke has won. In that regard, the man is a genius. In every other, he is endlessly entertaining.
With Sesame Street celebrating its 40th birthday this week, many blogs are reflecting on the show’s greatest moments. While most of these lists celebrate the show’s charm and humor, Sesame Street should also be honored for its commitment to social issues. Last week, SocImages uncovered this touching clip from the 1970s:
Gwen puts the above segment with Jesse Jackson, titled “I Am Somebody,” in the following context:
In the early 1980s the Reagan Administration engaged in an active campaign to demonize welfare and welfare recipients. Those who received public assistance were depicted as lazy free-loaders who burdened good, hard-working taxpayers. Race and gender played major parts in this framing of public assistance: the image of the “welfare queen” depicted those on welfare as lazy, promiscuous women who used their reproductive ability to have more children and thus get more welfare. This woman was implicitly African American, such as the woman in an anecdote Reagan told during his 1976 campaign (and repeated frequently) of a “welfare queen” on the South Side of Chicago who supposedly drove to the welfare office to get her check in an expensive Cadillac (whether he had actually encountered any such woman, as he claimed, was of course irrelevant).
The campaign was incredibly successful: once welfare recipients were depicted as lazy, promiscuous Black women sponging off of (White) taxpayers, public support for welfare programs declined. Abby K. recently found an old Sesame Street segment called “I Am Somebody.” Jesse Jackson leads a group of children in an affirmation that they are “somebody,” and specifically includes the lines “I may be poor” and “I may be on welfare” … I realized just how effective the demonization of welfare has been when I was actually shocked to hear kids, in a show targeted at other kids, being led in a chant that said being poor or on welfare shouldn’t be shameful and did not reduce their worth as human beings. Can you imagine a TV show, even on PBS, putting something like this on the air today?
In response to Gwen’s post, SocImages reader Ben Spigel agues that Sesame Street would not shy away from doing something like this even today. He writes, “the Children’s Workshop, which produces all the Sesame Streets, has been very proactive in dealing with contemporary social issues. For example, they produce an Israeli-Palestinian version of Sesame Street, and their HIV-positive muppet for the South African version. In the American version, there was the very public change in Cookie Monster’s eating habits.”
The Palestinian version of Sesame Street, titled Shara’a Simsim, dates back to 1996 – an archived NYT article from that time chronicles the show’s tense beginnings. Since the show’s initial concepting phase, there existed a debate among the producers as to what kind of approach to take. Would it be unrealistic to show a world in which Israeli and Palestinian children played together? Yes, they decided – for the time being. In 2002, the show producers’ complex quandaries were revisited by the New York Times in the wake of 9/11. Now in its fourth season, Shara’a Simsim is a popular show for children that places an emphasis on giving children positive role models. On the Sesame Street Workshop site devoted to Shara’a Simsim, executive producer Daoud Kuttab (who you’ll remember from both the 1996 and 2002 NYT articles!) says, “giving children hope would be a major accomplishment.” And here’s a clip:
I am loving the work of Michelle Duckworth. Her pieces are beautiful in their simplicity, depicting strange worlds full of bizarre beasts equal parts human and animal. Her style is what really nails the whole thing together, featuring a clean, uniformity of line that calls to mind a woodblock print combined with a modern, cartoonish sensibility and a gorgeous, muted palette. She recently won a bookplate contest over at the always interesting A Journey Round My Skull and it’s easy to see why Will made the choice he did. Her style is almost tailor-made for the idea.
Watching these guys do their thing is like drinking a beaming cup of liquid joy! Many of you will recall their video, 1 WEEK(which went ultra-viral back in 2006), and subsequent video offerings. R.E.’s creative philosophy seems to be one of cheerful detachment and organic/anarchic teamwork. They favor process over result, flux over permanency:
Instead of focusing on the finished project, we believe the process of creation itself is where art comes to life and our videos and live art aim to engage our audience in that process. Many people ask us how we can stand to erase the artwork we have worked so hard to create, but our focus is on the process of making art, not the end result. The good news is that the videos we make become a permanent record of the spontaneous artworks created during the filming.
This emphasis on non-permanency is reminiscent of Andy Goldsworthy‘s “nature sculptures”, Julian Beever‘s sidewalk trompe-l’oeils, the SRL/Black Rocky City ethos of building epic artworks and destroying them upon completion, any number of public “temp installation” programs cropping up worldwide, and every perfect sandcastle ever built at the beach during low tide, only to be destroyed by the rising breakers.
Rinpa Eshidan now offers a full DVD of their various time-lapse performance pieces available at high res, just email them for purchase info. Several more video clips after the jump.
I was torn over this post. You see, I’ve been suffering a bit of a blogging identity crisis. More and more I feel like I’m becoming “That guy who finds stuff on YouTube” which is fine, I suppose, if you’re looking to make a career as a human search engine, but maybe not so much if you’re trying to become a well rounded writer. On the other hand, human search engine could be an unfilled niche; something I could get into on the ground floor. Something less disastrous than my forays into hardcore mollusc pornography and fish whispering.
But enough about my self-doubts. It would behoove you all to watch Patrick Duffy and the Crab starting with the episode above in which Patrick and the crab discuss their first forays into the sexual arena. It’s full of insights into the worlds of fame, sex and the cultural fascination with the sexually predatory older woman. There’s a good reason for it, and it has nothing to do with sex.
Coilhouse is pleased to introduce a new project by Jeff Wengrofsky (Agent Double Oh No). Jeff explains: “The Syndicate of Human Image Traffickers (SHIT) is an independent film production nexus whose mission is to provide exposure to art, cialis artists, movements, events, and organizations that we believe are unusual, timely, and provoking. Our current project is a series of short (10 minute) documentary films that examine the politics and aporias of creativity. “The Gospel According to Reverend Billy” is the first in this series. It is being published on the Coilhouse blog and is very much an extension of my work for you folks. We hope to web publish a little film once a month until the close of 2010.”
“Man is born free, but he is everywhere in chains.” – Rousseau
The prime, often countervailing logics of 21st century America – capitalism and democracy – seem dangerously out of balance today. Meanwhile, vestigial factors, like Puritanism, sometimes affect public life in surprising ways. Since the Giuliani years, America’s largest city – New York – has seen lower crime, infrastructural investments, an infusion of capital, a proliferation of chain stores, a vast profusion of surveillance devices and, perhaps, the general evisceration of democracy. Just recently, Mayor Michael Bloomberg ignored widespread opposition to the construction of two billion dollar stadiums and the much-maligned Atlantic Yards construction project. More egregiously, he bullied our City Council into overturning a term limits law that had been passed fifteen years earlier by public referendum. Now running for his third term, Bloomberg’s campaign war chest has intimidated all prominent Democratic challengers.
As politics appears as (yet another) massively-financed spectacle of buzzwords, scandals, outsized personas and deep psychology, is it possible to enter the political fray without selling your soul? Can you get the attention of the public eye by taking on an identity at once striking and also familiar to our public culture? Fifteen years ago, William Talen began the process of becoming a New Yorker and re-inventing himself as “Reverend Billy.” Today, armed with this identity, he enters churches of consumption – like the Disney store in Times Square – to project a powerful message opposing corporate retail, a culture of consumerism, and the encroachment of our public spaces.
Reverend Billy’s charisma, energy, and smarts have gathered him a gospel choir, the attention of CNN, a documentary film by Morgan Spurlock, and now the nomination of New York’s Green Party for the 2009 mayoral race. Reverend Billy combines a Nixonian charm with the overly stylized tropes of a preacher, and, perhaps as prime mover, a rich Calvinist heritage. America has a long history of Calvinist preachers – you may know them as “Puritans” – who rail against impure desires, “the moneychangers,” and fret mightily for the souls of their congregants.
COILHOUSE: Words like “community” and “neighborhood” have a special resonance for your choir. Are you a New Yorker? REVEREND BILLY: I grew up in Watertown, South Dakota and Rochester, Minnesota, and I always dreamed of being a New Yorker, the way you can dream of New York on the prairie. When the satellites would go up across the night sky, I used to think they were New York City flying through space. I first moved here in 1974, stayed a couple of years. Moved back again in the early 80s and, for a longer period of time, in the late 80s. I was like a hitchhiker, I would come and crash in the Lower East Side. In March of 1994, I don’t know why exactly, my commitment became permanent.
Do you feel like a New Yorker?
I do now because I perform in so many neighborhoods. I marry, baptize and bury New Yorkers in so many different boroughs. We – me and Savitri and the choir – some of us were born here and many of us are immigrants, we like the idea of a homemade spirituality that does not necessarily come from an organized religion. That idea became a New York idea after 9-11. Many of us gathered in rooms. The Reverend Billy idea of a different God or Goddess every day with another name, staying out of trouble with deities that cause us to kill each other, that kind of fellowship, I needed it, too.
Nothing says Malevolent Psychopomp of Satan quite like a pair of Reebok high-tops. Unless it’s biker shorts. Or a puffy ponytail.
I quail before his magnificence. It’s no wonder that cop took one look at the proceedings and tucked tail.
Sadly, little is known of the circumstances and origins of this clip. The YouTuber who uploaded it says “I got this randomly placed on a tape a dude sent me once. I’m still trying to figure out what’s going on here, as in where the rest of the band is.”
Band schmand. This guy doesn’t need backup. Whatever his solo rendition of “KILL EVERYONE” may lack in instrumentation (or tonality, or lyricism), it more than makes up for in conviction. Plus, he’s got the entire audience providing the chorus for his instant club hit, “I HATE EVERYONE”.
