Tuesday, October 28, 2008
(I wrote this statement for my 2008 show at the Q-Club pool hall in Berlin, curated by Anna Schaedlich, which featured 15 "Ball Dolls": Wall Dolls holding one billiard ball each.)
I don’t know much about billiards. I do know that the balls are smooth and heavy and the felt they glide over is soft, strong and fibrous. It pleases my sensuality to see the different ball colors, the painted shapes and numbers. It pleases me to envision the touching point between the ball and the felt. It pleases me to hear the clicking noises when cue, balls, and pool table meet during a game.
The player, when he or she enters the scene, infuses the inert physical elements with abstract energy. The player sets the elements in motion and changes the physical relations between them. It is the player’s will and focus, thought and goal that makes single balls momentarily important at different points in the game.
For some time now, the concept of “holding” has intrigued me. When you hold something, it doesn’t necessarily mean you own or possess it. Holding something can mean that you steward something; that you are responsible for something; that you care for something; that your sights are set on something. It definitely, however, means that you have actively entered a relationship with that item. Relationships between entities are forever complex and mysterious. What is Ball Doll 15’s relationship to the red striped 15 ball it is holding, for instance? What is your relationship to the number 15, the color red, or that whole ball? At a given moment in a given game, was the #15 the most important thing you aimed to “have”? Was it the only thing you could think about, the one thing you desired?
In the end, any of the balls held by the dolls represent anything you have really wanted to strike, catch, sink, move, hold or love at a particular time in your life.
Halona Hilbertz, July 2008.
...this one by Max Beckmann: Quappi mit Papagei (Detail), 1936.What I admire most about Beckmann is that he developed a "style", or a visual language, so uniquely his own. His art can't be categorized as anything other than Max Beckmann...Max ist immer einfach nur Max!
Monday, October 13, 2008
...also had to do with HOLDING. It was painted in a "naive" hand, as it was based on a drawing I did when I was six, which depicted a human torso with a curved arm holding a bird. The painting is in the upper right corner of Krista Schaedlich's Berlin assemblage, shown here by Krista's granddaughter Sara. This is the first artwork I sold as a "grownup" artist, fresh in art school.
Going back even further in time, I sold many of my childhood drawings to passersby in front of our Austin, Texas house. This is how I got the (for a 7-year-old in '78) enormous sum of $30 together to buy myself the Easy-Bake oven I wanted so desperately. The mechanics of Art Selling are the same today as they were back then.
Sunday, October 12, 2008
I have been wanting to write more about the concept of "HOLDING", which has been an important idea in my art from childhood on...today specifically, as my Ball Dolls enjoyed their last day in the Berlin billiard hall. The finissage was celebrated with a reading by Torsten Schulz from his new book "Revolution und Filzläuse" (German invitation below). And then I am forced by a baby squirrel's affection, trust, and unhesitating approach to take it in...found it in the middle of the pavement. Those of you who know me REALLY well, know I have so much going on right now, I must be crazy to do this...doing my research, trying to either rear it correctly, or find the right home. We found him? her? at Wilson & Wythe, so I introduce Wilson...Here some pictures of my newest Holding.
BILLARD HAT KULTUR
Lesung & Finissage im Billardsalon Q-Club // Sonntag 12.10.2008 // 12 Uhr
Autor: Torsten Schulz liest aus seinem neuen Buch Revolution und Filzläuse (Ullstein, 2008).
Liebe und Verrat in Zeiten gesellschaftlicher Umbrüche, Verheißungen des Lebens, die sich nicht wie erträumt erfüllen. Immer sind es außerordentliche Begebenheiten im Leben ganz verschiedener Menschen, die Torsten Schulz hintergründig gestaltet, und ganz nebenbei durchstreift er die jüngste deutsche Geschichte bis hinein in unsere Gegenwart.
Es gelingt ihm, lakonisch und humorvoll, eine Doppelbödigkeit zum Vorschein zu bringen, die dem Zuhörer und Leser Spaß macht.
Torsten Schulz ist Drehbuchautor, Regisseur und Professor für Praktische Dramaturgie an der Filmhochschule Babelsberg und veröffentlichte 2004 seinen ersten Roman Boxhagener Platz.
Saturday, October 11, 2008
Tuesday, October 7, 2008
October's $10 Piece: SOLD
Sharks and Other Fish at New York Aquarium. Pencil on Paper. 11 x 8.5" high. 1998.
October's $50 Piece: SOLD
Yoga Man. Fabric, Thread, Acrylic. 17" high. 2000.
October's $100 Piece: SOLD
Duck, Cat in Colorland. Acrylic on Canvas. 12 x 9 x 1.5" thick. 2000.
...writes bandmate/fellow artist/friend Gail, who took this photo September 23 at Public Assembly, somewhere inbetween Full Tank's show and Eighteen's show. That's my Mom visiting from Germany. Don't be fooled by the demeanor. She's the one who goes on excusions scouring the black market in Brooklyn to find cheap cigarettes and has encounters with the most shadowy, story-filled figures. I just show some tongue. Deep down, I'm actually the good girl here!
Wednesday, October 1, 2008
"so, wait, didn't you make a voodoo doll, of derrick, so they made the antidote, and named it with magic, and called her saia, which means "beautiful baby that soaks up much love" like yer stuff, and jealous of his real wall doll. and i like your site. but, it wouldn't let me comment. boohoo!
I hereby use Lanny's mention of my Wall Doll
Portrait fuer Derrick as an excuse to post a picture of it. We're talkin' real Doll Discourse here! This doll was a birthday present for my bro. He is portrayed with guitar, as Derrick plays guitar & sings, while Lanny plays drums & sings, in their band, Eighteen. I think I remember correctly that it took me 28 hours to make the doll.