30 + shipping)
30 + shipping)
Sher-ba-kuf-um was my name for RBI Baseball sidearm legend Brett Saberhagen. His last name had to be abbreviated for the game. I can’t find a screen shot of what it was exactly. Something like Sbrhgen. I always called him Scherbakufum. He was probably the best pitcher in the game with a deadly sidearm release.
There were probably numerous ways to cheat and win at this game, but I always used a method where I would get a player to steal a base or get caught in a run down, if I made the opposing team throw the ball back and forth a few times they would inevitably commit a throwing error and throw the ball into the outfield and I would score. This brought me much joy as a child.
For this painting I chose a different matchup.
For some reason all the players in the game are shown to be Caucasian including Gooden.
First Circular Building (2005?)
Most Recent 2/25/15
MORE AFTER THE JUMP
Visitors taking photos of themselves and Sturtevant work at MoMa. http://www.nytimes.com/2014/05/17/arts/design/elaine-sturtevant-appropriation-artist-is-dead-at-89.html http://en.wikipedia.org/wiki/Elaine_Sturtevant
Via Wiki: “She achieved recognition for her carefully inexact repetitions of other artists’ works that prefigured appropriation.”
I’m not sure when I first heard about her work, either in my high school art history class or college, but I was never that taken in by it. I like handmade original object things. But experiencing her work in this setting and watching people looking at it and taking hundreds of photos not knowing what it is they were actually photographing was quite a weird/fun/original experience. It was some form of performance.
I asked one visitor if they knew what they were looking at. He was Australian and though confused, sort of understood that it wasn’t the real work. The show included a recreation of a mural by Robert Gober (pictured above). This same mural was featured in Gober’s own retrospective just a few galleries away. Pretty funny/great move on the curator’s part to include these. Were they knowingly making a joke?
Usually photography in these temporary shows at museums is strictly prohibited, but it didn’t seem to be the case here. I watched visitor after visitor take photos of the work and of themselves in front of the work. The guards didn’t stop anyone like I saw them do in the Gober galleries and Matisse paper cut out show. Perhaps, because it wasn’t allowed in other galleries people went photo crazy in here. Who decided this? The curators? Sturtevant’s estate?
I’d always assumed the work was gender critique of the male dominated art world.. She copied mainly male artists’ work. Looking into it just slightly I found this article: http://www.frieze.com/issue/article/erase_and_rewind/ “To one critic who inquired whether it is ‘important that you do the work of exclusively male artists?’ Sturtevant replied: ‘Oh no, that question! It never dawned on me. My choices were made on another level.’ 10 She has made a work by Yvonne Rainer, but when pressed on whether she saw gender/biography as having little to do with her project, or if there were a fluidity about the imaginary that overwhelms/disregards gender/biography, she responded: ‘Surely you don’t want me to reiterate. Gender discourse has nothing to do with the work. Why agitate? Why bring it up? A[nswer]: desire & drive to/for surface + flacks probing issues.’ To bring the issue to a complete halt, she added: ‘These questions are not for you/you.’”
But who can trust an artist about their own work? I had just read this article about art forgeries: http://blogs.villagevoice.com/runninscared/2014/12/how_a_foundry_owner_in_queens_got_rich_selling_imitations_of_world-famous_s.php
So what’s the value of a piece of art? How do you enjoy it? If someone tells you something is a famous piece of art you take a closer a look, right? I try to make my own opinions of things, but I know I’m influenced by outside forces.
Every time I read a book I enjoy, it sure is sad when it’s getting close to the end. This is happening now as I read Free Pizza For Life: The Early Days of Plan-It-X Records. Anyone into music, punk or otherwise or just into a good read should pick up a copy from Plan-It -X distro or perhaps at Micropublishing. I bought it at a rare Ghost Mice show in Portland a while back and put off reading it.
I’m still processing all the thoughts running through my brain. Perhaps because of the book I booked and held my first house show at my house.
Free Pizza for Life is by Chris Clavin one of the founders (or thee founder) of the DIY/punk label Plan-It-X records. (“If it ain’t cheap, it ain’t punk.”) I first heard of Plan-It-X maybe 10 years ago through Kimya Dawson. There was a band on there called Ghost Mice and they sounded good and raw.
In the book Chris talks about growing up and being a weirdo punk in Indiana. It’s made me think about my musical beginnings and current existence. Reading the book made me want to listen to some old recordings. I looked through my computer to see what I had. I am so happy a lot of it got recorded. I came across a collection of songs I wrote and recorded with Dave Miko. Dave and I got together a few times around 2001-2003 to write and record very quickly. Sometimes we’d try making an album in a day. Some of these recordings ended up on various tapes/albums, but I came across a collection of songs that I don’t think had ever seen the light of day. Some of it sounds very good (to me of course). Very raw, just bass and vocals or guitar and bass. Dave recorded it on his four track.
Go forth, create.
Read some other reader reviews here: http://www.goodreads.com/book/show/14760277-free-pizza-for-life-or-the-early-days-of-plan-it-x-records