i can copy and paste

New drawings from the A+ series by Jenny Yoo

2011-05-16T18:39:00.000-07:00

These are new drawings from my A+ series!

I use the AnDrawing program on the Android smart phone system.

pizza

2011-05-08T10:23:00.000-07:00

i am a waking up in the morning
and i feel a hunger in my stomacshy
so i get out of the bed and turn right
then turn right recalculating

i look on the right side
a nothing
i look on the left side
and i see the pizza box and i say hello!
welcome to my tummy
i am a very excite!d

i preheat the oven
and i wait
i am a waiting
i am a waiting some more
i cannot wait anymore
i put it in the pizza it in the oven
and i will wait some more
waiting is a part of the eating

it is a barbeque sauce style chicken cheese pizza
i am a waiting
i am a waiting some more
i cannot wait anymore
i take it out the pizza it from the oven
and i am a eating now

i will not make any boring art

2011-03-21T23:08:00.000-07:00

credit

2011-03-18T10:53:00.000-07:00

"Yes," "Not Really," "No,"

2011-03-18T10:51:00.000-07:00

Ideas are worth nothing unless executed. They are just a multiplier. Execution is worth millions.

2011-03-17T10:09:00.000-07:00

Explanation:

AWFUL IDEA = -1
WEAK IDEA = 1
SO-SO IDEA = 5
GOOD IDEA = 10
GREAT IDEA = 15
BRILLIANT IDEA = 20

NO EXECUTION = $1
WEAK EXECUTION = $1000
SO-SO- EXECUTION = $10,000
GOOD EXECUTION = $100,000
GREAT EXECUTION = $1,000,000
BRILLIANT EXECUTION = $10,000,000

To make a business, you need to multiply the two.

The most brilliant idea, with no execution, is worth $20.
The most brilliant idea takes great execution to be worth $20,000,000.

That’s why I don’t want to hear people’s ideas.
I’m not interested until I see their execution.

I forget where I copied this from, but it's just to say.... GET TO WORK!

HE LION

2011-03-17T08:18:00.000-07:00

An honest liar
A complete liar.
A confident liar.
A sweet-talking liar.
A smart liar.
An important liar.
A famous liar.
A social-networking liar.
A "that color looks great on you" liar.
A commercial liar.
An interesting liar.
Liar liar pants of fire liar.

No truth and honesty here.

fries

2011-03-05T09:12:00.000-08:00

i felt such revulsion looking at my fries, each one exposed so much like myself, but even needier, trusting me, my head, belly, for shelter.

theres no shelter here, friends.

-From Letters to Wendy's

maybe it's the rain

2011-03-04T23:33:00.000-08:00

at the end of the day, i roll down the windows and let the air meet my lungs.
say hi, it's been a while.

.........................................

...............................:........

....................:..............:....

.....:.........:.........:..............

..:.....:.....:.....:.....:.....:...:..

the wind feels chillier than normal tonight...
the wind feels chill
ier than no
r
mal ton
ight...

last nufgt u had this drean

2011-02-26T04:56:00.001-08:00

last night i had tgis dream
maybe it wasnt a dream but
i was jyst closing my eyes
and i waa doing somw kind of hard thinking
and susdenly i statted to think in a british sot if acccent
like mt inner soul had turned a brit
or maybe some ali g swagga
i mean it was truly brilliant
and.i imaginwd my boring self intrviewing my english self and asking if it was authentic
likw how long i lived wgere or some dirty trock
and i said abdpluyelt not
and. the smirk on my face
was noteworthy
note worthy

Published with Blogger-droid v1.5.8

2011-02-24T16:17:00.001-08:00

Fujiya & Miyagi - Collarbone from Kanoti on Vimeo.

Cory Arcangel

2011-02-22T18:09:00.000-08:00

Tom Moody, interview with Cory Arcangel

2011-02-22T16:36:00.000-08:00

"When I said using that
particular computer program was exotic I meant in the sense that the art
world only just embraced *photography* as a legitimate medium, after decades
of resistance to it as a lesser art form. The computer still has the shock
of the new, or the shock of the bad in some cases. Art world folks know
painting, photo, and printmaking lore, but are less secure--myself
included--knowing what constitutes talent on the computer as opposed to some
easy-to-do technical trick. I thought because everyone had Paint or the
equivalent on their computer and had at least made a mark or spritzed the
spraycan, they could see that I was doing something more ambitious with it."

+++

"When I got to New York I had some interesting studio discussions with artists about
forcing yourself to do one thing. Obviously it makes for a smoother ride in
the art world, which still seems to have only one model--the driven Mondrian
or Pollock working toward a signature style, which, surprise, surprise, fits
into the market's need for a streamlined identifiable product. Despite all
the curatorial talk about cross-disciplinary practices, the monomaniacs have
an easier time of it. A painter I talked to quite a bit, in the '90s, is a
terrific cartoonist, musician, musicologist, and writer, and at a certain
point he made the conscious decision to begin channeling his energy and
interests through his painting, trusting that all his content would come out
through that one activity. And it worked for him--he's had a great career.

But there are different ways to be a monomaniac. The artists I admire most
are all multiple stylists: Polke, Kippenberger, Picabia. For all my supposed
diversity, I cycle back again and again to certain things: the lo-fi, the
love/hate relationship with technology, some kind of squirmy vortex image
(or sound), an arrested-adolescent eroticism... I'm for the irrational and
against narratives, despite my use of them as a critic. My abstract work is
quite focused, paradoxical as that sounds, and is getting more so, but these
other activities may be increasing the noise-to-signal ratio in the short
term. Sometimes it feels like the only thread is the urge not to have a
thread; I take it on faith there's an overall direction even I might not be
aware of."

http://rhizome.org/discuss/view/19080/

good

2011-02-17T13:48:00.000-08:00

never ask me to repeat stuff
i will suck at it
i can't do it
i have already processed and forgotten
maybe if i am lucky
i could respond with an idea from whatever event it was
but otherwise i'm not into that.
unless you want something vague like

good.

PLEASE ENTER ONLY IF YOU HAVE A SMART PHONE

2011-02-12T22:44:00.001-08:00

Shana Moulton is apostrophe mark

2011-02-12T22:33:00.000-08:00

Robert Grenier - Sentences

2011-02-12T22:04:00.001-08:00

CLICK

salt peanuts salt peanuts

2011-02-12T21:58:00.000-08:00

Hi DAS RACIST!

2011-01-30T20:08:00.000-08:00

Himanshu: My name is Himanshu. I am 24 years of age. I hail from the borough of Queens, New York. Queens is America's most diverse county. My parents flew to Queens from India in 1980 on an Air India Boeing 727. I now reside in Williamsburg, Brooklyn. Williamsburg, Brooklyn is not very diverse. I am a Cancer, Pisces rising. I like watching television, listening to television, listening to the radio, listening to television on the radio, watching television on the Internet, and watching the Internet on a television. I also very much enjoy listening to Hot 97 on the radio. I like reading books that brown people write. My top five favorite poetic devices of all time are repetition, repetition, repetition, repetition, and repetition.

Victor: My rap name is Kool A.D., but my slave name is Victor Vazquez. Hima doesn't want to use his last name 'cause he has a real job and doesn't want his spot blown up. I don't have a real job anymore because my other band, Boy Crisis, got signed. I'm 25. I was born in San Francisco, California, and moved to Alameda, California, around my pubescent years. My dad was born in Cuba, and my mom was born in Italy. He's black and my mom's white, but I have what's known as "that good hair." Williamsburg is diverse, just highly segregated. I'm a Scorpio; I don't know what my rising sign is. I like all of the media that Hima mentioned. I like the joke he made about TV on the Radio. I like TV on the Radio. I like books by brown people, too. And books by white people. My top five favorite poetic devices of all time are repetition, repetition, repetition, repetition, and plagiarism.

Dream

2011-01-30T12:44:00.000-08:00

I woke up from the dream.

I checked my door.
It read #602.

And there is no package that I'm waiting for.

This is not for sale.

2011-01-09T16:32:00.001-08:00

Genius Child

2010-12-28T19:48:00.000-08:00

by Langston Hughes

This is a song for the genius child.
Sing it softly, for the song is wild.
Sing it softly as ever you can -
Lest the song get out of hand.

Nobody loves a genius child.

Can you love an eagle,
Tame or wild?
Can you love an eagle,
Wild or tame?
Can you love a monster
Of frightening name?

Nobody loves a genius child.

Kill him - and let his soul run wild.

"What was once before you - an exciting, mysterious future - is now behind you.

2010-12-21T22:44:00.000-08:00

Lived; understood; disappointing. You realize you are not special. You have struggled into existence, and are now slipping silently out of it. This is everyone's experience. Every single one. The specifics hardly matter. Everyone's everyone. So you are Adele, Hazel, Claire, Olive. You are Ellen. All her meager sadnesses are yours; all her loneliness; the gray, straw-like hair; her red raw hands. It's yours. It is time for you to understand this.

Walk.

As the people who adore you stop adoring you; as they die; as they move on; as you shed them; as you shed your beauty; your youth; as the world forgets you; as you recognize your transience; as you begin to lose your characteristics one by one; as you learn there is no-one watching you, and there never was, you think only about driving - not coming from any place; not arriving any place. Just driving, counting off time. Now you are here, at 7:43. Now you are here, at 7:44. Now you are...

Gone."

-Synecdoche

Notebook, experimental film/animation

2010-10-25T14:20:00.000-07:00

This makes me want to try experimenting with video

Pablo Picasso says,

2010-10-25T02:54:00.000-07:00

Who sees the human face correctly: the photographer, the mirror, or the painter?

this weekend, i vj-ed my first gig and ate a lot!

2010-10-24T15:42:00.000-07:00

because i am hungry!!!!

2010-10-19T00:11:00.000-07:00

Rene attempting the impossible...

2010-10-08T12:39:00.000-07:00

i made ajumma toys

2010-08-20T17:39:00.000-07:00

i realize that this is more a picture of me than the ajumma toys.

this was at the diy grad school mfa showcase on aug 6th 2010.

i painted an ear. i can add that to my resume.

2010-08-20T17:34:00.000-07:00

i painted a photobooth mural with alex chiu, yumi sakugawa, and a'misa chiu.

that is not my underwear, i am wearing pants.

i posted a craigslist ad for an unpaid internship

2010-08-11T02:18:00.000-07:00

i am an mfa candidate at diy grad school

2010-07-29T13:13:00.000-07:00

Baking 101 with DIY Grad School

at the K-town Den!

i was a zombie

2010-07-29T12:55:00.000-07:00

I like turtles

DIY Grad School zombies

i showed stuff at an art show

2010-07-29T12:36:00.000-07:00

Video by Jini Shim

then, we started DIY Grad School.

Marina Abramovic, Spirit Cooking

2010-07-22T17:47:00.000-07:00

Aphrodisiac recipe

7 days w/o eating
7 days without talking
7 days w/o sleeping
7 days wo sexual intercourse
7 days not reading or writing
7 days not watching television
7 days not answering telephone or fax

On the 7th day
Take a bath in almond oil
Eat one coriander seed
One almond
One spoon of honey with royal jelly

Engage in intercourse with partner
Who went through the same process
For 3 days and 3 nights
Drink each other's nectars
Postpone climax
Until the last hour before sunrise
On the third day

Spin around
Until you lose conciousness
Try to eat
All the questions of the day
A drop of shame
Mixed with a drop of water
Take in a small amount
Before crying

Saliva of your lover
Mixed with morning dew
Collected from eucalyptus leaves

Etgar Keret

2010-06-19T23:07:00.000-07:00

When my father survived the Holocaust, he said: "Now I know what life is, and I want to have more than one life." So every six years he changed professions, and he was terrible at many of his jobs, so as a kid, it really pissed me off. But I am my father's son, in the sense that what attracts me to art is that you can live more than one life. With writing, it was this discovery that I can break all the windows in a place, I can steal a car, I can have wild sex with a widow on her husband's grave—I can do it and get away with it, because nobody gets hurt. When you make a film, it's like this—except there are other people who are part of that fantasy. I can live one life, but I can make 10 films.

Itta and Uh Uh Boo Project

2010-06-19T11:06:00.000-07:00

Love this kind of music style

First one is an artist called Itta(있다) which means "to exist, to be" in Korean. It reminds me of (and is more like the vision of) my band Mmmch(음치). I want to meet her. I think we will get along !

Second one is a band/artist that friend introduced called Uh Uh Boo Project. I like his voice.

RIP Louise Bourgeois 1911 - 2010

2010-06-18T01:42:00.000-07:00

may 28 2010

2010-05-29T02:31:00.000-07:00

today i assisted mike ruiz on a beauty shot

and met justin who was really cool and taught me a grip of photo insider stuff

It was the chillest photo set i've been to...

Jeeyen and i bought funky picnic mats for our future picnics and everything was secretly funny.

I went over to alex and ann's new place to drop off my work and to check out the projections. Big things make big experiences...yea...

jini put together this video!

okuribito (departures)

2010-05-27T21:03:00.000-07:00

may film stills

2010-05-27T02:18:00.000-07:00

$9.99, Svankmajer, Dehara

2010-05-27T01:58:00.000-07:00

a favorite movie of the moment. Directed by Tatia Rosenthal and written by Etgar Keret. hope for love in a depressing fragmented society

ever since i discovered jan svankmajer,
i was really into stop motion animation and weird model made sculptures.
he's a czech surrealist filmmaker
i don't know why but these unprofessional crude kind of grotesque looks really attract me.
it's more raw and of the moment and sometimes just enough lines or color reference that more information would just be baggage.

yeah yeah there are so many videos like this on youtube or whatnot but svankmajer is the pioneer and NO ONE comes close.

while i'm at it, say hi to DEHARA!
He's a japanese pop artist/illustrator/toy maker who has similar visual sense.

post covering creative folks from israel, czech and japan.

sometimes my camera makes mistakes

2010-05-13T22:49:00.000-07:00

meow

2010-05-11T15:40:00.001-07:00

http://meowmania.jqln.org/

the experiencing self vs. the remembering self

2010-05-11T13:06:00.000-07:00

paintings to be read, poems to be looked at

2010-05-02T19:33:00.000-07:00

A New Beginning, DIY Graduate School

2010-04-30T23:34:00.000-07:00

I have been thinking a lot about whether graduate school was right for me at this specific time. Yale, Columbia, Cal Arts, UCLA, SVA, SAIC, UCSD, UCI. I thought it would be nice to be in an environment with other creative people, exchange dialogues about art, be mentored by mature artists or professionals, while learning art theory and of course developing my work. But I'm wondering if this luxury of graduate school is worth the $100,000 + debt that I will be in upon graduation, especially for a field that doesn't guarantee financial stability. I'd rather spend a fraction of that money to invest in photo equipment and studio space.

So, I thought it would be cool to have a D-I-Y Graduate School, where I would curate my own graduate program. Ideally, there will be other prospective grad school students who are interested in this idea of a free, web based network school. I haven't thought about it much yet, but maybe we could use video chatting devices to have conversations about art, or intended subject of study. Each student participating will be in charge of a specific topic that they will research and "teach" the other students. I find that you learn the most by teaching others.

We really do live in an information society, and almost everything can be done on the Internet.

Regardless of whether I have a collaborative group, I'm going to start by posting up things I'm learning by the day. I will base my studies on sample grad school course listings. I feel like I'll be posting a lot of theory and art history, but I will try to incorporate and productive work I've been doing as well. Right now, I will be mainly investigating photography.

Email me if you're interested, yoo.jennys@gmail.com.

today

2010-04-19T00:05:00.000-07:00

i woke up and needed some soupy food. i went on the computer and started watching "painters painting", a documentary of the NY arts scene by emile de antonio, because mara was going to do a talk about it at mcasd sometime soon, i think may. i watched a little and got distracted because i didn't know most of the names that were on the documentary so i went on wikipedia. i forgot i was watching the movie and got distracted and then ate lunch. an unknown number texted me saying what time the show was. i thought it was another wrong number but it was meghan asking about the parra exhibit we were scheduled to see. i am so bad with schedules. i went on my blackberry and there is a function for inputing schedules. i tried to think of any other schedules i was going to have. i dont remember any. my sister asks me to take her to the beverly hills public library. i disagree then i agree. i take her to the library and i meet her two friends. i pick them up and take them to baja fresh. i say goodbye. i drive towards la brea and realize that north of any street is beautiful. i make a goal to live here before i die. i drive to la cienega and pass by opening ceremony. i stop by and look at the beautiful proenza schouler neon crazy green snake prints. i touch it. a eugenia kim hat impresses me. i leave. my navigation says destination but i dont see it. i make 3 u-turns around the street and realize that it is right there. meghan and rachel are already there. i met rachel. she is a painter. she likes wayne thiebaud. i tell her i used to like him but don't tell her that i am kind of over it. the door is locked. fuck you project space you said you were open today. we decide to eat. i eat the godfather sandwich at eat your bread sandwich place. it is salty but i eat. project space opened. a long hair girl with a hat is there. it is actually a guy. i only like parra's breakfast video. we chase a banksy grafitti that meghan spotted a week ago. iphone and blackberry inform us it has been stolen. someone sawed off the wall. fuck you stealer. i say goodbye. i go to barracuda. my sister wants me to pick her up. i eat the leftover salty sandwich and drive. i get honked at. i go to urban outfitters. asian girl is wearing clubbing clothes and 5 inch heels. i am confused. i go to fred segal. asian girl buys $60 sandals because she cannot walk in her 1 inch wedges anymore. i go to wasteland. it sucks. i go to american apparel. it sucks more. i go home. i have bonding time with sister. she hates me but today she likes me. maybe because i was watching justin bieber videos with her. we eat three bowls of cereal together. we are bonding. i try to guess the shoe that chaz bought. he bought vibram shoes. i laugh at him but i want them too. yuri texts me and says she has photo assisting gig for me tomorrow. i watch salvador dali short films and don't understand. i am sleepy.

Quack

2010-04-05T17:09:00.000-07:00

I was cleaning out my old artwork and I found this animation that I made in high school 2005. It sucks so bad that i like it. one of those

Pierpaolo Ferrari

2010-03-12T14:09:00.000-08:00

This photograph (W Magazine - Nov 09) is where I was first introduced to Sir Ferrari's work.

Jan Svankmajer

2010-02-25T01:15:00.000-08:00

Ever since Naomi and I watched "Alice", this guy's work is seriously making me want to change mediums again - or at least experiment. I never knew I'd like animation - but sometimes I just want my drawings to start dancing and talking. It's taking the expressive and surrealistic qualities of painting and sculpture into a whole different level.

Photography for the sake of photography bores me now. I could change my mind about this tomorrow or a minute later, but this is how I feel RIGHT NOW!

is it Pee Why Oh, or peeyo?

2010-02-20T11:48:00.000-08:00

I started my first day at PYO Gallery. A lot of their art is pretty high end, representing artists that are like the Damien Hirst equivalent of Korea?! Hm...

I didn't really care too much about the contemporary art scene in Korea because I never really had the chance to appreciate it and learn about it... and I thought they tried to imitate Western art too much.. Well anyway I guess I will be learning more about Korean art!

Right now, we are showing works by Lee Yeon Deok and Park Sung Tae.

Sculptural paintings with figure concaved in

Screen mesh sculpture

an animation

2010-02-16T19:50:00.000-08:00

really talented friend made me a song, so I decided to animate it. I am a poor animator, but it was a fun little project I did.

hair

2010-02-10T19:43:00.001-08:00

gifted vs passion

2010-02-02T17:56:00.001-08:00

In fact, I have often said of my own life and career that I have always learned more from defeat than I ever did from victory. To win is an odd form of loss. I’ve seen it wreck young photojournalists who win big awards. Perhaps it is the mistaken sense of entitlement that ultimately ruins them – a belief that such things are supposed to happen to them. And when they don’t, they are left with no foundation from a lifetime of defeats. They know only the hollow sound of winning. A sword is forged in fire.

That’s where passion enters. I do not believe I was endowed with a special gift for something. Rather it was through hard work, determination, divine guidance and raw passion that allowed me the experience of a lifetime, to live as a photojournalist and travel the world with a singular purpose. All I ever wanted was to make a difference. I had my chance and I believe there is more to come.

-David J. Leeson, photojournalist

What attracts Mr Yamamoto

2010-01-25T23:15:00.001-08:00

You say: beauty results from flaws, mistakes, imperfections, coincidence. Why?

If things fit too perfectly, everything looks like a sculpture not like fashion. To put it another was – and allow me to be a little childish: I have never fallen in love with models. They look like machines not like humans. I only see the faults, flaws, the imperfections. That attracts me.

John Baldessari Documentary

2010-01-08T02:16:00.001-08:00

Okay, I am obsessed.

Baldessari sings LeWitt

2010-01-08T02:05:00.001-08:00

Bernhard Willhelm, hinterview

2009-12-30T11:49:00.000-08:00

Is there such a thing as too crazy?

When I'm designing, I don't see the clothes as crazy. I've got to exaggerate to find the essence of an idea. In starting a collection, the most important thing is to bring an idea out quite clearly. Fashion people only react to very strong ideas. One season I was into rubbish, so I based the collection on McDonald's Happy Meal figures. That's all I needed. I design to express something. Cutting myself off completely, then being free to do whatever I wanted has always appealed to me. I always had the feeling I was in a prison. Maybe that's why I've always chased the exotic.

There's also a childish playfulness.

In some cases, when I've been inspired by kids' naïve artwork, it's okay to label that childish. But with the collection based on American footballers, or an older one based on the Japanese car industry, that sort of inspiration isn't childish. American football players just look amazing. All that padding brings to mind superheroes.

Is it in part a reaction to the blandness you grew up with in Germany?

It's part of growing up in a small town. I've never believed in national identity. I'm completely not sentimental about Germany. Being a foreigner is an opportunity in Germany. They refer to it as the "freedom of the fool." You see things differently when you're away from your own culture. If I had stayed, I wouldn't be who I am. It's vital to get away. It wasn't so hard for me. I fell in love with a friend in Antwerp and decided to move there. I didn't even move there to study fashion.

Falling in love moved you toward fashion?

Love changes you, and the people around you, and being in love is the best reason to do something.

What's your design process?

It has a lot to do with accident. We [the studio] will get an idea, then move on to the next, working on anything we love at the moment. I never think in terms of needing five skirts for the next collection. I wanted to do something with dinosaurs one season, and it's possible. I have that freedom. The beauty thing isn't important to me. It's about making a strong idea and producing the image. Beauty comes from emotion. It's satisfying if I can feel something. That's the nice thing. The next collection is always better. There's that chance every season.

Which, the sort of pushy one or the crunchy one?

The pushy one. Let's see, what else is bad. I'm actually lazy. If I didn't have to work, I wouldn't do anything. I need to be forced to work. But because of my protestant education, I define myself through work. If I don't work, I feel guilty.

I'd bet most successful people are driven by that fear of laziness. I read that Bill Clinton could schmooze for twenty hours straight, but left alone in his office he'd literally do nothing and fall into a depression. There's only success or failure to you?

Definitely. That's what it's about, I guess, because a person is in many dark places when he's alone. Sometimes I don't like anything, when everything is bad. I'm quite chaotic, but with a team I'm forced to come to a point everyday. It's impossible otherwise.

What's your own way of dressing?

I like to change and play with me. Even if somebody says I found myself or whatever, that's crap. The nice thing about life is it changes everyday. The real you or me doesn't exist. Sometimes it's good to show your legs, while other days you might cover them. It's not good to hide yourself all the time. Sometimes you even have to let the ugliness out.

You don't believe in a wrong or right way to dress?

No, no, no.

So the way people dress never gets on your nerves?

No, no, no. Absolutely never. I don't criticize. If people want to look like that, it's fine.

What excites you then?

I like it when people make an effort. It's so rare. The one thing I don't like is fashion as a status symbol. I don't buy things to look rich. I have no respect for that. I'm not into the power that fashion can bring. I'm really against power dressing. Fashion's too linked with status and money. It's obvious and false. It kills the creativity. It kills everything, even your personality.

Sleep

2009-12-23T17:07:00.001-08:00

David Shrigley

Basquiat on describing work

2009-12-23T16:25:00.001-08:00

I never know how to describe my work. It’s not always the same thing. It’s like asking Miles [Davis], “How does your horn sound?” I don’t think he can really tell you why he played this at a certain time… I’m usually in front of the television; I have to have some source materials…I don’t know, magazines, textbooks.

Basquiat

Buey on what is art?

2009-12-23T01:44:00.001-08:00

"No, the concept of art must replace the degenerate concept of capital. Art really is tangible capital, and people need to become aware of this. Money and capital cannot be an economic value, capital is human dignity and creativity. And so, in keeping with this, we need to develop a concept of money that allows creativity, or art, so to speak, to be capital. Art is capital. This is not some pipe dream; it is a reality. In other words, capital is what art is. Capital is human capacity and what flows through it. So there are only two organs involved here, or two polar relationships: creativity and human intention, from which a product arises. These are the real economic values, nothing else. Money is not."

Jenny has new artwork to show.

2009-12-15T23:43:00.000-08:00

These are new paintings of the figures on the Korean won (money). I painted them because I could use some right now. Let me know if you'd like to trade these for real money. Thanks.

Creativity

2009-12-13T14:34:00.000-08:00

intelligence is commercial

John Baldessari says he's interested in "fucking people up" when they look at his work. He also talks about "no more boring art".

2009-12-05T01:33:00.000-08:00

Listen to Baldessari

I remember my first year at college in Nottingham, I was doing my Bachelors in the arts and was exploring the different media available. Tools that eventually will help us with expressing our ideas. It was looking at the work from John Baldessari, that makes me aware of the possibilities of photography as a manipulation tool. The photo showed a body lying on a landscape, Jonh Baldessari took 4 copies of the image and with each of them he did a different crop. The result was that all 4 images, although the same, depicted different angles of the cause of death.

I have always believed that art, no matter the medium, is a catalyst for evoking discourses. No more than that. Each art object or image is obsolete when no one enters the gallery space to be confronted with the work. No work is truly finished unless it gets to meet its viewer. Baldessari’s work needs the viewer, it is as if he is talking direct and personally to the viewer with his work. Photography, with its high realistic and documentary impact suits his intend well. It is all about the little changes, and it is as if Baldessari is actually pointing at the little things in life to us with his own finger.

Interview with John Baldessari (1973)

MOIRA ROTH

Photography theorist Liz Wells once noted that the paradox of fashion is that it has to be simultaneously timeless and timely. I am reminded of this when I read John Baldessari's words and see his art, both of which have sustained historical significance and contemporary insights for over four decades. As one of Baldessari's students in graduate school at UCLA, I found him to be tremendously influential and one of the most supportive mentors I encountered. At 74, he still teaches art at UCLA, continues to exhibit throughout the world, and works out four days a week with a personal trainer.

Moira Roth interviewed John Baldessari at his residence in Santa Monica, California, on January 6, 1973, for her University of California at Berkeley dissertation, entitled "Marcel Duchamp and America, 1915-1974." The text below came to X-TRA from Naomi Sawelson, who edited it based on a new transcription of the audiocassettes in Roth's possession. A few excerpts from an earlier (c. 1973) transcription have appeared in the catalogs of Baldessari's retrospective exhibitions at The New Museum, New York (1981) and the Museum of Contemporary Art, Los Angeles (1990). ¹ Below is the first publication of an extensive version of Roth and Baldessari's original conversation.

I recently interviewed Baldessari as a follow up to the 1973 interview. I asked him about some of the themes that arose in that original conversation with Moira Roth, inquiring as to how much he thought things had changed since the '70s. In particular, I asked him to speak to any differences in his views on teaching, the use of language in his work, and the role of galleries in the art world. His replies indicated that he continues to consider teaching to be an important part of his practice. He also responded that he had recently read that there are three levels in a person's teaching career. "The first one is where you think you know it all, and then the last one is that you don't know anything. It becomes more interesting to let the students lecture you. ...I listen a lot more now."

Baldessari's recent show at Margo Leavin saw his return to the language-image parity of his pioneering postmodern ideas in the 1970s. I asked him about the fact that he used language in his early practice, but for years afterwards he worked only with imagery. He replied, "At first it was an interesting battle to get language accepted as art. But when I could see that the battle had been won, that made it less interesting. And I felt uneasy about exhibiting things that were just in English. It's ok if you're in an English speaking country, but if you're in a country where English is not the dominant language, then it feels a little imperialistic."

In the recent series, Baldessari presents a series of diptychs that juxtaposes a movie-still close-up of an actor's face with an equally sized image of a word that describes the emotional disposition that they portray. Of the work he explained, "What I was trying to do was find equivalentsâ€”one word that would have the same weight as the photograph. But knowing that, one, I'm using actors and actresses, and what they do is fake emotion, and then trying to figure out if I saw a person with that face that I might think they were angry or suspicious or unpleasant or whatever, but I could be entirely wrong. Who knows? That's why I call it Prima Facieâ€”first sight; that's how we jump to conclusions. ...The image size and text size are equal. I've always had this idea that a word and an image are interchangeable."

Despite three retrospective exhibitions in the last year, and gallery shows around the world, Baldessari remains gracious. On the inevitability that he might be an art world celebrity, he remarked, "I think it is a danger when one pays attention to press; you get to believe it. ...Yeah, now and then I'll see somebody who'll stop me on the street and ask me if I am who I am. And I momentarily think 'this is crazy' but then I forget about it." I asked Baldessari if he told people that "he was who he was" when they asked. He smiled and bashfully replied, "Yeah."
â€”Micol Hebron, August 2005

[The following is an excerpt from the longer interview printed in entirety in the magazine. The entire interview is approximately 7300 words, and this excerpt represents about one-third of it.]

Moira Roth: You said you were interested in talking about Duchamp. Is there any particular statement by Duchamp that is important to you?

John Baldessari: He said so many things that can be interpreted variously, that can get deciphered in as many ways as you want. For instance, I was reading the [Bruce] Nauman catalog again, where [Marcia] Tucker quotes Duchamp talking to some critic who said, "Well, what you do best is the way you use your time." The way Tucker saw this statement was that Duchamp used time as an art activity. ² But what Duchamp meant-and this is my take on it, knowing what I know of Duchampâ€”was that he just enjoyed living, walking around, eating in restaurants, talking, nothing in any conscious way as art. Duchamp was just having a good time, but having a good time in an incredibly sophisticated way that's very disarming because it looks very simple. And it's that attitude of not caring in his work that has been intriguing to me. Also, Duchamp always keeps art a little bit off balance.

Roth: Does your interest in Duchamp have to do with art history or with your own work?

Baldessari: Probably both. Although I thought I'd seen everything of his in the assemblage show, ³ I remember when I opened [Robert] Lebel's book ⁴ and saw all his things together, it was as if I had been hit between the eyes, like I'd come across some long lost relative. All of a sudden I felt I had a home, that I wasn't so strange.

Roth: Was that to do with language?

Baldessari: Probably it was, though probably then I didn't understand this. At the time, I was trying to get away from art schools and had gone to San Diego to work through a lot of things to find out what I was about rather than following certain modelsâ€”and it came out that I was more interested in language than in painting.

Roth: If you were interested in language, why didn't you write?

Baldessari: Well, I guess I'd always wanted to. All through school, I could always spell very well, write moderately well, and always loved looking up words. Words have always been a fascination for me. They're so very magical. And words just seem to me a very viable material to use in a creative way. We always think about using forms in some creative way and that seems interesting to me, but no more interesting than using words.

Roth: Didn't you plan to be a critic at one time?

Baldessari: I started an art history graduate degree at Berkeley [in 1954] because I wanted to be an art critic, but I didn't find what I wanted at Berkeley. The curriculum was pretty much all archaeology. I didn't do that well in art history, so I thought that what I did best was to paint.

Roth: What kind of paintings did you do?

Baldessari: Well, I had a funny idea about art history, which was rather cloudy. When I began college [at San Diego State] I didn't know who Matisse was, or Picasso. I remember taking a basic art history course and just being horrified at seeing a Matisse, and the instructor said to me, "You know, tastes change, you'll probably like him!" And sure enough by the end of the year I was copying every brush stroke of Matisse. Then I got into some kind of a cross between the structure of CÃ¨zanne and a three-dimensional configuration of Matisse, and then, working from that into some of the ideas of Pollock and Abstract Expressionism. I kept on adding things to the surfaceâ€”just like Braque adding sand and collage material, I would add tar and canvas and pins to try to get more of a viscous surface going. Then I began to get into Dada and Surrealism, and saw there a way to get out from the surface, to go out from it. And then from that workâ€”in which I sort of figured out some of the ideas of Cubism using portions of words and letters-I began to photograph torn-down buildings that I would use as source material. They provided a model for the kind of an image that I wanted. They would have bits of words in them, and I was interested in using those words, although fairly decoratively. And then I began to get billboard material, and I would do single words or parts of words.

Roth: Did you have friends who were doing the same thing?

Baldessari: I had a friend, a close friend, who was very interested in Dada, and we sprung ideas off one another, although he was more interested in the assemblage quality of it. Then I came to an impasse. I would always copy down fragments of conversation I'd hear or maybe a couple of words, or I'd see them someplace and I'd copy them down, and I'd use them in paintings.

Well, I got to a point where I could see that although it was interesting to me in a notebook, why did I have to put it on a canvas and deal with it visually? And this is where I really had to do some hard thinking. There was some sort of transition about there because I had gotten into Wittgensteinâ€”his sentencesâ€”and so I became interested in the fragmentary nature of the work and began to make parts of paintings, rather than paintings.

Roth: What were your "parts of paintings" like?

Baldessari: Just as if you'd take a painting and tear it up. They'd be fragments of the whole, but actually they were quite big. They were metal, and I would bend the metal so they would look like fragments of paper. When I exhibited them [in 1966 at the La Jolla Museum of Art], I scattered them in a room. I found it curious when I was reading the Nauman catalog, that he was doing something similar; his fiberglass pieces were meant to be parts of paintings. I liked the whole idea of incompleteness, where you could figure out the whole thing from one little bit, like shards of ancient pottery you'd see at the Metropolitan [Museum of Art in New York]. ⁵

Roth: How would you describe those "things"?

Baldessari: Well, they are in two parts: one would have an image and lettering, and some would be all lettering. At first, what I was going to do was to have one sentence I'd taken out of an art history book and to have several sign painters letter it with no instructions. I'd just give them the surface, and say "Letter this on that." And then what would go on would be a kind of connoisseurship, comparing how each sign painter handled it. But then I got to the second sign painter and I liked him so muchâ€”or maybe I got disenchanted with the project, that I just decided to...Oh, I know what it was! I had one of those hanging up in my house, and I cut every other painting. I couldn't figure out why, whether it was the visual thingâ€”you know how you get hypnotized by printâ€”or whether it was what it said, or what I knew. But clearly something was happening, so I decided to go on and do more statements that I found in art history text books, photography, definitions and so on. I would type them out. That's all I would do. An assistant then would make the canvas and take the statement and the canvas down to the sign painter, and the sign painter would letter them, and I'd get them back.

Roth: When was this?

Baldessari: That was about late '66.⁶ It went through '67. I think mid-'68 I stopped.

Roth: Did you choose statements at random, just open art history books and pick out something?At that point I started to do these things.

Baldessari: Not random. Oh, sure, I was scanning and I would go through a lot of stuff, but there usually would be something that made a comment on the state of art that was really an in-language that maybe only a few other artists would understand. I also did some lighted messagesâ€”there's one up on the wall there, it's a dictionary definition of isocephaly, where it talks about characters all being in the same height, like in a frieze. And, of course, in the lighted message all the letters are in the same height and they are like a frieze, so it would be self-reflective, talking about itself. ⁷

Also, at that point I realized that I had stopped doing work by myself and I was having other people do it. And along with those pure statements were these images of National City. Something perverse was going on there, too. I was thinking about painting and abstract painting, and then realized that what people really wanted was to recognize somethingâ€”it was an era of Abstract Expressionism where it was a real sin if you had anything recognizableâ€”and so I said, "Why fight it? Why don't you just give people what they want, something they can understand very easily, and try that." And then I said, "Well, there's also that I have to try to paint it, do a photograph." So I found this liquid emulsion and began working with that. The first one I did was kind of interesting. I like it because I was still being painterly about the way I put on the emulsion. The other ones get pretty pure after that.

Roth: Did you specifically choose what you were going to photograph?

Baldessari: I would drive around National City where I was living and randomly shoot out of the window with the camera without even looking and drive with the other hand. Wherever I shot, I would note down the location. In another series, I matched random photographs with statements. For instance, there'd be a statement about photographyâ€”about how the eye depicted, how the picture frame shouldn't be divided in halfâ€”and then I'd have a photograph with maybe a post right down the middle, and I'd match those two. Or in another one, I'm standing in front of a palm treeâ€”you're not supposed to stand in front of trees because they look like they're growing out of your headâ€”with an inscription that came from a book on composition about the right way and the wrong way. ⁸ You'd have the right image and the wrong image. I loved that there'd be wrong things, so that's why I titled it Wrong.

Roth: And you took these photographs too?

Baldessari: No, Carol [Wixom] did them. ⁹ Then there's another of me looking down the road [The Spectator is Compelled (1966-68)]â€”like the guy standing in the middle of the railroad tracks illustrating one-point perspectiveâ€”and there'd be a statement about how it's bad to compose this way because your eye is led immediately into the middle of the picture, and that's supposed to be bad. The image comes from a book on perspective. ¹⁰ So I was just trying to do everything wrong, and see if that would be right; I figured I had nothing to gain, nothing to lose. And then from there it was an easy jump to get into straight photographs, movies, and video.

Roth: Was all this involved with books or paintings or friends, or was it just you being very apart from things?

Baldessari: I was living in National City, apart from any cultural center. I read a lot, and the works were completely out of my reading. I'd spend a lot of time in library stacks. I always did, all my life, just thumb through things. I'd read almost every art magazine ever printed, every art book-there probably wasn't a book on art printed that I didn't know about. But I got into Wittgenstein because somebody turned me on to him. Also it gets to you by word of mouth whom you should read, like Merleau-Ponty and LÃ¨vi-Strauss.

Roth: When you lived in National City, were you teaching?

Baldessari: Yes, I was teaching a whole gambit of jobs. I was teaching in a high school, then a junior high school and I quit that. Then I was doing part-time jobs, like adult school, university extension, and junior college. I finally decided that I was doing a full-time job teaching art part-time, so when they offered me a job in this junior college where I was [Southwestern College in Chula Vista], I took that.

Southwestern was a really hip school. They bought a Bruce Naumanâ€”the one that says "dark"â€”for the sculpture collection; I lost my job on that one. ¹¹Then, when the University [of California] was moving into San Diego, I met Paul Brach, who was the chairman down there. I was talking with him at a party and he asked me how many hours did I teach a week, and I said, "Oh, forty-five." "That's ridiculous," he said, "Why don't you come to work for us?" So he gave me a studio, and I only had to teach about twelve hours. And then when he moved to CalArts [California Institute of the Arts], he asked me to come along with him, so I moved up here.

Roth: When did you first start showing?

Baldessari: Well, my whole involvement with art in the public scene has been fairly late in my life. When I got out of art school, I tried the gallery rounds and was so discouraged that I thought, God, just forget it, I was going to paint for myself and for other artists. I really was a closet artist. I didn't know how to get into the galleriesâ€”that situationâ€”so I set works up as shows. I have a whole list of those kinds of shows, like juried shows, that sort of thing. Then I tried again around '67, '68. I guess I had just completely shut out the idea of showing when things began to escalate. David Antin, who was down in San Diegoâ€”he came to teach at the university the same time I didâ€”took a real interest in my work and encouraged me. David was tremendously supportive. He was going around saying that I was the best artist he had seen on the West Coast. That just bowled me over and gave me some belief in myself. He literally got me a show in Los Angeles, and then talked me up in New York.

Roth: Was there anyone else who was interested in your work?

Baldessari: When I did the statements and those other works, I showed them around Los Angeles and people just laughed. In California, the whole idea of plastic and so on was one I couldn't get into and I knew I couldn't do that. I felt nobody was interested in what I was doing. I showed my work to Nicholas Wilder. He was a little better, but he said he was at a loss. He thought Richard Bellamy might be interested. So Wilder got me together with Bellamy when he was out here, and also Walter De Mariaâ€”he was doing a show then in L.A. at Wilder's gallery [in April 1968]â€”and they all came to look at my things. They didn't say anything. And then Bellamy said, "Well, I don't quite understand what you're doing either, but here are the names of people who might be interested in your work in New York. I don't know what they're doing, but it seems like you might be interested in what they're doing." And so I thought there was a whole world for me in New York, and I decided to go and find out what that was all about.

It was ridiculous. I just pounded the pavement, went from gallery to gallery to gallery. I remember going into one gallery and somebody was screaming at this artist: "I don't want to see any of your slides!" Oh God, it was really a terrorizing experience doing all of that.

Roth: But you did finally show in New York?

Baldessari: In '68 at [Richard] Feigen's downtown galleryâ€”Feigen was the second gallery in downtown New York after Paula Cooperâ€”in its first show, a group show, and then I had a solo show with him after that [in 1970]. ¹²Actually Feigen was the one gallery I didn't have any introduction to. I just walked in. About a year ago, I talked to a secretary there who said, "Oh, yes, we always used to call you 'the artist who walked in off the street.'" I didn't realize it was so unusual. But then, after a while, you begin to build up some currency and it's not so hard.

Roth: Did you meet other artists in New York and talk about or show them your work?

Baldessari: Well, Paul Brach gave me a lot of names of people to see there but I didn't know they were all first and second generation abstractionists, so when I showed them my work, they said, "Ha, ha." I didn't know whom to talk to! Finally, however, I got to talk to some people from the list that Bellamy gave meâ€”Mel Bochner, Dan Graham, Lawrence Weiner, Joseph Kosuth. Actually, I was very surprised how open artists were in New York. I would just call up anybody who I wanted to meet and they'd say, "Sure, come on over," and that was really fantastic. I don't think that happens so much in California because of distances, no artists' bars. Whereas in New York, all you do is go to a bar and hang out and talk about art. I don't know how to express this, but when I began to meet artists in New York, it was a burst of energy for me simply because they're into a whole different attitude about talk. And that was a kind of unveiling for me. Also when I was in New York, I found that there were other people interested in similar things that I was, and liked to talk about art. So that, and Europe, were very important to me.

Murder cases.

2009-11-26T23:11:00.000-08:00

Min Magazine, 2000

Victim: Yoon Geum Yi (28year old female, U.S. military club worker)

Date: October 28, 1992

Location: Bo San District, Dong Doo Chun

Perpetrator: Kenneth Lee Mackle (20 years old, U.S. 2nd Division Private)

Abstract:

On October 28,1992, woman named Yoon Geum Yi (28yrs old) who worked at a U.S. military private club was murdered. The club was located in Bo San village in Kyung Ki Province. When a homeowner in the village, Kim Sung Choul, found her body around 4:30 a.m. she was lying naked with an umbrella that had penetrated into her anus and a coke bottle that had penetrated inside her. Later, autopsy found two beer bottles inside her uterus. U.S. 2nd Division Private Kenneth Lee Mackle (20 yrs) apparently hit Yoon Geum Yi on the head with the coke bottle, then penetrated the items inside her as she was lying on the floor bleeding. The body was covered with contusions and bruises. Covering her body was some kind of synthetic detergent powder, and broken matches were shoved inside her mouth, to hide certain types of evidences. The crime occurred approximately 1 a.m. and the cause of the death was determined to be external bleeding and collapse of organs.

After the discovery of her body, 40 homicide detectives investigated the incident along with the U.S. military police. They were able to identify the perpetrator by getting fingerprints from a beer bottle found inside her body. At the first trial held in April 4, 1993, a life sentence without parole was given to the convicted, but the sentence was reduced to 15 years at an Appeals court held on December 16, 1993. They defended reduced sentence by saying that the family had already received from the U.S. military 71 million won ($71,000) for the death thus considered the civil law suit part of the case resolved. Kenneth Mackle filed for an appeal again, but in the court ruling on April 29, 1994 upheld the previous sentence of 15 years. Although people demanded for a formal apology and a criminal investigation under Korean legal system, these were not granted at the time. Due to massive public rage over the Yoon Geum Yi’s murder, in May 17, 1994, some 18 months after the crime, Kenneth Mackle was handed over to Korean police, and now serves his sentence at the Jun Ahn prison for juveniles.

According to the article 22 of the Status of f Forces Agreement (SOFA), a special consideration has to be given to U.S. military personnel, upon request by the U.S. government even if they are convicted in a Korean court of law and serving prison terms in Korean jail. Under this agreement, the Korean authorities have a power to convict but not necessarily prosecute the criminals. Thus it is not guaranteed that Kenneth Mackle will remain in the jail if the U.S. government makes such request.

Victim: Kim Mi Soon (an alias, 53 year old female, owner of Lebenhope)

Location: Lebenhope, Suh Cho district, Seoul

Date: May 29, 1993 Midnight,

Perpetrator: John Roger Chalois (27 years old at the time, U.S. 2nd Division, Private)

Abstract:

John Roger Chalois from the 2nd Division of U.S. armed forces assaulted Kim Mi Soon, the owner of Lebenhope, on the 29th of May 1993, causing a skull fracture. He came into the store after hours, allegedly looking for the nose bridge of his glasses. Then, he kicked and hit her with his fist and sexually assaulted her until she lost consciousness, and fled the scene. At the crime scene, Kim Mi Soon was found with the underpants and stockings taken off her. She was taken to a hospital where she was given an operation on her skull, and lives with the debilitating effects of the trauma.

Victim: Lee Ki Soon (44 year old female, U.S. military club worker)

Location: Dong Doo Chun, Eui Chung Bu

Date:Sept.7, 1996 Early morning,

Perpetrator: Eric Steven Munich (22 years old, U.S. 2nd division 1540th infantry 2nd private)

Abstract:

Lee Ki Soon was found dead in her rented room with a deep, sharp cut in her neck, almost to the point of decapitation, around 10am, September 7, 1996, at Bo San district in Kyung Ki Province. The police suspected the crime to have been perpetrated by a soldier, based on the evidences of military boot prints near location of a crime scene, and the forceful cut by a small knife. U.S. Private Eric Munich from the 2nd division was arrested a few days later on Sept. 11th. Although he denied the charges, citing an alibi, he later confessed to the murder after he was identified by various witnesses that connected him to the crime scene.

According to his testimony, he went to Ms. Lee’s house around 4:30am, intoxicated, to solicit her sexual service. But when she reproached him for not having money, he hit her on the face in a fit of rage, knocking her unconscious. Then he took a pencil-sharpening knife, and sliced her neck.

Victim: Huh Joo Yun ( 22year old female, U.S. military club worker)

Location: 116 Go Jan District, Eui Chung Bu, Kyung Ki Province

Date: Jan.16, 1981 3:30a.m.

Perpetrator: Timothy Jerome Henrix

Abstract:

Ms. Huh Jo Yun met Timothy Henrix, U.S. soldier for a drink at the club where she worked around 10 p.m. Jan 15th, 1998. A couple of hours later, they went to a nearby motel to engage in a sexual intercourse. He was preparing to return to the base a few hours later when she grabbed him to coax him to stay longer. Suddenly he dealt a swift blow to her solar plexus with his elbow, and she soon died. Then to hide the crime, he set the bed on fire.

On Jan. 21st, 1998, the corpse was examined a few days later, and Timothy Henrix was taken into custody at a detention center for U.S. military men who are suspected of having committed a crime. He confessed that he hated her chain-smoking, and killed her in a fit of rage because of her behavior which annoyed him. But when the U.S. officers in a court questioned him, he refuted his earlier statement, claiming that he had only made the confession under a threat, that all he did was to knock her unconscious.

Victim: Lee Chung Sook (female)

Location: 302 Sae Noo Ri Motel, Sang Yun-4 District, Dong Doo Chun Kyung Ki Province

Date: April 3, 1997 11p.m.

Perpetrator: Lionel Taylor

Abstract:

Early in the morning around 6am, Lee Chung Sook went to see the owner of her residence to pay rent and some of the money that she owed to them. She had just come home, and had taken out all the money from the small safe box in her room. She showed the owner the money (approx. $450) but explained that some of the money was needed to pay other debts. She came back, put the rest of the money ($420) back in to the box, and went down to chat with the owner. When she came back to her room an hour later, the door was opened and the Private Taylor, who was staying with her, was lying on her bed. Fearing that somehow her money may get taken away, she tried to leave the room with the box to give to the owner. He then hit her across the face and chest, yelling “Where are you going, you whore!” He had physically abused her in the past. She left the box in the room, went to the owner to ask to get the box. When the owner went up to Ms. Lee’s room to get the box, Taylor told her ”The money’s all there”. Later it was found that it was $124 short. Ms. Lee had gone back to the room to find Taylor mumbling himself. She said to him ”If you a problem, say it. If you hit me again, I will report you to the military police.” As soon as she could finish the sentence, he started to punch her face and knocked her down, then kicked her. Then she lost consciousness. She regained her consciousness 16 hours later, barely being able to see with her swollen eyes. She went downstairs to see the owner who called the military police who then took her to a hospital nearby. She was treated in the hospital for three months for jawbone fracture, bruises, and internal bleeding.

Victim: Cho Joong Phil (22 year old male, a senior at Hong university)

Location: restroom at Burger King, Yi Tae Won District, Seoul

Date: April 3, 1997 11p.m.

Perpetrator: Arthur Jay Patterson (male, 20 years old)

Abstract:

On April 3rd, around 11pm, Korean-American Edward Lee and the son of an U.S. military officer Arthur Patterson stabbed to death Cho Joong Phil in the bathroom of a Burger King restaurant. Arthur Patterson and Edward Lee had been hanging out at the Burger King with friends. They had been playing with a jack knife when Edward Lee said to Arthur Patterson, “I’ll show you something” then proceeded to follow Cho Joong Phil into the bathroom. Then Edward Lee stabbed him to death while Patterson held him down. Then, they came out and put on their friends’ shirts and caps, and walked out. As they walked out, they said to their friends, ”We played a bloody game. We killed, for fun.” On April 26th, Edward Lee was convicted of murder and Arthur Patterson was convicted of assault.

Victim: Park Soon Nuh (66year old female, the owner of the currency exchange)

Location: Currency Exchange in American Town, Goon San City, North Cholla Province

Date: August 29, 1998 5p.m.

Perpetrator: Eric Halbertson (21 years old, A Private in the 8th division)

Abstract:

When a customer Park, came to the currency exchange run by Park Soon Nuh around 5 p.m. the door, usually open, was closed. Suspecting that something had occurred, he reported to a patrolling police officer. The officer went into a room adjacent to the store and found Park Soon Nuh with multiple stab wounds laid dead in the closet. Soon witnesses were gathered who identified the U.S. soldier running from the store with bloodstain on his right hand. After some investigation, the police arrested Eric Halbertson.

Victim: Shin Cha Gum (45 year old female , prostitute)

Date: Jan.30, 1999 approx. 2-3 a.m.

Location: 429-7 Bo San District, Dong Doo Chun

Perpetrator: Unidentified U.S. soldier

Abstract:

On Jan. 30 th, Shin Cha Gum was found strangled to death by electrical wires. She was found naked with blood on her socks and undergarments. On her body was written “Whore” with a lipstick. When her friend noticed that Ms. Shin had failed to appear for work, she asked the neighbors to look for her. One of the neighbors told her that the night before; she had heard voices of social greeting and introduction with American men, presumably soldiers.

David Lynch wants you to react to it

2009-11-21T19:51:00.001-08:00

"You go by most paintings, and they don't stop you. You can walk by so much because it's merely beautiful. I like to feel that you could bite my paintings. Not to eat them, to hurt them. I like to feel like I'm painting with my teeth. I call my painting `bad' because bad painting has its own beauty. It's not a designer tapestry or a commercial hype. It makes you react to it."

"Actually, they're really different [his paintings compared to his films]. It's a whole different experience, painting. And yet, a similar experience. It's like a creative process. A dialogue with something. It's action and reaction. It's an experiment. It's talking to you, it wants to be a certain way. And there are highs and lows in it. Many, many things happening in it, which are abstract, that you can't put into words. And I love painting because it's really an internal, personal thing. But then, so are films..."

we are nothing but dust mites

2009-11-13T15:12:00.000-08:00

"If everybody can do that once, it will completely change the face of global politics, religion, education, everything."

KIM JONG IL'S CAVE

2009-11-02T22:29:00.000-08:00

An animated version of Plato's Allegory to the Cave

CUPS

2009-11-02T22:02:00.000-08:00

CUPS IN ALL SHAPES AND SIZES

not one is better than the other

not one is prettier than the other

not one is more worthy than the other

not one is more functional than the other

they're all just cups

ABCDEFGHIJKLMNOPQRSTUVWXYZ

2009-11-02T21:57:00.000-08:00

ABCDEFGH

IJKLMNOPQ

RSTUVWXYZ

THE SNEEZE

2009-11-02T21:40:00.001-08:00

i am there, you know...

STUDIO HONORS 2009 YEARBOOK PHOTOS

2009-11-02T21:37:00.000-08:00

My fellow artist friends

POOH & STITCH IN TOKYO

2009-10-29T18:55:00.000-07:00

4am Summer in Kameido

photos by Yuka & Chae

THE HALLWAY

2009-10-27T18:46:00.000-07:00

The Hallway from The Hallway on Vimeo.

Miranda July places 50 wooden hand-painted signs through a 125 ft hallway. She sort of walks you through life, and makes you feel lifeless and lonely and worthless and confined, then gives you another chance to live your life over and do the things you've always wanted to but put aside to pursue something else 'of the moment'. Then you realize that you were only walking through a hallway, and that it's not really real life, and that you do have this chance.

ARTIST: HONG HAO

2009-10-22T18:55:00.000-07:00

This Chinese contemporary artist

I'M MOS DEF. WE IN TOKYO. KONICHIWAA. BITCHESSS

2009-10-22T10:24:00.000-07:00

my friend chuckee sent me this video and it's humorous and inspirational.

in love with the mos def swag

SOL LEWITT, A POST BY THE IMAGIST

2009-10-22T09:30:00.000-07:00

The work in question is Sol Lewitt's "Incomplete Open Cubes",a series initiated in 1974 when the New York art world was passionately invested in making art that defiantly moved away from being strictly object driven (drawings, sculptures and paintings.)

The ambition was to create an art of pure ideas. It was an idealistic time and the big irony is the capitalistic context that ultimately renders even the most radical art forms a saleable "commodity" has warped the work of that period so thoroughly that we still live with the by product of that exploration today. Much of that by product is shit. But that's OK too. Shit, as Manzoni so clearly expressed in our decadent art culture, can be its very own form of fetish object.

Sol Lewitt's exploration was to take the cube , an object he describes as "the most unemotional form that only referred to itself" and then set about constructing as many variations of this one form as was mathematically possible. A Phillips de Pury & Company catalog further described that investigation in this way, "Lewitt opting for the cube as the rubric for his visual system was also due in part to his wish to exclude any emotions in the works or hierarchical order, uniform equality for the whole as well as its parts".

Lewitt was at the forefront of a movement that marked an almost unprecedented break with the past, transforming the definitions and boundaries of aesthetic experience in his rejection of the gestural , anti-intellectual art of the abstract impressionists. Action ground to a halt. An inert monumental, cerebral , non-referential , non-relational sculpture to place..

INTERVIEW: SEBASTIAN KIM

2009-10-22T08:15:00.001-07:00

1. You’ve recently set off on your own as a fashion photographer. Can you describe your career arc to this point, and what lead you into fashion photography?

I graduated from photo school back in ‘96 and I had this mentality that I would assist for 2 or 3 years and then strike it out on my own. You know, like what every young photographer aspires to do. I was motivated and excited by it all back then and I knew I didn’t want to be caught up just being an assistant. I mean, what’s so hard about being your own photographer, right? I ended up assisting for 11 years and I just recently decided to leave my full time career as an assistant this past February. I didn’t stop assisting because I hated my job, I quite enjoyed it actually. But then I started shooting for little indie european fashion magazines. It was exciting to be thinking for yourself and to be working with friends and to just simply be shooting that it got me motivated to shoot more and more. One job let to another and within a year I couldn’t squeeze the shoots on the weekends anymore that I decided to finally make the big break. It can be quite difficult to make that transition in this day and age. I’ve seen a lot of assistant struggle making the transition. Some can’t because they’re dependent on the money but mainly because it takes a lot of money, resources and connections to be able to make a name for yourself shooting editorials. We all know magazines don’t pay these days, so just like any business start-up, you need a wealth of resources, a strong support group and just as importantly, enough savings and/or loans to get you going of the ground. All of which accounts for more than just sheer photographic talent.

For me I was quite fortunate to have a lot of resources available, enough savings to sustain unemployment and fund my projects, and most importantly, I had a strong group of friends and individuals that I’ve met throughout my years of assisting whom have all been very supportive and without them, I would probably still be assisting. Shooting fashion is a very collaborative field, which is one of the reasons why I enjoy it so much. It started mainly because I worked with friends who were all on the same boat, trying to experiment and just simply excited about be able to do our own thing. Shooting fashion it’s a great balance for me on a creative level. I don’t see myself or have interest in being a fine art photographer. I studied photography at a commercial level, which is basically about creating throw away images that are exciting for the moment and then we move on to the next idea.

2. You assisted Steven Meisel and Richard Avedon, two of the greatest photographers of the last 50 years. How have they helped inform your aesthetic for your own photography?

I certainly wouldn’t be doing what I’m doing had it not been for my experiences working for Richard Avedon and Steven Meisel. My experiences is surely what makes me who I am and it has greatly influenced my approach on things. It’s very common for most assistants to follow the styles of the photographer they’ve worked for. I think what’s challenging is disconnecting yourself from what you’re familiar with and trying to find your own views and perspective on things. It’s not that hard if you’re conscious of it, but it’s challenging to figure things out your own way and find your own voice. After I left Richard Avedon, I didn’t have the desires to shoot fashion against a white or gray background. Richard Avedon was very much about character studies and his grand poses when it came to fashion. He’s probably influenced more photographers than any other photographers. But also because of that, I didn’t want to be doing what every body else was doing and what has already been done numerous times. I suppose knowing how to do something very well is also a reason not to do it. Steven Meisel, on the other hand, experimented all the time. We always played with different lights and techniques to come up with new ways to make things look different. Though he didn’t have a very particular photographic style, there is a very strong aesthetic to his work. Mainly because Steven understands and loves fashion more than any other fashion photographer out there. It wasn’t just the clothes he was aware of, but he was obsessed with every single detail that makes a picture a great fashion picture. I don’t think I walked away with that amount of obsession for fashion after working with Steven, but I’ve definitely become more keen of the finer details. As for my own aesthetics? I feel that pressure of people wanting to know exactly what I want to say or do. Everybody does one thing and does it well and I feel like I’ve still yet to find that one thing I do well. I think finding your own aesthetics takes time and at the moment I’m still very much experimenting and finding my own voice.

3. What was working for Avedon like? Are there any particular words of wisdom that you could share?

I was still in college at the time, and my professor had recommended me for the 4th assistant position. It was the dream job and I was the lucky one who got to leave school early to New York to go and mop the floors, scrub the toilets and do all those exciting things. I moved up the ranks and became his 1st assistant/studio manager in 2 years. I was 24 at the time and it was a quite a responsibility for me. I ended up working there for 4 years and it was one of most enduring and enriching experiences I’ve had. It was very much a traditional studio where the film and printing was done in house and you worked with an old traditional 8×10 camera and not only were the assistants responsible for all the photographic duties, but we were also involved with archiving, exhibitions, book projects as well as other numerous things that were going on at the same time. The actually photography process was only a small part of it all. There were a lot of assistants that came and went while I worked there as it was demanding job with very little pay. I think it can be difficult to dedicate that much time an energy to a demanding job that paid very little, but people can forget that a great experience is invaluable. I truly felt very fortunate to have worked there.

4. What was working for Meisel like?

As I understand it his shoots are just well-oiled machines.

I left Richard Avedon thinking that I would finally start doing my own work. I had gotten a studio in Chelsea with friend of mine of who was leaving Irving Penn at the same and we were both excited to finally be pursuing our own work. A couple of weeks before my last day at Avedon’s, I was offered the job to take over Steven’s first assistant, who was also leaving. It was a tough decision but I took the job because Steven was doing some of the biggest campaigns and editorials at the time and I felt I still had a lot to learn and I wanted to experience it. Coming from a traditional grand photo studio to Steven’s grand sets was still quite a throwback. It’s very common now for a lot of photographers to have a production the size of a small movie sets these days, but back then he was one of the few shooters that could command quite a large production. I came from an traditional environment, where I climbed up the ranks and learned the process through trials and tribulations, to all of a sudden being thrown in a whirlwind of large campaigns on my first day of work at Steven’s. It was intimidating and humbling at the same time. Fortunately the crew was already quite a well-oiled machine. Unlike other studios, there wasn’t a hierarchy of assistants, most of the freelancers had more experienced than I did and therefore it was very much about teamwork rather than me calling all the shots. It was exciting because Steven gave us the freedom to experiment and come up with new ways of doing things and encouraged any new ideas. He was never stuck on just one thing and the challenge of it made it fun and interesting. Steven is a man of few words and my relationship with him was always strictly professional, yet he always had the utmost respect for all us, which accounts to one of the many reasons why working there was so good and why his whole staff has been with him for so long. I felt I had one of the best photo assisting jobs.

5. What was the best and worst thing about being a photo assistant?

These days, you don’t have to assist to become a photographer… if you have great connections. But for many, assisting really is a great way to gain invaluable experience and having a good time while doing it. I think the biggest misconception about assisting is that people think once you learn all the technical skills there is to know about how to light and how to put together a shoot, that you can just go and do it on your own. Being a photographer takes a lot more than having great ideas or knowing how to light and how to compose and direct a model. A lot of assistants forget the bigger picture when they assist, and the bigger picture is about meeting people and establishing and nurturing relationships and it’s also about sharpening your people skills as well as your lighting skill. You truly need a very strong support group when you start on your own. The more people you have by your side, the easier it will be to make the transition. And by saying that, I don’t mean that you need to kiss ass to all the art director and fashion editors that you come across. In my experiences, the people that end up helping you or giving you opportunities aren’t necessarily the obvious people of big positions, but rather the ones you least expect. I guess my point is that being a photo assistant exposes you to many things, not just the technical ins and out of a photo shoot, so it’s also truly important to establish great relationships with all the people you come in contact with. I feel that in of itself is one of the greatest and most import thing about assisting.

The worst part about being a photo assistant? People think that it’s dangerous if you assist too long and you shouldn’t get stuck being an assistant. Yet there are so many more photographers out there struggling as well. There’s nothing wrong about being a professionalphoto assistant. I have other friends that enjoy it and they make a better living doing it than most photographers.

6. Since you’ve gone off on your own (congratulations!) what have been the ups and downs?

So far there as been a lot more ups than downs. I was lucky to have come from great studios and it’s definitely open up doors for me. But it’s also a misconception that because of where I came from, that I have a red carpet laid out of me. There was no red carpet and I surely didn’t get any calls from Vogue or Bazaar asking me to shoot for them. I was shooting for these european indie magazines for about a year while still assisting. It was sometimes tough to manage both a full time job and doing my own work but I couldn’t set out on my own without a portfolio. After I left Steven I immediately went set out to London to show my book around. London was exciting because it was such unknown territory and I didn’t have many friends there. Fortunately I was able to get a couple of great meetings and out of my trip I had landed a couple of amazing commissions. 1 for i-D and another for GQ Style. I returned to London two more times to shoot there. It was exciting but because I have no connections in London, I had to pay a lot out of pocket. The important thing was that any editorials I landed, I really needed to give 100% and invest as much as I could because your beginning stages of one’s career is so important.

The downs? It’s only been 10 months, but it’s amazing how fast you can spend money when you’re not earning it. I had a rough budget of how much I thought I was going to spend in the first year. I think I went through it in the first 8 month. If there is an downside to setting off on your own, it’s the tremendous amount of money you need to finance your editorials. I don’t have an agency that can front some of the costs, so it’s basically 100% self funded. The other difficult part is the amount of production involved when you’re on your own. I’m a one man shop so I produce all the shoots as well as do all the retouching as there is often no budget for that. I spend most of my time putting a shoot together, doing the casting, booking all the crew, negotiating deals and working with the rental houses. Then afterwards it takes me 3 or 4 days to do the retouching. That means I can only shoot about 3 or 4 jobs a month and I’ve found myself much more busier than my previous full time job. But not that complaining, I’m enjoying it… just wish I had more time or maybe try to get an intern.

7. Beyond the fairly obvious, what type of magazines are you looking to shoot for and have you already been shooting for?

Some of my earlier breaks has been shooting for i-D. I started out doing little stories here and there and I then went to London to shoot 2 bigger stories for them, which was pretty exciting. V magazine have also been very supportive and I’ve shot 3 stories for them and it’s hopefully just a start. I’m really excited about them because they’ve been very supportive about my ideas and excited about what I’ve done so far. GQ Style in London is also another exciting one for me. I just started doing men’s and they’ve already had me do 2 stories. I did a street fashion story for The New York Sunday Times magazine back in August which surprisingly gave me more press than I had expected. Other commissions have been for Nylon and Teen Vogue.

I’ve also start shooting for some of the French magazines as well. I just recently did a story for Mixte and for L’Officiel and I’m shooting my second story for L’Officiel next week. All of that has been keeping me busy. I still haven’t really pursued magazines here in New York. I went to London and knocked on the doors of the trendy glossies like Pop, Another, Dazed, i-D, 10, Arena Homme Plus, GQ Style but I have yet to really pursue any of the bigger magazines in New York. Mainly because I’ve just been busy shooting with the assignments that’s landed on my lap. I’m quite happy shooting for European magazines at the moment. It still gives me room to experiment and make mistakes.

8. Where do you look for ideas and stories when pitching magazines? Can you mention a recent story you took to a magazine and made happen?

Ideas come in at the most unexpected times and places. Sometimes I struggle of ideas when a proposal is due and others times I get excited by something I come across on Youtube or on Myspace or some random book. I’m not the kind of person with a million ideas in my head and coming up with story ideas is sometimes a struggle, but I never shoot without an idea or story laid out. It’s important for me and everybody working on the shoot to get an idea of what we’re doing. Sometimes the idea is just a base to start and we end up going in a different direction but it’s important to start somewhere. These days magazines and editors like to know exactly what you will be shooting and it’s often hard to show them exactly what you will be doing before you’ve done it. But if you do your homework and your research and really lay it out for them, it’s easier to win support.

There a story that’s out now that I just recently did that I was excited about. V asked me to come up with a proposal for a fashion story. I had done a fun and quirky portrait story for them in the past and they wanted something similar. Lately I’ve been obsessed with Italo Disco and the whole New Wave thing that I’ve been buying all these old Italo Disco records of my favorite tracks and I noticed how cool and tacky the album covers were. I put a proposal together and sent them pics of my favorite albums and pictures of the fashion and the style of that era. I actually spent a lot time putting it all together. They loved the idea and I was just simply excited to be doing something that was so up my alley. I enlisted the help of my friend at a motion graphics house to help with the graphic treatment. Everything from the hair to make-up to styling just all came together on this one and we were all pretty thrilled with the results, including everyone at the magazine. Check it out, it’s in this month’s V!

9. As you will presumably, eventually want an agent, can you talk about what you are looking for in an agent, and your experiences meeting them?

Agents…something that I’ve been avoiding but will soon have to face. Of course I’d like to have an agent, preferably someone that is supportive of younger shooters. But finding the right agency has been quite challenging. When I set out on my own in March, I had so many agents knocking on my door that I thought for sure I would have an agent before summer. I had met with some of the top agencies both in New York and London. Some were interested and I’ve gotten several offers but a lot of the bigger agencies were weary of taking on someone so new. What I realized was that I didn’t have much to show for. I had a handful of tears in my book and most of it were looking like half decent tests, so I knew I had to prove myself first. So I set aside the whole agency thing and set out to London to find work. Since then, I’ve been pretty busy shooting a lot of editorials that I’ve still yet to revisit agencies. Fortunately, a lot has a happened in 10 months and my book is looking much different than it was back then. I was also able to land a big advertising job for Hogan a month ago. Fortunately, it really changes the dynamics once you’re a photographer than can earn an some income. But really, finding the right agency is like finding the right girlfriend. You want them to like you as much as you like them and there’s got to be that right chemistry and you don’t want to be sleeping around while finding that right match either.

10. What do you think of the fashion photography scene in New York vs a London or Paris?

Everything is true about everything you’ve ever heard about London vs New York. I went to London because I knew there would be better opportunities there. It’s true that the magazines there are a lot more open to younger talents. It definitely feeds off of the younger energy and if you’re driven, you can do a lot. I’m amazed by what people can do with such little money as well. Having worked on big productions, it’s quite humbling not to be able to have all those amenities you’re used to and you sometimes get spoiled. But working abroad is both a motivating and humbling experience. There’s definitely a rawer energy there and people are constantly wanting to do things and money isn’t necessarily a factor of what can or can’t be done as it usually is in NY.

London also has this incredible creative platform because they have all the trendy magazines that everyone looks at and want to be a part of. New York doesn’t have that outlet because most of the magazines are based on profit and therefore have to answer to advertisers and have to conform to some certain standards in order to sell. That’s my impression, though I’m not sure what the reason is really, but it’s definitely a different market that’s more commercially driven. The good thing about NY is that it’s where the money and advertising is. That’s why you see a lot of Brits come to New York after they’ve established a name for themselves. The prestige of New York are the big ad agencies and the big commercial magazines like W, Vogue, T magazine, but that is really an elitist world. Paris is quite a mystery to me. Though I’ve been fortunate to shoot for Mixte and L’Officiel, I feel Paris is more of a grown up fashion market and a much tighter knit community. Something I’ll pursue when I grow into my shoes.

11. You also have a reputation around town as a pretty amazing party DJ, aka, Kid Laptop. Have you or will you ever try to meld the two worlds? Maybe a DJ fashion story?

Hahah... That's a good thought, but it never crossed my mind. I guess it's good to know I'm good at something if I don't succeed at being a photographer.

INTERVIEW: YVES SAINT LAURENT

2009-09-23T14:46:00.001-07:00

What is your main strength of character?
My will.

Your weakness?
My timidity.

Your greatest desire?
To sleep with those I love.

Your deepest fear?
Solitude.

I'd like to be very, very young again.
I had too many cares too soon.

I'd like to be free
...to be foolish.

I don't know why this particular set of questions depress me so much.

It's great to recognize talent and to acknowledge creativity but I think some people can get too selfish and aggressive sometimes to fulfill their horniness for new creations or new gossip.

WHAT'S UP CRYING NUT?

2009-09-05T08:59:00.000-07:00

Korean punk from 1998!

They had a concert today in Seoul, with guest star Jaurim!!!!

I love how they don't try to be American

I love how well they describe being Korean and living in Korea

I love how their lyrics are simple and honest

I love their home-made music videos

I love how they use creative toy instruments like the accordian and kazoo and whistles!!!

PHOTOGRAPHER DULCE PINZON.

2009-08-31T11:00:00.000-07:00

I introduce Dulce Pinzon's The Real Story of the Superheroes

BERNABE MENDEZ from the State of Guerrero works as a professional window cleaner in New York. He sends 500 dollars a month.

MINERVA VALENCIA from Puebla works as a nanny in New York. She Sends 400 dollars a week.

LUIS HERNANDEZ from the State of Veracruz works in demolition in New York. He sends 200 dollars a week.

FEDERICO MARTINEZ from the State of Puebla works as a taxi driver in New York. He Sends 250 dollars a week.

PAULINO CARDOZO from the State of Guerrero works in a greengrocer loading trucks. He Sends 300 dollars a week.

SERGIO GARCÍA from the State of México works as a waiter in New York. He Sends 350 dollars a week.

BOLIVAR AVRIL l from Quito, Ecuador. He works as an Ice cream man in New York. He sends 250 dollars a week

It's humorously serious - a paradox

MIDORI SAYS

2009-08-27T11:55:00.000-07:00

I've been trying to get in contact with my friend Midori,
and ended up in her blog that was last updated in 2005..

it read...

無理っぽくても、怖くても、やってみたら意外にうまくいくことは多い。
未来の可能性は無限だ。
やる前にあきらめてはいけない。
できるという前提で進むのだ。

Even though it seems like you cannot do it, or are scared of doing it right now,
You might do it much better than what you are expecting.
The possibilities you have are infinitely huge.
Do not give up before you try.
You should go forward as if you can do whatever you want.

I'm sure it sounds more profound in Japanese...

anyway

It's like she was waiting for me to read it since 2005.

Thanks for this indirect message.

WHAT'S UP MR. DALI?

2009-08-25T20:14:00.001-07:00

Life Magazine did this little photo section on his self portraits

Dali and his awkward hand

I put force on my fingertips. So much energy!

Seaweed wig and beard

Dali, the milliner

"Take me, I am the drug; take me, I am hallucinogenic"

"There is only one difference between a madman and me. The madman thinks he is sane. I know I am mad"

minutes before being expelled

"Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision"

"I do not paint a portrait to look like the subject, rather does the person grow to look like his portrait"

"The thermometer of success is merely the jealousy of the malcontents"

"The difference between false memories and true ones is the same as for jewels: it is always the false ones that look the most real, the most brilliant"

photos by Life Magazine

PHOTOGRAPHER GUY BOURDIN

2009-08-14T11:23:00.000-07:00

i shake looking at his photos.

I think photography has its trends

the "urban outfitters" lighting

the "holga" image quality

the black and white avant-garde architectural look

the girl with sheer against a bright light

the plain white background

the "vintage" feel

i like how bourdin's photographs don't follow these trends.

he's creative with the visual arrangement of the models

and accessories

and lighting

and composition

and balance

and colors

he must've been a painter.

he takes risks.

i like how it doesn't look too perfect.

perfection is claustrophobic

PHOTOGRAPHER NAN GOLDIN

2009-07-16T03:48:00.000-07:00

sensual, erotic, but romantic

“A lot of people seem to think that art or photography is about the way things look, or the surface of things. That’s not what it’s about for me. It’s really about relationships and feelings…” Nan Goldin

Actually, I take blurred pictures, because I take pictures no matter what the light is. If I want to take a picture, I do not care if there is light or no light. If I want to take a picture, I take it no matter what. Sometimes I use very low shutter speed and they come out blurred, but it was never an intention like David Armstrong started to do what we call, he and I, "Fuzzy-wuzzy landscapes." ... It used to be because I was drunk, but now I am not. The drugs influenced all my life. Both good and bad. I heard about an artist in Poland, Witkacy, who wrote down on his paintings all the drugs he was on. Depending how many drugs he took, that is how much he charged for the portrait. I saw his portrait at the National Museum, a kind of German expressionism, and I loved it.

IF YOU'D LIKE TO KNOW MORE ABOUT ME, HERE'S AN AUTOBIOGRAPHY.

2009-07-11T23:42:00.000-07:00

ONCE UPON A TIME WHEN I WAS A POLAR BEAR

2009-07-10T23:35:00.000-07:00

MY SHOW AT THE ANNEX GALLERY

2009-04-23T23:33:00.000-07:00

Annex Gallery

i dreamt

2009-04-19T10:06:00.000-07:00

I was in an English lecture hall
each person was to recite a paragraph
it was actually a very simple task

everybody had done their deed
only two paragraphs left
there was another anxious person in the room
who may have hated public speaking as much as i

i mustered the courage to go first
it wasn't going to be so bad
i knew how to talk to an audience
i knew how to engage
i knew that shit

so with confidence i recite the first word
siahgpowith
i stumble

awepghaowiegh
second word
i get stuck

asdpoiwghpoeghiaog
third word

my mouth locks
i can't speak

i see the class staring at me
looking at me hopeless
some encouraging me to keep trying
i want to run away
but i cant

I WENT TO MOMA AND MISSED MY FLIGHT BACK TO LA, BUT... MARLENE DUMAS

2008-12-20T02:47:00.000-08:00

nice colors

and composition

NEW YORK IS A LONELY PLACE.

2008-12-16T02:25:00.000-08:00

fall, 2008

NYLON X JENNY X BOA

2008-12-03T02:57:00.000-08:00

an interview i helped set up between nylon and boa

yayy

NYLON X JENNY

2008-11-20T02:21:00.000-08:00

pictures from the bloomies event

<3

TWO DOORS

2008-11-10T03:13:00.000-08:00

david shrigley's door

my door

cool we both painted doors

A PORTFOLIO

2008-07-10T23:10:00.000-07:00

http://www.jenny-yoo.com

NEW ILLUSTRATIONS

2008-05-13T23:20:00.000-07:00

THIS IS A SCULPTURE MADE OUT OF FOUND MATERIALS. ACTUALLY I STOLE THEM.

2007-12-16T03:12:00.000-08:00