OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

November 14, 2016

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches, OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches, Rust-Oleum protective paints and coating, 2016 Hyundai Sonata rental car. SIZE: XXXXL. 2024.

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

 

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

 

 

| More: installations, painting, still-life

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches, OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches, Rust-Oleum protective paints and coating, 2016 Hyundai Sonata rental car. SIZE: XXXXL. 2024.

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

img_6689a

 

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

Two encounters:

1). Kevin and I had just draped the car cover over the car. He jumped into photographer mode as I continued to tug and stretch the cover making it as taut as possible. A car with two Trump supporters slowwwwly drive by, 1 mph. The driver asks, “Hey, buddy, what you hiding?” Even though I know that interaction can happen, I was completely taken back. All I could hesitantly say was, “I…can’t…tell…youuu….”. Then stopped the car. His eyes meeting mine, piercing like lasers, he said, “No, really. What. Are. You. Hiding?” Again, taken back and in a bit of shock, I gestured zipping my mouth closed and throwing away the key.

Eventually, they parked. I moved towards the front of the store near the entrance. As they were approaching the front, they were moving and waving them arms at Kevin, happily repeating their movements for the camera. The driver commented that there was a Lamborghini under the cover, with his partner, an older gentleman saying, “The only Lamborghini at Wal-Mart….Ten dollars worth of paint Lamborghini!” Not sure if that was supposed to be an insult or a compliment.

 

2) As Kevin was documenting, I stay back, soaking it all in, trying to enjoy the piece and keenly watching passersby. A Wal-Mart employee, apparently on break, was smoking a cigarette…right ou front of the main entrance. I suppose their is no state law, city ordinance, or company policy to keep smokers at bay, away from  customers. A dark man, from African descent, with a thick accent, asked me from afar, “What is it??”. I approached smiling nervously, again shellshocked from an actual encounter, responding reluctantly, “I don’t know………..It’s a car cover.” He puffed on his fag, motioning for me to move on, dismissing me and saying, “Oh, okay.”, like as though, nothing important, leave me alone to finish my cigarette then…..I knew I had screwed up. And I knew it was more than a car cover, although I still haven’t figured what, but I quickly responded, “It’s a break, like your cigarette…A relief from these times (meaning post-Trump election)…but, not a distraction. No, not a distraction. I do not want to distract us from the problems right now, but at least a moment to breath.” Puffing away, he probed further, “But, what is it?”. In retrospect, I believe he objectively wanted to know that it was a car cover painted with spray paint, stretched over rental car, but I answered, “Sometimes it’s not about answers, but about providing questions.” He replied, ” Ohhhhh, it’s art.” Which I couldn’t believe. This notion is not exactly about art is not exactly common sense. I questioned his awareness about art and he said he knew about it. I mentioned then, that he knew exactly what it was about. “But, what is going to happen now?” “This moment. This experience.” I said. It’s burned in your mind, and in mine, forever.” He puffed away and we said our goodbyes and good lucks.

 

 

 

 

 

 

 

 

 

 

 

| More: installations, painting, still-life

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches, OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches, Rust-Oleum protective paints and coating, 2016 Hyundai Sonata rental car. SIZE: XXXXL. 2024.

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

 

 

 

| More: installations, painting, still-life

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches, OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches, Rust-Oleum protective paints and coating, 2016 Hyundai Sonata rental car. SIZE: XXXXL. 2024.

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

 

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

 

 

 

 

| More: installations, painting, still-life

OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches

November 05, 2016

 

 

OFG.XXX / PUSHKIN & GOGOL / Kevin Rubén Jacobs presents:

sideb

“OxGord Economy Auto Cover – 1 Layer Dust Cover – Lowest Price – Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck – Fits up to 206 Inches”

by Keith Allyn Spencer

Thursday, November 10, 2016 — Daytime

Home Depot, 6110 Lemmon Avenue, Dallas, TX 75209
Walmart Supercenter, 6185 Retail Road, Dallas, TX 75231
Hobby Lobby, 3178 Lavon Drive, Garland, TX 75040
Papa John’s, 3501 McKinney Avenue, Dallas, TX 75204

www.ofg.xxx

/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /

Adequate for a dust cover, but I really needed it as sun protection. It offers some relief, but it’s a bit too thin to keep out the heat. Also, it doesn’t have obvious markings to tell which end is front or back when unfolding it. I had to paint markings on it myself to keep from fussing each time I use it. It’s like those booties you get in a hospital, except it’s larger, and worn with the elastic rim down. I guess the description could be little bit more specific about what this cover covers from and not. Anyway, it fits my Jeep Commander well, but looks better on a Nissan Altima full-size sedan or similar. It’s been one week so far, so I cannot attest to its durability.

Rustoleum Spray paint does just that. I used to decorate the surface dried to the touch in only a couple of hours, tacky in 20 minutes. Great for quick art projects. Absorbent material needs either an undercoat of white paint, or get ready to take out your pocketbook. Black looks like dark grey. White looks like light grey. Orange looks like orange-grey and grey looks like grey-grey. Blue only looks like blue because of a doubly white sprayed layer put down beforehand. Can-control is essential so you don’t have a concentrated spot of spray paint dripping through. Plastic Drop Cloths (Common: 10-ft x 25-ft; Actual 10-ft x 25-ft), Item # 593659 Model # RSLW3510-25C do not biodegrade.

Super friendly staff. The staff is so much fun to talk to. The staff are extremely nice, knowledge and down to earth. They always have great things going on for everyone in the family to enjoy, even classes! My daughter has attended camp at the Irving Art’s Center for three years now, so far this year she has been there for 3 weeks. They run all through summer and change weekly so it different so she does not get bored! She loves the staff, which are great, some of the teachers there are art teachers from the Irving ISD. The staff at Solis’s wedding was drunk, but so was everyone else.

I had a wonderful experience at this store. I went in to have some holes drilled into some sheet metal that I was going to mount on my wall. Dona was extremely helpful and found a better way to mount the piece of art. Also, while Dona and I were working on my painting project the rest of her team went and shopped for my list of items I needed. Very happy with the service I received to make my house great again! This associates are extremely knowledgeable and if they are knowledgeable they connect me with the people who are. My favorite associate is Kindrick, he is such an amazing individual with great painting skills. I love this store!

Some of the most kind and friendly Customer Service people are at Walmart! the return and exchange process is easy here. People there, as in fellow customers, are nice, save for the occasional crying baby, but you’ll find that anywhere. It has a subway sandwhich shop inside, which is nice. They even help their employees get food stamps. One thing, or two actually, that can use some work is employee attitude and serviciablity, which has arguably gotten better over the time. Long lines are still a problem. Good Walmart.

I find most of my house decors here, After I just left this location, I have never felt more uncomfortable shopping ever, I had a staff member by the name of Deane literally follow me everywhere i went in store and by everywhere I even mean the restroom, she followed me into the girl restroom and literally waited until I was done with my business and followed me right back out, She even had security follow my family around the store, as my mother and I were about to pay for our items she’s literally walking right behind us, so my mother finally confronts her about her following us and she basically said she found us suspicious how we were walking around the whole store, good thing their workers insurance plans still allows employees to get Viagra and vasectomies.

WTF!!! not pleased!!!! Site says located in McKinney when actually in Dallas. Sleepover ruined!!! Thanks a lot “papa” johns!!!! 14 cents extra my ass

/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /

KEITH ALLyN SPENCER (b. 1979, El Paso, TX) was born and raised in the American desert southwest border region. An emphasis w/ the middle letter of his name helps diminish the perpetual mix-up with similar named persons: Keith Spencer, Kevin Spencer, Kenneth Allan Spencer, Spencer Kenny Allen, Kanye West, so on and so forth. Currently, Kurt resides with his family right outside Columbus, Ohio, USA. He is an Assistant Professor at Denison University. Kent has showcased his works in various group shows, “p0p-up” spaces, coffee shops, bars, blogs and academic galleries. Most recently, Karl has been in group shows at Skylab Gallery (Columbus, OH), Present Company (Brooklyn, NY), Evelyn Yard (London, UK), and w/ New Galerie at Yves Klein Archives (Paris, France). He has held solo exhibitions at Pay Fauxn (Brooklyn, NY), Ditch Projects (Springfield, OR), The Composing Rooms (Berlin, Germany), Welcome Screen (London, UK), Oliver Francis Gallery, Target, Domino’s Pizza and the Rhode Island Credit Union, so help you God.

OFG.XXX (b. 2011) is an independent curatorial project spawned from a now defunct brick and mortar gallery space in Old East Dallas. OFG.XXX operated as a powerlifting gym for some time around the time it was on dialysis.

 

 

 

| More: news

Skylab Gallery

November 01, 2016

Shits and Giggles

Cody Tumblin (wall works) and Keith Allyn Spencer (floor/pedestal works)
text by James Payne

Skylab Gallery
57 E. Gay Street, Columbus, OH

10/28 -11/11

shits__giggles_02

shits__giggles_37a

 

shits__giggles_05

 

 

 

shits__giggles_35a

(all photos courtesy of Skylab Gallery)

 

 

 

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Shits and Giggles in the Flow:

Keith Allyn Spencer & Cody Tumblin at Skylab Gallery

IS ART WRONG?

Of the lines I’ve written, “Is art wrong?” is by far the one my friends mock me with most often. It touches a nerve.

Is art wrong?  

It doesn’t feel right.

That feeling – not right – is why essays on art, like this one, are often nothing but textual graves for dead, dying, and undead theories about our lives under capitalism. It’s easier to make a cogent argument about why the capitalist world leaves you nauseated, if, instead of making it about the world in all of its manifold complexity, you make it about the symbolic version of the world presented in art. But, for so long, the connection between the symbolic (art, art world) and the real (reality, world) was unclear; at best, it was that a change in the symbolic was like the wind – evident only through its observed effect on the real: blown trees, fallen leaves; new politics, shifting economies.

Now, however, the perennial goal of the avant-garde, to collapse art into life – the symbolic into the real – in order to unleash the radical potentialities of creativity in real-time, for all, has been achieved. It’s just that it’s only been achieved through the transmutation of both art and life into work. Still, if A (art) is B (work), and B (work) is C (life), then art has been collapsed into life after all, hasn’t it?
This new dynamic, besides making life easier for the Marxist art critic, has caused artists to engage in a para-politics centered on “the artist as worker,” (W.A.G.E, Arts & Labor) while also recuperating and fetishizing the concept of “art as play” as a refuge from, and evasion of, overprofessionalization.

In Shits and Giggles, Keith Allyn Spencer, or KAS, (b. 1979; El Paso, TX) and Cody Tumblin (b. 1991; Franklin, TN) exhibit an example of the latter tendency, replete with a playful title, if ever there was one. Shits and Giggles is a painting show without paintings, with wall works that are on the ground, faux pedestals made of pizza boxes, fine art fabricated kitsch objects, unstretched canvases, unfinished works – anything to signal a non-compliance with the work of art and life’s rules, anything to signal play.

But if we conceptualize “play,” as Palo Alto does, as a free space where innovations are drawn from, to be capitalized upon later, then play is not an ecstatic experience of creative thought in either programming or art, but another site of a continued pain. The movement of “artist as worker” has likewise only been successful in the sense that there’s now a smattering of Social Practice TT positions, putting its re-enactments of bygone models of more humane economies into the service of the student-loan bubble.

The anxiety in some artists’ refusal to be serious, to conform to art’s new position as a profession, and to instead have Shits and Giggles, recalls Christopher Hsu’s essay “Spasm to Spasm” in Paper Monument #4 about the ever increasing need in arts circles to be on:

But now, whenever I hear a story or some inert bit of information, […] the question intrudes—So what is the funny side of this? Walking home from dinner or a party with the troubling thought, Possibly I was not funny enough tonight. And then there is email. Good or bad, there must be levity.

We’re all on now. Enjoying our lives. And our work. And our art. And doing all we can to be perceived on that level. KAS keeps “play” circulating by misusing titles, his mockubiography, fictional dates, and alternate spellings of his name to key the viewer into an ambient mischief, if the unorthodox hangings, materials, or exhibition sites failed to get it through. The antics of his poetics attempt to evade the staid, but the palpable anxiety to joke, already endemic in the artworld, creates a rhetorical nonspace where irony is de facto sincerity, and a joke just isn’t. This is why KAS’s employment of meme-derived language is so apt; titling a work Get You a Man Who Can Do Both is a tacit admission that the artwork on IRL display can only hint at its real conditions.

~ ~ ~ ~ ~ ~ ~ ~

ALMOST NOTHING

“All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”

– Friedrich Engels & Karl Marx, The Communist Manifesto

If the industrial revolution turned the real world and its relations into an air called modernity, and if post-modernity sold that air at an All That Is Solid Melts Into Air™ Oxygen bar, and if, in the recession, that bar closed – and if we’ve since been squatting in its basement – then we should all be honest and agree that we’re just vaping on a Marx-brand AIR E-Juice while we still can.

Or to put it another way: the role of the artist was world-simulator, then world-creator; it melted further into idea producer. Now, the artist produces the Idea of Production – vapes the idea of smoking.
The Idea of Production is doing something to put it on your CV so you can do something else later. It’s degrees that didn’t exist fifty, or five, years ago, for careers that stopped existing fifty, or five, years ago. It’s jobs that literally are not jobs. It’s finally showing at a gallery, but only after creating the gallery to show in. It’s What are you working on right now? and it’s always working right now, or it’s feeling embarrassed if you aren’t, or can’t, and it’s lying by saying that you are working, or want to. It’s the anxiety you feel when you aren’t feeling anxious enough, when you care too much about how you don’t care at all.

This Idea of Production is necessitated by Flow, which is the dominant paradigm of our lives as 2016 comes to a close. Flow is where we see the “real conditions of life” in which, Marx wrote, “all that is holy is profaned.” Though the Idea of Production is a response to Flow, it in turn energizes and normalizes its demands. In Flow, all facets of life become more and more commoditized, especially as there are less and less buyers on the market: the industrial space (57 E. Gay St. 5th FL) melts into the idea theater (Skylab Gallery), where events are attended by people whose careers have melted into 1099s, whose country is a collection of warring interest groups, whose family units are childless communes, whose relationships are mediated app hook-ups, whose houses are sub-sub-sublets, and whose Ubers are automated. All in Flow is flux, all is melt; even these examples are outdated, awaiting a new disintegration to come.
Flow triggers the need for artists to produce the Idea of Production just to tread water. Both Flow and the Idea of Production find their natural homes on Instagram, whose endless scroll of atomized lives formally reflects the melt of the real world economy. At the same time, the real world debases its own relations to fit the logic and display regimen of the scroll. This ever-morphing presentation and representation leaves one in vertigo, where all that is solid has melted into the social. Tourists become tourists of their own tourism just as an artist’s real art becomes who sees their art objects and how.

But no matter how productive, the artist can never fill Flow’s maw: post as many production shots, coterie shout-outs, inspo insights, residency humblebrags, on-brand political reposts, and studio visit pix on Flow’s abyss and it will only demand more the next day. Accordingly, the work of the artist is now spent maintaining their Flow. Flow has turned the artist’s objects into posts, posts into followers, followers into social capital, and social capital into real capital via gallery representation, academic jobs, and art sales. The art object, destabilized and commandeered by Flow, now exists to arbitrate, as an online avatar, connections, exhibitions, careers, friendships, partners, marriages, and future Flows for the artist. For instance, I first saw KAS’s work on Instagram, even though we were in the same Indiana University building each day; the same with Tumblin’s, though we had been in SAIC’s orbit at the same time.

KAS and Tumblin are bright lights in this wave of denatured and accelerated production, whose Flow maintenance is integrated into and positively impacts the art objects they make. KAS’s work, for instance, is predicated on endless iteration in an attempt to meet and mirror the demands and opportunities of Flow within one piece. Works like 2016’s Everyday Is A Friday, a painting done on both sides of multiple pieces of jigsawed or laser-cut wood and placed on nails in the wall, recalling the jubilant Stellas of the 80s, are documented repeatedly, with multiple IG posts sharing possible permutations, and, during a studio visit, these permutations are further manipulated in real-time, and, depending on the install, may change again in the gallery, or when finally released into the wild by KAS at a Wal-Mart or other culturally-coded non-art site frequented by his family.

KAS’s GIFs extend this idea further in an attempt to embody Flow. KAS takes one of his manipulable painting/sculptures, which exist in the formal space of Jean Arp’s early-20th century bio-morphic reliefs, and loops the set of viable forms of each piece, which undermines the authority, or possibility, of an ultimate decision, and the idea of author in general, separating “author” from its “authoritarian” overtone. The GIFs instead point toward the endless, the open circuit, the experiential processes of creation – but also the variables involved in display and spectatorship, that ensure a work is never settled. Similarly, the GIFs are always present, always shifting, always now, while the art object in the past was understood as one of the only ways to simultaneously mark time and escape it – it’s always 1937 in Guernica. The GIFs, and Flow, neither mark nor escape time; it’s like looking for a clock in a casino.

Painting can no longer be George Tooker producing an egg tempera once a year that stands like a landmark Supreme Court decision through time, and not just because George Tooker is dead. Painting is now hundreds of permutational ideas, each a move in a Rubik’s Cube, a moment in a virtuoso act of problem-making and problem-solving, where each solution reveals a new problem, across an endless X-axis. Tumblin’s work inhabits this schema and the demands of a production-centered cultural economy because his work lives in on-going process. Motifs of spider webs and flames and decontextualized words sprint through series of Tumblin’s works where the one constant is a mercuriality – of style, of material, of representation, of display – that refuses to sit still and coagulate into a coherent – and therefore dead – world in the extended Flow of his work.

Within Flow, KAS and Tumblin’s art objects can be talked about like art, on one level, but, as posts, they will serve foremost as holders of sociality. Art and work and life delaminated from material conditions is not for us, or for Skylab, or an IRL gallery-going public, but for an audience who surveilles us through classism, racism, sexism, homophobia, transphobia, educationism, geographical proximity to capital, through who follows us back, through who comments; and yet we still post in the hopes that, after this, there is more. The actual art object in Flow appears to be the reason for everything, and yet is almost nothing.

When I ask Is Art Wrong? I think I am really asking if society is, and, while I’m not sure about art qua art, I know the correct answer to that question: Yup.
~ ~ ~ ~ ~ ~ ~ ~
But I also wrote this poem:

WHY DO I LOVE PAINTERS?

It’s just a thing poets do
like drawing attention
to the construction of the text.

I composed this poem
in a text
to a painter
as a sext.

As a poet, I can describe the world and my interior experience of it. One thing I can’t do is make something appear that is not there. Painters may no longer strive to make trompe l’oeil grapes so real-seeming that a viewer reaches out for them – instead they make sculptures that look like mass-produced fake poop that in turn looks like real shit – but even within the strictures of Flow and the Idea of Production, painters make things appear that were not there previously. And if one can see a change in the symbolic form of the world, it’s now the same as seeing it in the real one. Even if one sees it on Instagram.
The Shits and Giggles in the Flow is its only redemption.

James Payne
Berlin, October 2016

 

 

 

 

| More: installations

You vs The Guy She Tells You Not To Worry About

October 23, 2016

You vs The Guy She Tells You Not To Worry About, low density polyethylene and pigment suspended in acrylic polymer emulsion with occasional hammers. Size: M-XXXXL. 1979.

You vs The Guy She Tells You Not To Worry About

 

 

 

You vs The Guy She Tells You Not To Worry About

3/4 viewing pleasure

 

 

You vs The Guy She Tells You Not To Worry About

 

 

 

3/4 viewing pleasure

 

You vs The Guy She Tells You Not To Worry About

crumpled

 

You vs The Guy She Tells You Not To Worry About

scrunched

You vs The Guy She Tells You Not To Worry About

crunched

 

img_5905

drenched

 

You vs The Guy She Tells You Not To Worry About

hanging around

 

 

 

You vs The Guy She Tells You Not To Worry About

 

 

 

no hammer time

 

 

 

 

You vs The Guy She Tells You Not To Worry About

 

hammer time

 

 

 

 

| More: still-life

Jet Ski Gang

October 21, 2016

Jet Ski Gang, clay hardened by heat, fast-drying paint made of pigment suspended in acrylic polymer emulsion. Size: XS. 2022.

 

Jet Ski Gang

 

detail

 

Jet Ski Gang

 

detail

 

Jet Ski Gang

 

detail

 

 

Jet Ski Gang

 

detailed detail

Jet Ski Gang

detailed detail’s detailed detail

 

 

Jet Ski Gang

(the whole gang)

,

,

,

My older son is quite the prankster, or rather a prank enthusiast, as he has not so much begun to conduct pranks of his own. He really likes to watch pranks on YouTube, and perhaps it all started with us gathering around streaming America’s Funniest Videos. There is something about the ones he watches on YouTube, though, that I feel are typically mean spirited. Some are harmless, and perhaps they are all in good fun, but some are just plain mean, and I wonder how a cruel prank victim in the end feels about it all. I wonder, too, if laughing at them is perpetuating, what feels like, bully behavior.

I decided to conduct a prank of my own, targeting my very son who is a beloved fan of such jokes. Tough Love. The setup was fake dog poop on his bed. It had been nearly two months since we, as a family, adopted our black, wiener dog mix, “Lili”. Roughly about a year old, she has been such a sweetheart, and luckily was house trained before we got her. She has not once gone poop or pee in our home. The poopoo prank prop was constructed from a portion of my younger son’s PlayDoh. Once dried a few days later, a quick splash of glossy acrylic paint created an effect of fresh, moistened  excrement.

The fake poop was placed atop my older son’s bed, awaiting him to lay down for the night after washing up. Coincidentally, Lili, laid on his bed, as usual, waiting for him to be tucked in and kissed goodnight. As soon as he entered the room, he quickly exited. His eyes wide-open, eyebrows arched unlike ever before, and his hands barely able to cover his jaw dropping to the floor. My wife was in on it and played along, acting in disbelief that our dog could do such a thing. Our son, still in shock, started to pace along the hallway, eventually and slowly descending the stairs — probably, afraid we were going to get him to remove it. Meanwhile, our youngest son, had come into his brother’s room, now, too, in a state of disbelief, but my wife and I shared with him that it was a trick, that it was fake. He quickly grabbed the poop, ran down the hall, screaming for his brother to witness him holding it, then placing it in his mouth. You can imagine how even more shocked his big bro became until the little one screamed enthusiastically, “It’s fake!”.

| More: still-life

Believe Me

September 28, 2016

Believe Me, low density polyethylene and pigment suspended in acrylic polymer emulsion 9balloon clips for plain fun). Size: XXXL 2029.

Believe Me

 

 

Believe Me

 

 

 

Believe Me

detailed detail

 

Believe Me

 

Believe Me

 

 

 

 

 

| More: still-life

Body Language

Body Language, high density polyethylene and pigment suspended in acrylic polymer emulsion 9balloon clips for plain fun). Size: XL. 1966.

Body Language

(flapped down)

 

Body Language

(flapped up)

 

 

Body Language

3/4 view

 

Body Language

 

Body Language

 

Body Language

 

Body Language

 

 

| More: still-life

Clinic

Clinic, high density polyethylene and pigment suspended in acrylic polymer emulsion. Size: M. 2021.

Clinic

 

Clinic

rotated

Clinic

flip it and flop it

Clinic

 

Clinic

Use a potato chip bag clip if you  need to.

 

Clinic

| More: still-life

Sent From My Verizon, Samsung Galaxy Smartphone

September 19, 2016

Sent From My Verizon, Samsung Galaxy Smartphone, acrylic paint on plastic,Size: M. 2016. Installed and left at Pay Fauxn Gallery:  https://www.google.com/maps/place/Cabs+Nursing+Home+Co+Inc/@40.6910965,-73.9520844,15z/data=!4m5!3m4!1s0x0:0x1d4f5b5ddf009604!8m2!3d40.6910965!4d-73.9520844 .

Sent From My Verizon, Samsung Galaxy Smartphone

 

 

Sent From My Verizon, Samsung Galaxy Smartphone

 

Sent From My Verizon, Samsung Galaxy Smartphone

 

Sent From My Verizon, Samsung Galaxy Smartphone Sent From My Verizon, Samsung Galaxy Smartphone Sent From My Verizon, Samsung Galaxy Smartphone

 

 

 

 

| More: installations, still-life

Karl Kani

August 03, 2016

Karl Kani, fast-drying paint made of pigment suspended in acrylic polymer emulsion and IKEA plastic protective product packaging wrap. Size: XXL. 2022.

Karl Kani

Karl Kani Karl Kani

Karl Kani

d to the tails

 

Karl Kani

3/4 view

 

Karl Kani

 

Karl Kani

full frontal glare and alllll

Karl Kani

 

 

 

| More: still-life

Must Be Nice

Must Be Nice, fast-drying paint made of pigment suspended in acrylic polymer emulsion and IKEA plastic protective product packaging wrap. Size: XXL. 2022.

Must Be Nice

in the corner, he’s cornered, she’s cornered

Must Be Nice

Must Be Nice Must Be Nice

Must Be Nice

3/4 view

 

Must Be Nice

details

 

 

Must Be Nice

installation shot in your face

 

 

| More: still-life

Fish Stick

Fish Stick, fast-drying paint made of pigment suspended in acrylic polymer emulsion and IKEA plastic protective product packaging wrap. Size: XXXL. 2022.

 

Fish Stick

 

 

 

Fish Stick

detail of a detailed detail’s detail

Fish Stick

3/4 viewing pleasure

Fish Stick

installation shot(s) vvvvvvvvvvvvvvv

Fish Stick

Fish Stick Fish Stick Fish Stick Fish Stick

 

 

 

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I Know What You Re Thinking

June 25, 2016

I Know What You Re Thinking, clay hardened by heat, fast-drying paint made of pigment suspended in acrylic polymer emulsion. Size: XS.  1979.

I Know What You Re Thinking

3/4 viewing only

 

I Know What You Re Thinking I Know What You Re Thinking I Know What You Re Thinking I Know What You Re Thinking

FullSizeRender 56

I Know What You Re Thinking, and No You Didn’t

 

| More: still-life

Thanks NRA

Thanks NRA, clay hardened by heat, fast-drying paint made of pigment suspended in acrylic polymer emulsion. Size: XS.  1979.

 

Thanks NRA

Thanks NRA Thanks NRA Thanks NRA

Thanks NRA

3/4 viewing perspective for you viewing pleasure

 

 

| More: still-life

No You Didn’t

No You Didn’t, clay hardened by heat, fast-drying paint made of pigment suspended in acrylic polymer emulsion. Size: XS.  1979.

No You Didn't  No You Didn't No You Didn't No You Didn't No You Didn't No You Didn't

No You Didn't

3/4 viewpoint

 

 

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Good Hands

Good Hands, clay hardened by heat, fast-drying paint made of pigment suspended in acrylic polymer emulsion. Size: XS.  1979.

Good Hands

Good Hands

 

Good Hands

 

Good Hands Good Hands Good Hands IMG_2384 Good Hands Good Hands Good Hands Good Hands Good Hands Good Hands gif

 

 

 

 

 

| More: still-life

Saved By The Bell

Saved By The Bell, clay hardened by heat, fast-drying paint made of pigment suspended in acrylic polymer emulsion. Size: XS.  1979.

Saved By The BellSaved By The BellSaved By The BellSaved By The BellSaved By The Bell

 

Saved By The Bell

 

 

 

 

 

| More: still-life