blush, celebration, dimples, snoozy, kitty

OMG QT

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DIY?

maybe i'll call these interventions DIY Sculptures - a play/translation of bricoleur.

 Adam Farcus - Face (digital photograph) 2011

from Beloit today

 Adam Farcus - Gone From My Sight (digital photograph) 2011

a hex on the main building at Apple Hut (an apple orchard) outside Beloit, WI

November Graveyard

And green tea of

CS Gas stove and skinny training squad last means all along we ask a lot of change when you try ads and our asked not to hide behind the enrollments grass and this holiday grandiloquent nine and a school and sexuality fellow at night and ends crimes of engaged in knots between us down 18 minutes rained down is honest dropped to an elaborate hot ham bone and freeing it can mean a lot in stocks got in bulk Smeal offense, all play ties much known as the reactions and the sun and essential asking Stan R. Stanton U I's boys division of dazzling and we a Los Gatos man and Colleen – rows across and long reign of the shortest outing mind which key goals and may have came from 10:00 AM

And green tea of is a poem made using Windows Speech Recognition, Microsoft Word, and a Youtube video that features Sylvia Plath reading November Graveyard. Perhaps I'll do something better with this process soon.

 
 

uncreative writing

"In the event, [the UbuWeb conceptual poetry] collection happened to gather a particular kind of writing to make a secondary argument: some of the presumed hallmarks of poetry—the use of metaphor and imagery, a soigné edited craft, the sincere emotional expression of especially sensitive individuals—might be radically reconsidered, and poetry might be reclaimed as a venue for intellect rather than sentiment. Understanding writing to be more graphic than semantic, more a physically material event than a disembodied or transient medium for referential communication, the online anthology showcased works fundamentally opposed to ideologies of expression."
-Crag Dworkin, The Fate of the Echo, Against Expression: An Anthology of Conceptual Writing, 2011. [via the essays, seen here]

seemed fitting for today

9/11/11

finding talismen in everyday places

post

a dead coyote on a fence near Lipan, TX, via http://www.flickr.com/photos/kenkuhl/95172104/

a photo I took of some catfish heads I found nailed to a post outside Mazon, IL, circa 2001

Recently, I came across this photo of catfish heads I took in high school, which spurred my investigation into the practice of putting dead things on fences. In the case of the coyote, the carcass is supposed to ward off other coyotes that might kill a farmer's cows - in a similar function as Vlad the Impaler's use of impaled enemies to warn off invading armies.

In the case of the catfish heads there are two possible explanations: 1. as a way of displaying your catches (trophies), or 2. a functional and easy way of cleaning a catfish evidently involves nailing the fish's head to a post to hold it in place while it is cleaned - the head is then cut off and left on the post afterward.

Thinking of these references I decided to take to task these odd bits of yellow expanding foam that I keep finding on the train tracks outside my apartment. The intervention is in a large empty lot (almost a whole block large) in my neighborhood.

Adam Farcus - Horns (intervention and photograph) 2011

So, I hope Horns is at once a trophy, a totem, and an (mythical) omen. What is a trophy or totem for is up for debate - fungus, dicks, disease, industry, abject objects...

:)

  eyes    :;8BX
 noses     -^co
mouths    )]3DpP

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John Rainbow

John Rainbow - Nov. 26, 2005

I've been looking back at the work I made with the collaborative group, John Rainbow. At the time (2004-2007) we considered what we were doing to be involved with (juvenile) humor, populist ideals, narrative, and a lack of heavy or serious content. I can say that maybe our goal was to be philosophically set up against the Avant-Garde, and the exclusive nature of art. Maybe we were shooting for kitsch and didn't know it?

 John Rainbow - Hot Shit

 Unfortunately we were still dependent on the academic and exhibition system to disseminate our drawings, sculptures, and performances. But, this was and still is a base line that flows through my work... and the work of the other people that were involved in the group: Neil Vine (Gavin Bunner), Mr. Pine (Dan Mrva), Richard Maple (me), and Lane Woodbridge (Stephanie Lebak). (Our names are made through the "porn name" process of taking your middle name for given name, and the name of the street you grew up on as the surname.)

 

John Rainbow - Boop, Bop, Bleep

How has John Rainbow effected my growth? I think I employ some of the tactics form John Rainbow, but in more subtle ways. It can be seen more in my Interventions. There is a lot of play, pleasure, and humor in these works; but most of all, they are made for the everyday public - not an art audience. I understand that through the few times I have exhibited these as photographs (and at least me posting them here) I am putting them into the "art world". I guess a question here is, how do I want to present myself? Meaning, how do my intentions as an artist align themselves with this problem of audience and access?

Adam Farcus - Menards, Joliet, IL (store intervention and digital photograph) 2009

The group is still together (with only me, Mrva, and Bunner)... but on hiatus till we figure out how to collaborate between Chicago, L.A., and Bloomington, IN.