Friday, October 27, 2006
Tuesday, October 24, 2006
Another New Yorker Review: Joe Sola @ Bespoke, NYC
And again more reflection: This excerpt is from one of my early interviews with Joe, again from Samplesize, April 2004:
Otino Corsano: Why do you use appropriation as a strategy?
Joe Sola: It is really hard to compete with the dominant media, which you do, once you start using moving images. It would be almost impossible to make an action film of my own because it costs too much to create in this form.
can make one
slight move, one gesture,
that can completely
undo the film being appropriated;
completely take ownership of the same space
the original film was made.
[...] Conversely I am working on a 35mm single shot film right now which has super high production values which will look just like the film Daredevil in terms of image and sound quality, but the content is very abstract. I am in production right now working with the Wexner Center for the Arts and the LEF foundation up in St. Helena, CA.
Isca Greenfield-Sanders: Pinelawn Pools
Isca sent me an email in late September with good news: Her "Pinelawn Pools" exhibition (September 7th - October 14th 2006) at Goff + Rosenthal Galley was reviewed in the New Yorker Magazine:
I interviewed Isca in November 2004.
At the time she spoke to me about her "beach detail paintings":
"These paintings depict incidental figures taken from the background of two photographs from my original archive of pictures. As the background figures are significantly smaller in the original photographs, these paintings are less defined and have a markedly different quality as compared with my more photographic earlier work.
paint is more prominent.
My desire was to have the oil paint act more like
I wanted these paintings to remain transparent
and bright, and in doing so,
temperature and light.