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THE 2010 STUDENTS OF THE MOUNTAIN SCHOOL OF THE ARTS WOULD LIKE TO THANK:
piero goliaeric wesleyrichard jacksonvalerie schultzandrew berardinijames singersteve kadochanning hansenstefano campagnoiajohn moracesteve hansensarah lehrer-graiwerthe mandrakeand the mountain bar staff
MSA^ 2010
Interview with Richard Jackson 4-5By Janine Armin and Robert SnowdenHarvard and MSA^ Collaborate on Proposed Museum in Beverly Hills 6-7Dinner and a Movie with Tony Conrad 8-9By Olivian ChaRock Climbing with Andrea Zittel 10-13By Jed OchmanekA Priori A Posteriori 14-15By Michael KontopoulosChaos 16-17Artists in Their Own Words 18-19Dan Graham Pep Talk 20-21Simone Forti Dance Class 22-23By Haley O’ConnorAlice Tomaselli on language 24-25Anne Mathern on purpose 26-27Admiral Skip Arnold’s Drink Recipe 28-29 By Robert SnowdenCarl Burmeister on leather 30Carson Salter on school 32-33Daniel Ingroff on space 34Virginia Poundstone on nightlife 35Dana Munro collaboration with George Porcari 36-39Lesley Moon on Mies Van Der Rohe 40-41Michael Kontopoulos on design 42-43Tristan Rogers on travel 44-45Studio VIsit With Paul McCarthy 46-47Life Drawing with Vanessa Beecroft 48-49
Q: How do you think about labor in relation to making art?
RJ: I’m interested in human scale, in Sisyphus mode, the idea of what one person can accomplish. We know what a group of people can do, shit they can go to the moon, they can win a war, but what can one person accomplish? Take the Watts Towers or this guy I saw on a TV news special who had retired from the post of ce fairly young and didn’t know what to do, so he decided to make a ball of yarn and just wrap it and wrap it and see how big it could get. Well … he and his wife wrapped yarn around this thing for twenty years or something and the goddamn thing is now as big as their house. Something like that’s interesting to me because of the labor and commitment. The bigger it gets the more committed and absurd it gets, and that’s fascinating. It’s America, you know the bigger the better. This whole son-of-a-bitch-is-mine idea.
I think art is ultimately evidence or documentation of how you spend your time. Art is fucking useless. It doesn’t hold the door open, it doesn’t do anything. That’s the beauty of it. There’s no reason for it. There is no point for it in a material world, other than in some super materialistic cases where a Jasper Johns is worth more than a wheelbarrow full of gold.
Q: It never seemed like the paintings were the thing. So if it’s about art world day laboring, or ful lling this absurd lone soldier task, then how do you aesthetically evaluate the paintings?
RJ: I don’t make those kinds of judgements, some look better than others. Basically when the work is done, I don’t want to look at it. I kind of let other people do that. I don’t have any of my art work around my house. I don’t like the product. I like the activity.
Q: But is your work sometimes overkill? Why do you enact such grand-scale copying enterprises?
RJ: If I’m going to make a thing called a 1000 paintings, I’m going to make a 1000 paintings. It’s a matter of principle for me.
Q: So does your view of mechanization’s assistance in art produc-tion subvert the bad rap it can get for negating originality?
Nelson Rockefeller had this idea that he would take real works of art like Rodin, and just reproduce it so everybody could have it, and I thought that was a pretty good idea. And I remember in the 1960s, artists like Rauschenberg and Rosenquist,used offset lithography and made huge editions. And I thought that was pretty good. Of course the captains of industry kidnap it and make it
something else, something exclusive and ruin the whole idea of it. If you’re going to reproduce something, reproduce it a lot. There’s no reason to make ve.
What’s interesting to me about art is how it’s all different, not how it’s similar. The art historians job is to make connections, make a big family tree. I don’t see it like that, when it’s interesting it’s total chaos. Nobody agrees on anything, it’s all fucked up. Its not interesting how there was Duchamp and then there was Jasper Johns ... I don’t think history’s important anymore, at all.
Q: How do you think studio assistants are affected by the ways in which the artists they work for choose to spend time?
RJ: I don’t know what happens when Paul McCarthy bows out, I don’t know if it’s like the birds at the restaurant when the restaurant closes and they’re left starving. I was friends with Ed Kienholz and at one point all his work was a collaboration with his wife. A lot of it was just to take care of her when he died. I don’t care. When I die it’s all over. Anybody can sell all my junk.
5
the hole in the wailing wall. mies’ unknown project.
Nobody has ever said or written anything about it. As far as I know, no one has ever heard of it and I am the only person who has pictures of it. It may be the only architectural work of Mies’s that has been built but never published. I referred to a project called Das Loch in der Kalgemauer (1930). The story of Das Loch hinges on the fact that the grounds of Gropus’s master houses in Des-sau were partially enclosed by a white stuccoed brick wall, over head-height. As the intersection of three streets, the wall described a kind of hyperbolic curve. The Dessau city fathers, to whom matters of the rst importance, such as this, were entrusted, concluded that this was a promising location for a refreshment stand and commissioned Mies to design it. He accepted the job and worked over it with as much care as if he were designing a new statehouse,
At the junction of the three streets, he cut a rectan-gular hole in wall extending from a point about waist-hight to the top, provided this with a counter, erected a shelter behind it to accommodate the refreshments and the re-freshment man, and covered the whole thing with a pro-tecting at slab roof. The result was simple, clean-cut, and “Miesian”, we students hailed it as another architectural triumph of the master. It turned out to be a nancial op because not enough thirsty people passed by it. A rabidly anti-Bauhaus weekly magazine, the Anhalter Woche, a yel-low periodical with a yellow cover, seized upon this unsuc-cessful commercial venture and castigates Mies, accusing him of squandering wantonly the municipal substance; the magazine scornfully designated his architectural gem as “the Hole in the Waiting Wall.”
Howard Dearstyne, Inside the Bauhaus
O: are you still interested in lm?
TC: mmm hmmm, no no no no, there’s a couple of things, the piece I recently had in Berlin was actually a piece I’ve been wanting to realize for fty years, almost. I don’t know if you’ve heard of this lm, Flaming Creatures, it’s an indepen-dent lm that was made by this lmmaker Jack Smith that was made back in 1962, 1963 actually and it’s a notorious lm because of its content…it’s not jesus’ penis but it does have penis’ in it. And it was scandalous because people were worried…well, it was full of limp cocks and there is nothing more offensive to Middle America then a limp cock. And anyway, it got a lot of play and you can nd a really shitty version of it on ubu web if you look. It’s a wonderful comedy lm, it’s a really sweet lm and I happened to have the good fortune of making a soundtrack for it and actually jack smith was an incredibly original character and I couldn’t possibly have put together the soundtrack for this lm without his direction. I mean I contributed but predominately under his instruction because he had a sensibility that was very
dinner and a movie
8
>>>> “To ‘contribute to the production of a habitable world,’ design needs to be transformed, expanding its scope to include specula-tion on how best to provide the conditions for inhabitation. It must not just visualize a ‘better world’ but arouse in the public the desire for one. Design approaches are needed that focus on the interac-tion between the portrayed reality of alternative scenarios, which so often appear didactic or utopian, and the every reality in which they are encountered.”(Anthony Dunne)
>>>> “Social science ction is a term used to describe a sub-genre of science ction concerned less with technology and space opera and more with sociological speculation about human soci-ety. In other words. It ‘absorbs and discusses anthropology,’ and speculates about human behavior and interactions. Exploration of ctional societies is one of the most interesting aspects of science ction, allowing it to perform predictive and precautionary func-tions, to criticize the contemporary world and to present solutions, and to examine the implications of ethical principles.”(Wikipedia: “Social Science Fiction”)
>>>> “The speculative asks us to use our imagination politically. The speculative allows us to subvert reality; practice new types of activism; work with the impossible as a political framework; rediscover the magic of our materials; question what a body and collective is capable of; locate new sexualities and perversities; recon gure capitalism, design, and branding; create new worlds, peoples, species, and ecologies; nd embodiments and other productive actions that emerge from war, apocalypses, disasters, and death; and build our dream utopias.”(Zach Blas)
41
special and unique and what was I going to do? I couldn’t second-guess somebody that was brilliant and different. So while he was editing Flaming Creatures, I noticed Jack would cut out pieces of lm and throw them on the oor. I said, ‘Jack, what are those?’ ‘well, uh, they’re outtakes’ ‘what happens to them?’ ‘well I, well I throw them away’ ‘wait can I have them? Maybe I’ll make a lm myself one day’ ‘ok ok’ so he gave me these outtakes and then a year later we had this massive falling out and I never mentioned to him that I had these outtakes because he would just freak out but I always wanted to do something with them. And Jack as it happens, died of aids in 1989 and so…and then um, he wouldn’t com-plain if I used the outtakes, being dead and all…so last year I sorted the outtakes and found out what scene corresponded to what scene in the movie and put them back in…so I made four short loops and put them on loop projectors and did them as installation pieces. And it’s quite interesting because there is kind of a cross over between this unbelievable sort of coloristic, pictorial sensibility and the gay aesthetic that Jack was so gifted at. I mean the pictures are just gorgeous and you know that’s none of my doing. Then there is this conceptual element, which is about my investigation of how he ended it and what he didn’t do and what the virtuality of that was. And then also on the sensual end is the fact that the lm sequences that are actually from Flaming Creatures, I got them from old video. I didn’t have access to the master, so it’s from old video and it’s the way people see it but the outtakes are brand new. So the footage is perfect. And then I had some leftover and I made a fth installation piece with all the rest of the garbage, which is just nothing, because he was so careful in the way that he organized his shooting that there were very few outtakes. So this is a very special-ized project that had to do with the structure of lm and the medium of lmmaking, it re ected on this, and well, it would only be known to historians or people who are specially in-terested. Except at the time I put this together in Berlin there was a Jack Smith conference going on and there was an ideal audience for this artwork and I was so happy to do that at that time.
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33
E(lliman):…It doesn’t have to be a building in the strictest sense. The architect Cedric Price proposed a mobile school housed in train carriages. The trains were to run on disused tracks linking the English pottery towns of Staffordshire. It would have been part school, part commute to school, and part eld-trip escape from the dreadful building, all at the same time. The university of train carriages wasn’t meant as a gimmick but to keep places of learning accessible, as well as on the move. Price had said: ‘Education, if it is to be a continuous human service run by the community, must be provided with the same lack of peculiarity as the supply of drinking water or free dental care.’ Price, who grew up in Staffordshire, was also making a point about extending the limits of provincial education…a school is still only a building with a school in it.
A: you are t & free, are you not?
B: We are thinning and covered in runny sun oils! Pep the collision of camp & campus! There is a lm!
C: Oh, that’s interesting – I’m just passing through. I lean on locals, speak in switchbacks and dress down. I’m traversing the desert to test my fortitude, you see (wealth awaits me back home). I break for nobody, nobody, Hubris, well yes – electively nomadism is, is it not?
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35
The Metaphysical Hangover
1. Keep the radio off, you don’t want it buzzing with world events.
2. Deal thoroughly with your P.H.
3. When that ineffable compound of depression, sadness (these two are not the same), anxiety, self-hatred, sense of failure and fear for the future begins to steal over you, start telling yourself that what you have is a hangover. You are not sickening for anything, you have not suffered a minor brain lesion, you are not all that bad at your job, your family and friends are not leagued in a conspiracy of barely maintained silence about what a shit you are, you have not come at last to see life as it really is, and there is no use crying over spilt milk. If this works, if you can convince yourself, you need to do no more, as provided in the markedly philosophical.
He who truly believes he has a hangover has no hangover.
4. If necessary, then, embark on your course of hangover listening or reading or both in succession. Going off and gaz-ing at some painting, building, or bit of statuary might do you good too, but most people, I think, will nd such things unim-mediate for this-perhaps any-purpose. The structure of both courses, HANGOVER READING AND HANGOVER LISTEN-ING, rests on the principle that you must feel worse emotion-ally before you start to feel better. A good cry is the initial aim.
7
Admiral Arnold’s Punch
Best to start with something like a level spot in the L.A. river or an empty swimming pool. Invite the mixer to get hold of four hogsheads of brandy, that’s 250 gallons, 125 gallons of Malaga wine, 1,400 pounds of sugar, 5 pounds of grated nut-meg, the juice of 2,500 lemons, and 20 gallons of lime juice.
You will need a rotation of capable bartenders to paddle around the pool atop a tire or make-shift raft or corpse, stirring the liquid and lling up the guest’s glasses. It’s best to rotate these duties in 15-minute shifts to avoid being overcome by the fumes and tipping overboard.
My calculation is that the totality will serve 2,000 guests for a-more-intensive-than average evening party, or, alternatively six people for a year-round-disco-spin. Try the latter sometime and let me know how you get on. Pick your company with care.
28
26
25
