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all-care-painting · 1 year

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All Care Painting Pressure Washing and Window Cleaning | Painters | Pressure Washing Services in Woodstock GA

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paigerabourn · 6 days

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Transform Your Home with Professional Painting Services in Marietta

If you want to breathe new life into your home, there's no better way than with a fresh coat of paint. For residents of Marietta, professional painting services offer an excellent way to enhance your living space, improve curb appeal, and increase property value. In this blog, we'll explore the benefits of hiring professional painters in Marietta, their services, and how to choose the right contractor for your painting project.

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Choosing the Right Painting Contractor in Marietta

When selecting a painting contractor in Marietta, consider the following tips to ensure you choose the right professional for your project:

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Putting money into expert painting services is a wise move that will significantly improve your home's appearance and worth. To suit your needs, professional painters in Marietta can handle various painting tasks, including specialty projects, commercial work, and interior and exterior painting. Transform your home with expert painting services from Painting Group & Renovation LLC in Marietta. Our professional team delivers exceptional quality and a flawless finish every time. Contact us today for a consultation and give your space the stunning makeover it deserves!

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socialmedia12 · 3 years

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We own pride in having top-notch Painting contractors in Woodstock, GA. We are providing residential as well as commercial painting services.

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letterboxd · 3 years

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Best of Sundance 2021.

From pandemic-era stories, via portraits of grief, to the serendipitous 1969 trilogy, the Letterboxd crew recaps our favorite films from the first major festival of the year.

Sundance heralds a new season of storytelling, with insights into what’s concerning filmmakers at present, and what artistic innovations may be on the horizon. As with every film festival, there were spooky coincidences and intersecting themes, whether it was a proliferation of pandemic-era stories, or extraordinary portraits of women working through grief (Land, Hive, The World to Come), or the incredible serendipity of the festival’s ‘1969 trilogy’, covering pivotal moments in Black American history: Summer of Soul (...Or When the Revolution Could Not Be Televised), Judas and the Black Messiah and the joyful Street Gang: How We Got to Sesame Street.

The hybrid model of this year’s Sundance meant more film lovers across the United States—a record number of you, in fact—‘attended’ the prestigious indie showcase. Our Festiville team (Gemma Gracewood, Aaron Yap, Ella Kemp, Selome Hailu, Jack Moulton and Dominic Corry) scanned your Letterboxd reviews and compared them with our notes to arrive at these seventeen feature-length documentary and narrative picks from Sundance 2021. There are plenty more we enjoyed, but these are the films we can’t stop thinking about.

Documentary features

Summer of Soul (...Or, When the Revolution Could Not Be Televised) Directed by Ahmir-Khalib Thompson (AKA Questlove)

One hot summer five decades ago, there was a free concert series at a park in Harlem. It was huge, and it was lovely, and then it was forgotten. The Harlem Cultural Festival of 1969 brought together some of the world’s most beloved Black artists to connect with Black audiences. The star power and the size of the crowds alone should have been enough to immortalize the event à la Woodstock—which happened the same summer, the film emphasizes. But no one cared to buy up the footage until Ahmir-Khalib Thompson, better known as Questlove, came along.

It would have been easy to oversimplify such a rich archive by stringing together the performances, seeking out some talking heads, and calling it a day. But Questlove was both careful and ebullient in his approach. “Summer of Soul is a monumental concert documentary and a fantastic piece of reclaimed archived footage. There is perhaps no one better suited to curate this essential footage than Questlove, whose expertise and passion for the music shines through,” writes Matthew on Letterboxd. The film is inventive with its use of present interviews, bringing in both artists and attendees not just to speak on their experiences, but to react to and relive the footage. The director reaches past the festival itself, providing thorough social context that takes in the moon landing, the assassinations of Black political figures, and more. By overlapping different styles of documentary filmmaking, Questlove’s directorial debut embraces the breadth and simultaneity of Black resilience and joy. A deserving winner of both the Grand Jury and Audience awards (and many of our unofficial Letterboxd awards). —SH

Flee Directed by Jonas Poher Rasmussen

Flee is the type of discovery Sundance is designed for. Danish documentarian Jonas Poher Rasmussen tells the poignant story of his close friend and former classmate (using the pseudonym ‘Amin Nawabi’) and his daring escape from persecution in 1990s Afghanistan. Rasmussen always approaches tender topics with sensitivity and takes further steps to protect his friend’s identity by illustrating the film almost entirely in immersive animation, following in the footsteps of Waltz With Bashir and Tower. It’s a film aware of its subjectivity, allowing the animated scenes to alternate between the playful joy of nostalgia and the mournful pain of an unforgettable memory. However, these are intercepted by dramatic archive footage that oppressively brings the reality home.

“Remarkably singular, yet that is what makes it so universal,” writes Paul. “So many ugly truths about the immigration experience—the impossible choices forced upon people, and the inability to really be able to explain all of it to people in your new life… You can hear the longing in his voice, the fear in his whisper. Some don’t get the easy path.” Winner of the World Cinema (Documentary) Grand Jury Prize and quickly acquired by Neon, Flee is guaranteed to be a film you’ll hear a lot about for the rest of 2021. —JM

Taming the Garden Directed by Salomé Jashi

There’s always a moment at a film festival when fatigue sets in, when the empathy machine overwhelms, and when I hit that moment in 2021, I took the advice of filmmaker and Sundance veteran Jim Cummings, who told us: “If you’re ever stressed or tired, watch a documentary to reset yourself.” Taming the Garden wasn’t initially on my hit-list, but it’s one of those moments when the ‘close your eyes and point at a random title’ trick paid off. Documentary director Salomé Jashi does the Lorax’s work, documenting the impact and grief caused by billionaire former Georgian PM Bidzina Ivanishvili’s obsession with collecting ancient trees for his private arboretum.

“A movie that is strangely both infuriating and relaxing” writes Todd, of the long, locked-off wide shots showing the intense process of removing large, old trees from their village homes. There’s no narration, instead Jashi eavesdrops on locals as they gossip about Ivanishvili, argue about whether the money is worth it, and a feisty, irritated 90-year-old warns of the impending environmental fallout. “What you get out of it is absolutely proportional to what you put into it,” writes David, who recommends this film get the IMAX treatment. It’s arboriculture as ASMR, the timeline cleanse my Sundance needed. The extraordinary images of treasured trees being barged across the sea will become iconic. —GG

The Most Beautiful Boy in the World Directed by Kristian Petri and Kristina Lindström

Where Taming the Garden succeeds through pure observation, The Most Beautiful Boy in the World relies on the complete participation of its title subject, actor Björn Andrésen, who was thrust into the spotlight as a teenager. Cast by Italian director Lucino Visconti in Death in Venice, a 1971 adaptation of Thomas Mann’s novella about obsession and fatal longing, Andrésen spent the 1970s as an object of lust, with a side-gig as a blonde pop star in Japan, inspiring many manga artists along the way.

As we know by now (Alex Winter’s Showbiz Kids is a handy companion to this film), young stardom comes at a price, one that Andrésen was not well-placed to pay even before his fateful audition for Visconti. But he’s still alive, still acting (he’s Dan in Midsommar), and ready to face the mysteries of his past. Like Benjamin Ree’s excellent The Painter and the Thief from last year, this documentary is a constantly unfolding detective story, notable for great archive footage, and a deep kindness towards its reticent yet wide-open subject. —GG

All Light, Everywhere Directed by Theo Anthony

Threading the blind spots between Étienne-Jules Marey’s 19th-century “photographic rifle”, camera-carrying war pigeons and Axon’s body-cam tech, Theo Anthony’s inquisitive, mind-expanding doc about the false promise of the all-seeing eye is absorbing, scary, urgent. It’s the greatest Minority Report origin story you didn’t know you needed.

Augmented by Dan Deacon’s electronic soundscapes and Keaver Brenai’s lullingly robotic narration, All Light, Everywhere proves to be a captivating, intricately balanced experience that Harris describes as “one part Adam Curtis-esque cine-essay”, “one part structural experiment in the vein of Koyaanisqatsi” and “one part accidental character study of two of the most familiar yet strikingly unique evil, conservative capitalists…”. Yes, there’s a tremendous amount to download, but Anthony’s expert weaving, as AC writes, “make its numerous subjects burst with clarity and profundity.” For curious cinephiles, the oldest movie on Letterboxd, Jules Jenssen’s Passage de Vénus (1874), makes a cameo. —AY

The Sparks Brothers Directed by Edgar Wright

Conceived at a Sparks gig in 2017 upon the encouragement of fellow writer-director Phil Lord, Edgar Wright broke his streak of riotous comedies with his first (of many, we hope) rockumentary. While somewhat overstuffed—this is, after all, his longest film by nearly fifteen minutes—The Sparks Brothers speaks only to Wright’s unrestrained passion for his art-pop Gods, exploring all the nooks and crannies of Sparks’ sprawling career, with unprecedented access to brothers and bandmates Ron and Russell Mael.

Nobody else can quite pin them down, so Wright dedicates his time to put every pin in them while he can, building a mythology and breaking it down, while coloring the film with irresistible dives into film history, whimsically animated anecdotes and cheeky captions. “Sparks rules. Edgar Wright rules. There’s no way this wasn’t going to rule”, proclaims Nick, “every Sparks song is its own world, with characters, rules, jokes and layers of narrative irony. What a lovely ode to a creative partnership that was founded on sticking to one’s artistic guns, no matter what may have been fashionable at the time.” —JM

Narrative features

The Pink Cloud Written and directed by Iuli Gerbase

The Pink Cloud is disorienting and full of déjà vu. Brazilian writer-director Iuli Gerbase constructs characters that are damned to have to settle when it comes to human connection. Giovana and Yago’s pleasant one-night stand lasts longer than expected when the titular pink cloud emerges from the sky, full of a mysterious and deadly gas that forces everyone to stay locked where they stand. Sound familiar? Reserve your groans—The Pink Cloud wasn’t churned out to figure out “what it all means” before the pandemic is even over. Gerbase wrote and shot the film prior to the discovery of Covid-19.

It’s “striking in its ability to prophesize a pandemic and a feeling unknown at the time of its conception. What was once science fiction hits so close now,” writes Sam. As uncanny as the quarantine narrative feels, what’s truly harrowing is how well the film predicts and understands interiorities that the pandemic later exacerbated. Above all, Giovana is a woman with unmet needs. She is a good partner, good mother and good person even when she doesn’t want to be. Even those who love her cannot see how their expectations strip her of her personhood, and the film dares to ask what escape there might be when love itself leaves you lonely. —SH

Together Together Written and directed by Nikole Beckwith

Every festival needs at least one indie relationship dramedy, and Together Together filled that role at Sundance 2021 with a healthy degree of subversion. It follows rom-com structure while ostensibly avoiding romance, instead focusing on how cultivating adult friendships can be just hard, if not harder.

Writer-director Nikole Beckwith warmly examines the limits of the platonic, and Patti Harrison and Ed Helms are brilliantly cast as the not-couple: a single soon-to-be father and the surrogate carrying his child. They poke at each other’s boundaries with a subtle desperation to know what makes a friendship appropriate or real. As Jacob writes: “It’s cute and serious, charming without being quirky. It’s a movie that deals with the struggle of being alone in this world, but offers a shimmer of hope that even if you don’t fall in fantastical, romantic, Hollywood love… there are people out there for you.” —SH

Hive Written and directed by Blerta Basholli

Hive, for some, may fall into the “nothing much happens” slice-of-life genre, but Blerta Basholli’s directorial debut holds an ocean of pain in its small tale, asking us to consider the heavy lifting that women must always do in the aftermath of war. As Liz writes, “Hive is not just a story about grief and trauma in a patriarchy-dominated culture, but of perseverance and the bonds created by the survivors who must begin to consider the future without their husbands.”

Yllka Gashi is an understated hero as Fahrjie, a mother-of-two who sets about organizing work for the women of her village, while awaiting news of her missing husband—one of thousands unaccounted for, years after the Kosovo War has ended. The townsmen have many opinions about how women should and shouldn’t mourn, work, socialize, parent, drive cars and, basically, get on with living, but Fahrjie persists, and Basholli sticks close with an unfussy, tender eye. “It felt like I was a fly on the wall, witnessing something that was actually happening,” writes Arthur. Just as in Robin Wright’s Land and Mona Fastvold’s The World to Come, Hive pays off in the rare, beaming smile of its protagonist. —GG

On the Count of Three Directed by Jerrod Carmichael, written by Ari Katcher and Ryan Welch

It starts with an image: two best friends pointing guns at each other’s heads. There’s no anger, there’s no hatred—this is an act of merciful brotherly love. How do you have a bleak, gun-totin’ buddy-comedy in 2021 and be critically embraced without contradicting your gun-control retweets or appearing as though your film is the dying embers of Tarantino-tinged student films?

Comedian Jerrod Carmichael’s acerbic directorial debut On the Count of Three achieves this by calling it out every step of the way. Guns are a tool to give insecure men the illusion of power. They are indeed a tool too terrifying to trust in the hands of untrained citizens. Carmichael also stars, alongside Christopher Abbott, who has never been more hilarious or more tragic, bringing pathos to a cathartic rendition of Papa Roach’s ‘Last Resort’. Above all, Carmichael and Abbott’s shared struggle and bond communicates the millennial malaise: how can you save others if you can’t save yourself? “Here’s what it boils down to: life is fucking hard”, Laura sums up, “and sometimes the most we can hope for is to have a best friend who loves you [and] to be a best friend who loves. It doesn’t make life any easier, but it sure helps.” Sundance 2021 is one for the books when it comes to documentaries, but On the Count of Three stands out in the fiction lineup this year. —JM

Censor Directed by Prano Bailey-Bond, written by Bailey-Bond and Anthony Fletcher

The first of several upcoming films inspired by the ‘video nasty’ moral panic over gory horror in mid-’80s Britain, Prano Bailey-Bond leans heavily into both the period and the genre in telling the story of a film censor (a phenomenal Niamh Algar—vulnerable and steely at the same time) who begins to suspect a banned movie may hold the key to her sister’s childhood disappearance. Often dreamlike, occasionally phantasmagorical and repeatedly traumatic, even if the worst gore presented (as seen in the impressively authentic fictional horrors being appraised) appears via a screen, providing a welcome degree of separation.

Nevertheless, Censor is definitely not for the faint of heart, but old-school horror aficionados will squeal with delight at the aesthetic commitment. “I’m so ecstatic that horror is in the hands of immensely talented women going absolutely batshit in front of and behind the camera.” writes Erik. (Same here!) “A great ode to the video-nasty era and paying tribute to the great horror auteurs of the ’80s such as Argento, De Palma and Cronenberg while also doing something new with the genre. Loved this!” writes John, effectively encapsulating Censor’s unfettered film-nerd appeal. —DC

CODA Written and directed by Siân Heder

A film so earnest it shouldn’t work, with a heart so big it should surely not fit the size of the screen, CODA broke records (the first US dramatic film in Sundance history to win all three top prizes; the 25-million-dollar sale to Apple Studios), and won the world over like no other film. “A unique take on something we’ve seen so much,” writes Amanda, nailing the special appeal of Siân Heder’s coming-of-ager and family portrait. Emilia Jones plays Ruby, the only hearing person in her deaf family, at war between the family business and her passion for singing. While Heder is technically remaking the French film La Famille Bélier, the decision to cast brilliant deaf actors—Troy Kotsur, Marlee Matlin and Daniel Durant—makes this feel brand new.

But it’s not just about representation for the sake of it. A sense of authenticity, in humor as much as affection, shines through. With a script that’s 40 per cent ASL, so many of the jokes are visual gags, poking fun at Tinder and rap music, but a lot of the film’s most poignant moments are silent as well. And in Ruby’s own world, too, choir kids will feel seen. “I approve of this very specific alto representation and the brilliant casting of the entire choir,” Laura confirms in her review. Come for the fearless, empathetic family portrait, stay for the High School Musical vibes that actually ring true. —EK

We’re All Going to the World’s Fair Written and directed by Jane Schoenbrun

Perhaps the most singular addition to the recent flurry of Extremely Online cinema—Searching, Spree, Host, et al—Jane Schoenbrun’s feature debut ushers the viewer into a haunted, hypno-drone miasma of delirium-inducing YouTube time-suck, tenebrous creepypasta lore and painfully intimate webcam confessionals. Featuring an extraordinarily unaffected, fearless performance by newcomer Anna Cobb, the film “unpacks the mythology of adolescence in a way that’s so harrowingly familiar and also so otherworldly”, writes Kristen. Not since Kiyoshi Kurosawa’s Pulse has there been such an eerily lonely, and at times strangely beautiful, evocation of the liminal spaces between virtual and real worlds.

For members of the trans community, it’s also a work that translates that experience to screen with uncommon authenticity. “What Schoenbrun has accomplished with the form of We’re All Going to the World’s Fair is akin to catching a wisp of smoke,” writes Willow, “because the images, mood and aesthetic that they have brought to life is one that is understood completely by trans people as one of familiarity, without also plunging into the obvious melodrama, or liberal back-patting that is usually associated with ‘good’ direct representation.” One of the most original, compelling new voices to emerge from Sundance this year. —AY

Judas and the Black Messiah Directed by Shaka King, written by King, Will Berson, Kenneth Lucas and Keith Lucas

It was always going to take a visionary, uncompromising filmmaker to bring the story of Fred Hampton, the deputy chairman of the national Black Panther Party, to life. Shaka King casts Daniel Kaluuya as Hampton, and LaKeith Stanfield as William “Wild Bill” O’Neal, the FBI informant whose betrayal leads to Hampton’s assassination. Both actors have never been better, particularly Kaluuya who Fran Hoepfner calls “entrancing, magnetic, fizzling, romantic, riveting, endlessly watchable.”

Judas and the Black Messiah is an electric, involving watch: not just replaying history by following a certain biopic template. Instead, it’s a film with something to say—on power, on fear, on war and on freedom. “Shaka King’s name better reverberate through the halls of every studio after this,” writes Demi. A talent like this, capable of framing such a revolution, doesn’t come around so often. We’d better listen up. —EK

Pleasure Directed by Ninja Thyberg, written by Thyberg and Peter Modestij

A24’s first purchase of 2021. Ironically titled on multiple levels, Pleasure is a brutal film that you endure more than enjoy. But one thing you can’t do is forget it. Ninja Thyberg’s debut feature follows a young Swedish woman (Sofia Kappel) who arrives in Los Angeles with dreams of porn stardom under the name ‘Bella Cherry’. Although Bella is clear-eyed about the business she’s getting into, Thyberg doesn’t shy away from any of the awfulness she faces in order to succeed in an industry rife with exploitation and abuse. Bella does make allies, and the film isn’t suggesting that porn is only stocked with villains, but the ultimate cost is clear, even if it ends on an ever-so-slightly ambiguous note.

Touching as it does on ambition, friendship and betrayal in the sex business, Pleasure is often oddly reminiscent of Paul Verhoeven’s Showgirls. Or rather, the gritty film Showgirls was claiming to be, as opposed to the camp classic it became. There’s nothing campy here. Kappel is raw and fearless in the lead, but never lets the viewer lose touch with her humanity. Emma puts it well: “Kappel gives the hardest, most provocative and transfixing performance I’ve seen all festival.” “My whole body was physically tense during this,” writes Gillian, while Keegan perhaps speaks for most when she says “Great film, never want to see it again.” —DC

Coming Home in the Dark Directed by James Ashcroft, written by Ashcroft and Eli Kent

A family camping trip amidst some typically stunnin—and casually foreboding— New Zealand scenery is upended by a shocking rug-pull of violence that gives way to sustained terror represented by Daniel Gillies’ disturbingly calm psychopath. The set-up of this thriller initially suggests a spin on the backwoods brutality thriller, but as Coming Home in the Dark progresses and hope dissipates, the motivations reveal themselves to be much more personal in nature, and informed on a thematic level by New Zealand’s colonial crimes against its Indigenous population. It’s a stark and haunting film that remains disorientating and unpredictable throughout, repeatedly daring the viewer to anticipate what will happen next, only to casually stomp on each glimmer of a positive outcome.

It’s so captivatingly bleak that a viewing of it, as Collins Ezeanyim’s eloquent reaction points out, does not lend itself to completing domestic tasks. The film marks an auspicious debut for director and co-writer James Ashcroft. Jacob writes that he “will probably follow James Ashcroft’s career to the gates of Hell after this one”. Justin hits the nail on the head with his description: “Lean and exceptionally brutal road/revenge film … that trades in genre tropes, especially those of Ozploitation and ’70s Italian exploitation, but contextualizes them in the dark history of its country of origin.” —DC

The World to Come Directed by Mona Fastvold, written by Ron Hansen and Jim Shepard

Mona Fastvold has not made the first, nor probably the last, period romance about forbidden lesbian love. But The World to Come focuses on a specific pocket in time, a world contained in Jim Shepard’s short story ‘Love & Hydrogen’ from within the collection giving the film its name. Katherine Waterston and Vanessa Kirby are Abigail and Tallie, farming neighbors, stifled by their husbands, who find brief moments of solace, of astonishment and joy, together. What shines here is the script, a verbose, delicate narration that emanates beauty more than pretence. “So beautifully restrained and yet I felt everything,” Iana writes.

And you can feel the fluidity and elegance in the way the film sounds, too: composer Daniel Blumberg’s clarinet theme converses with the dialogue and tells you when your heart can break, when you must pause, when the end is near. “So much heartache. So much hunger. So much longing. Waves of love and grief and love and grief,” writes Claira, capturing the ebb and flow of emotion that keeps The World to Come in your mind long after the screen has gone silent. —EK

Read more from T Magazine:

Judy Chicago, the GodmotherFeb. 7, 2018

6. Lynda Benglis, Artforum advertisement, 1974

Lynda Benglis (b. Lake Charles, La., 1941) wanted the 1974 profile Artforum was writing about her to be accompanied by a nude self-portrait. John Coplans, the editor in chief at the time, refused. Undaunted, Benglis persuaded her New York dealer, Paula Cooper, to take out a two-page ad in the magazine (Benglis paid for it). Readers opened the November issue of Artforum and saw a sun-tanned Benglis striking a pose, hip cocked, staring down at the viewer through pointy, white-framed sunglasses. She wears nothing else and holds an enormous dildo between her legs. The image caused bedlam. Five editors — Rosalind Krauss, Max Kozloff, Lawrence Alloway, Joseph Masheck and Annette Michelson — wrote a scathing letter to the magazine condemning the ad as a “shabby mockery of the aims of [women’s liberation].” The critic Robert Rosenblum wrote a letter to the magazine congratulating Benglis for exposing the prudishness of people who considered themselves arbiters of avant-garde taste: “Let’s give three dildos and a Pandora’s Box to Ms. Benglis, who finally brought out of the closet the Sons and Daughters of the Founding Fathers of the Artforum Committee of Public Decency and Ladies Etiquette.” The ad became an iconic image of resistance to the sexism and double standards that continue to pervade the art world.

DB: I’m surprised no one included Cindy Sherman. [Between 1977 and 1980, Sherman made a series of black-and-white photographs of herself posing in various stereotypical female roles, titled “Untitled Film Stills.”]

KT: I had such a hard time with that. It was one of those things that I was like, “This is going to be on other peoples’ lists. It’s so obvious, I’m not going to put it down.”

TLF: No one did.

RT: Well, I have Lynda Benglis’s Artforum ad, which has a relation to photography later on.

MR: I thought that was really good.

KT: I wanted to put Sherrie Levine’s “After Walker Evans” [in 1981, Levine exhibited reproductions of Depression-era photographs by Walker Evans that she rephotographed, questioning the value of authenticity], but didn’t because … I don’t why. I ran out of room in the ’80s.

Read more from T Magazine:

The Feminist Pioneers Making Provocative Art About SexOct. 31, 2017

Why Are So Many Artists Making Work That Lies on the Floor?Aug. 16, 2017

7. Gordon Matta-Clark, “Splitting,” 1974

Gordon Matta-Clark (b. New York City, 1943; d. 1978) trained as an architect at Cornell University. By the 1970s, he was working as an artist, cutting chunks out of vacant properties, documenting the voids and exhibiting the amputated bits of architecture. Abandoned buildings were easy to find at the time — New York City was economically depressed and crime-ridden. Matta-Clark was looking for a new site when the art dealer Holly Solomonoffered him a house she owned in suburban New Jersey that was slated for demolition. “Splitting” (1974) was one of Matta-Clark’s first monumental works. With the help of the craftsman Manfred Hecht, among other assistants, Matta-Clark sliced the whole thing in two with a power saw, then jacked up one side of the structure while they beveled the cinder blocks beneath it before slowly lowering it back down. The house cleaved perfectly, leaving a slender central gap through which the sunlight could enter the rooms. The piece was demolished three months later to make way for new apartments. “It was always exciting working with Gordon,” Hecht once said. “There was always a good chance of getting killed.”

TLF: Why is there no land art?

RT: I have Gordon Matta-Clark.

MR: Is that land art? “Spiral Jetty” [the giant coil of mud, salt and basalt constructed in 1970 at Rozel Point, Utah, by the American sculptor Robert Smithson] is land art.

TT: That’s crazy! The jetty 100 percent has to be on my list.

KT: “The Lightning Field” [a 1977 work by the American sculptor Walter De Maria comprising 400 stainless steel poles staked in the New Mexico desert], “Roden Crater” [the American light artist James Turrell’s still-in-progress naked-eye observatory in Northern Arizona].

TT: I thought, “Who can see it? What does ‘influence’ mean, what does it mean to be influenced through seeing something on a screen?” I was thinking, “Do I list what I’ve seen versus what I’ve obsessed over?” At that point, it’s all a reproduction or a sort of theatrical representation.

MR: Totally.

TT: I put Michael Asher’s show in the Santa Monica Museum [No. 19, see below] but with something like that — once it’s gone, it’s reproduction only. You can’t visit it, it doesn’t move somewhere else.

TLF: Are the questions that the land artists were asking — are they no longer questions we’re asking today?

TT: There’s no more land.

MR: It’s a really interesting question. It’s mainly that, because of the move to the cities, we’ve become urban-obsessed. The pastoral question — which also applies to the cities, though we’re not that aware of it — has receded. But am I wrong that the land-art stuff was also in Europe? There were Dutch artists and English artists.

RT: Yeah, there were. Still are.

MR: Land art was international in an interesting way, which coincided with the Blue Marble [an image taken of Earth in 1972 by the crew of Apollo 17].

TLF: The Whole Earth Catalog.

MR: Sure. The idea of the whole earth as an entity made up of actual stuff rather than a social space.

RT: Maybe it also has to do with this idea of property and wealth, too. The value of land and what it’s used for has changed. It used to be you could just go out in Montana and probably —

MR: Bury some Cadillacs.

RT: — dig a big hole. I mean, Michael Heizer still does stuff, but it’s only interior now. He’s just doing big rocks inside a space. Then again, that’s why Smithson is interesting, because it’s almost like the non-site now [Smithson used the term “non-site” to describe works that were presented outside their original context, such as rocks from a New Jersey quarry exhibited in a gallery alongside photos or maps of the site where they came from].

TLF: Then why did you include Gordon Matta-Clark?

RT: There are many references for me, but I feel like “Splitting” hits all the other things that I’m thinking about. With “Splitting,” it’s like a comic ending. Also, the idea of the house divided and what’s happening with domesticity — people aren’t able to sit together at Thanksgiving anymore.

8. Jenny Holzer, “Truisms,” 1977-79

Jenny Holzer (b. Gallipolis, Ohio, 1950) was 25 years old when she began compiling her “Truisms,” more than 250 cryptic maxims, terse commands and shrewd observations. Culled from world literature and philosophy, some of the one-liners are judgmental (“Any surplus is immoral”), others bleak (“Ideals are replaced by conventional goals at a certain age”), and a few echo the half-baked platitudes found in fortune cookies (“You must have one grand passion”). The most resonant are the political ones, none more so than “Abuse of power comes as no surprise.” After printing them as posters, which she pasted among real advertisements throughout downtown Manhattan, Holzer reproduced them on objects, including baseball caps, T-shirts and condoms. She projected them on the enormous Spectacolor LED board in Times Square in 1982, with smaller scrolling signs to evoke the digital clocks and screens through which we are continuously fed information (and told what to think) in urban environments. Holzer continues to use the “Truisms” today, incorporating them into electronic signs, benches, footstools and T-shirts.

DB: Thessaly, when you asked earlier if Trump was in the room, that’s why I went to Jenny Holzer. In their original iterations, “Truisms” were these kind of street posters that people were marking up —

MR: But they were never not art-world things.

DB: I agree. They came out of the Whitney Independent Study Program. But I think this is where the work takes on such a different resonance now. The original intention behind them was that these codes are free-floating and, of course, unconscious. But I think now the idea that one is constantly assembling these truths, that it isn’t a list of unconsciousness, is really alive in that work.

MR: It’s an interesting hypothesis. The reason I chose Barbara Kruger [No. 11, see below] instead was that I thought she did an interesting collision of fashion-world typography with this kind of punk street-postering. She actually enunciates things people might cleverly say but would never say in the art world: “Your gaze hits the side of my face.” Or all kinds of feminist stuff: “You construct intricate rituals which allow you to touch the skin of other men.” Who says stuff like that? Who expects to be rewarded by capitalism for saying things they don’t want to hear? When Barbara joined a high-profile gallery, it was a change in strategy just when the market recaptured all that dissonant stuff that they had no idea what to do with. Finally the market figured it out. Just let the artist do it, and we’ll say it’s art and it’s O.K.

Read more from T Magazine:

The Man Who Taught a Generation of Black Artists Gets His Own RetrospectiveSept. 28, 2018

A Blind Publisher, Poet — and Link to the Lower East Side’s Cultural HistoryFeb. 9, 2018

11. Barbara Kruger, “Untitled (When I Hear the Word Culture, I Take Out My Checkbook),” 1985; “Untitled (I Shop Therefore I Am),” 1987

Barbara Kruger (b. Newark, 1945) briefly studied at the Parsons School of Design in 1965, but her real education was in the world of magazines. She dropped out early on to work at Mademoiselle as an assistant to the art director, rapidly became head designer, and then switched to freelance, conceiving layouts for House & Garden, Vogue and Aperture, among other publications. Through these projects, Kruger learned how to command the viewer’s attention and manipulate desire. A close reader of Roland Barthes and other theorists focused on media, culture and the power of images, Kruger brought her professional life and philosophical leanings together in the early 1980s with her iconic works: agitprop images of terse, satirical slogans in white or black Futura Bold Oblique type on close-cropped images primarily from old magazines. They confront gender roles and sexuality, corporate greed and religion. Several of the most well-known indict consumerism, including 1985’s “Untitled (When I Hear the Word Culture, I Take Out My Checkbook),” in which the words slash across the face of a ventriloquist’s dummy, and “Untitled (I Shop Therefore I Am),” from 1987.

12. Nan Goldin, “The Ballad of Sexual Dependency,” 1985-86

When Nan Goldin (b. Washington, D.C., 1953) moved to New York City in 1979, she rented a loft on the Bowery and embarked on what would prove to be one of the most influential photographic series of the century. Her subjects were herself, her lovers and her friends — drag queens, fellow drug addicts, runaways and artists. We see them fight, make up, have sex, apply makeup, shoot up and nod off in the several hundred candid images comprising “The Ballad of Sexual Dependency.” Goldin first shared the pictures as slide shows in downtown clubs and bars, partly out of necessity (she lacked a darkroom to print but could get slides processed at a drugstore), partly because these haunts were part of the world of the photographs. Cult heroes and neighborhood stars, including Keith Haring, Andy Warhol and John Waters, appear in some frames, but the focus is on Goldin’s intimates, including her glowering boyfriend Brian, who beat her nearly blind one night: “Nan One Month After Being Battered” (1984) is one of the most haunting portraits in the series. Goldin edited and reconfigured the series repeatedly, eventually titling it after a song in Bertolt Brecht’s “Threepenny Opera” and setting it to a playlist that has included James Brown, the Velvet Underground, Dionne Warwick, opera, rock and blues. A version appeared in the 1985 Whitney Biennial and the Aperture Foundation published a selection of 127 images as a book in 1986, which includes some of Goldin’s fiercely honest writing. A decade later, most of the people pictured in the book had died of AIDS or drug overdoses. In a recent exhibition at New York’s Museum of Modern Art, Goldin concluded the sequence of nearly 700 photographs with a nod to these losses — a snapshot of two graffiti skeletons having sex.

KT: Nan Goldin continues to have a very prominent role in the discourse, whether that’s about the art itself, like what she’s making, or the problems that we’re dealing with in the culture of the art world and beyond. That body of work made visible a whole realm, a whole social structure, a whole group of people who were invisible in a lot of ways. It talked about the AIDS crisis. It talked about queer culture. It talked about her abuse. It was like a confessional, laying bare things that are still really relevant issues.

MR: It has the word “sexual” in it. Do you want to talk about that a little bit?

KT: It has a lot to do with her relationship to sex and love, and her friends’ relationships to sex and love, and the unraveling of it. There’s a lot of dirt and degradation in it, and yet there is a lot of celebration in it, too, I think: being able to see what one might see as dirty or wrong as right. I saw it when I was a kid. Her prints are super gorgeous, but sometimes they are just snapshots in the freedom of the work itself, the freedom that she took with it.

Read more from T Magazine:

Nan Goldin Survived an Overdose to Fight the Opioid EpidemicJune 11, 2018

13. Cady Noland, “Oozewald,” 1989; “The Big Slide,” 1989

The work of Cady Noland (b. Washington, D.C., 1956) probes the dark corners of American culture. Many of her installations, including “The Big Slide” (1989), involve rails or barriers — allusions to the limits on access, opportunity and freedom in this country. (To enter Noland’s debut exhibition at New York’s White Columns Gallery in 1988, visitors had to duck under a metal pole blocking the door.) “Oozewald” features a silk-screened version of the famed photograph of President John F. Kennedy’s assassin, Lee Harvey Oswald, as he’s being shot and killed by the nightclub owner Jack Ruby. Eight oversize bullet holes perforate the surface — an American flag is wadded up inside one, where his mouth would be. Noland disappeared from the art world around 2000, a move that has become as much a part of her oeuvre as her work. While she can’t stop galleries and museums from displaying old pieces, disclaimers noting the artist’s lack of consent often appear on the exhibition walls. In recent years, Noland has disowned some works entirely, roiling the market. She has become known as the art world’s boogeyman, but she might be its conscience.

TT: I started having this thing happen where years later, after thinking about an artist a lot, I started seeing how they’ve influenced other artists. I realized Cady Noland is so everywhere in a weird way. Particularly within installation art and sculpture. I’ve seen a lot of work recently that feels like it’s really leaning on something she’s made. Sometimes, something is made in a certain time and then it loops back, and it’s relevant again. There’s this overarching criticism or analysis of Americana in her work. Her name came back in, and it’s around and around and around.

MR: Isn’t that the way the art world always works? Everyone hated Warhol. Even after he was famous, the art world said, “No.” It’s why we got minimalism.

KT: I think Cady occupies a place of resistance, too. I think Cady’s character — both her resistant character and approach to her work — is part of the mythmaking of her practice. She’s an elusive Hammons-type figure. She’s not speaking on the work. Everybody else is.

DB: So much of the work has to do with conspiracy and paranoia, which feels way too “right now.” These things that have this immediate conjuring, like the Oswald figure being shot, or with Clinton and the Whitewater stuff that she does, with just the quick image of the figure and a line from a newspaper article. It’s her ability to distill the information, to get to that paranoid tendency in American culture. To your point, Kelly, when she’s come up, it’s been through lawsuits.

MR: Really?

DB: Yeah, she’s suing people for how her work is treated. This is a total guess on my part, but even if you think about that as being a mode of communication — that if she’s going to function publicly, it’s going to be through the legal system — you see, even now, I’m making a conspiracy out of it!

KT: You’re paranoid!

DB: I think we all are.

Read more from T Magazine:

From Claude Monet to Banksy, Why Do Artists Destroy Their Own Work?March 11, 2019

14. Jeff Koons, “Ilona on Top (Rosa Background),” 1990

Jeff Koons (b. York, Pa., 1955) rose to prominence in the mid-1980s making conceptual sculpture from vacuum cleaners and basketballs. When the Whitney Museum of American Art invited him to create a billboard-size work for an exhibition called “Image World,” the postmodern provocateur submitted a blown-up, grainy photograph, printed on canvas, of himself and Ilona Staller — the Hungarian-Italian porn star he would later marry — in campy coital ecstasy, advertising an unmade film. The series that followed, “Made in Heaven,” shocked viewers when it debuted at the Venice Biennale in 1990. With descriptive titles such as “Ilona’s Asshole” and “Dirty Ejaculation,” the photo-realistic paintings portrayed the couple in every conceivable position. They appeared at a moment when the country was divided over propriety in art, with religious and conservative forces rallying against sexually explicit work. Koons has claimed it is an exploration of freedom, an examination of the origins of shame, a celebration of the act of procreation, even a vision of transcendence. “I’m not interested in pornography,” he said in 1990. “I’m interested in the spiritual.” Koons destroyed portions of the series during a protracted custody battle with Staller for their son, Ludwig.

TLF: Money defines the art world, too. There are certain artists who reflect that but who no one named.

KT: I thought it was super interesting that we all didn’t go to that. There are many different art worlds. The one you’re referring to is one of them.

MR: What’s your argument for keeping more commercial artists off the list?

KT: In my opinion, because art is so much more than that. The artists who are at that level are such a small percentage of the art being made. I didn’t grow up revering that work.

TT: I think there are a lot of younger artists now who are subliminally or quietly trying to find a way in between, of being like, “Oh, I’m really interested in the production of this type of studio, but I also want to be more rigorous and hands-on with my practice.” Or maybe they’re secretly obsessed with Jeff Koons, but it’s not something they would ever say for a New York Times interview. I’m not going to name any names, but I’ve heard it enough to where I’m like, “This is for real.”

MR: Could you name one or two artists you’re talking about?

TLF: Name names.

TT: Is Damien Hirst an example?

TLF: Damien Hirst, Takashi Murakami …

KT: Yeah, we left off Jeff Koons. We left off Damien Hirst.

MR: We did.

TT: I brought Jeff.

KT: I think they’re present. I would like the conversation to be about some other artists. I could have put in Damien.

MR: A more legitimate artist, in my opinion, than Jeff Koons. But that’s just me, sorry.

TLF: Well, who would you want to talk about, then, if we could?

KT: I would have picked “Equilibrium” [a series of works in the mid-1980s that included basketballs suspended in tanks of distilled water], if it were Jeff Koons. If it were Damien Hirst, I would have put “The Physical Impossibility of Death in the Mind of Someone Living” [a 1991 piece consisting of a tiger shark preserved in formaldehyde in a vitrine]. I think it’s a really good piece that influenced artists on this list, as did “Equilibrium.” Maybe they should be on the list. Maybe we’re being disingenuous. I’m totally fine with that. They’re on my long list. I just took them off. I wanted to talk about some other people for a change, and some more women, frankly.

TT: I hear you. I agree with that.

Read more from T Magazine:

The Artists Who Defined the East Village’s Avant-Garde SceneApril 17, 2018

15. Mike Kelley, “The Arenas,” 1990

After dabbling in Detroit’s music scene as a teenager, Mike Kelley(b. Wayne, Mich., 1954; d. 2012) moved to Los Angeles to attend CalArts. In each of the 11 works of “The Arenas,” originally exhibited at Metro Pictures gallery in 1990, stuffed animals and other toys sit alone or in eerie groups on dingy blankets. In one, a handcrafted bunny with a scraggly pompom tail is positioned on a crocheted afghan before an open thesaurus, appearing to be studying the entry on “volition,” as two cans of Raid threaten from a distance. In another, a stuffed leopard is splayed atop an ominous lump beneath a black-and-orange coverlet. The works summon up themes of perversion, shame, dread, vulnerability and pathos. Kelley used toys because he felt they revealed far more about how adults see children — or want to see them — than they do about kids. “The stuffed animal is a pseudo-child,” a “cutified, sexless being that represents the adult’s perfect model of a child — a neutered pet,” he once wrote. But the toys in Kelley’s arrangements are faded, soiled, grubby and worn in sordid ways.

KT: I think that a lot of Mike Kelley’s work is about class but also about abuse and other things that kids, at least when they’re teenagers, begin articulating and thinking about. That series of work was so abject. There are layers of revelation in it that were pivotal for me personally, and then as I got older, I realized it had a bigger impact. And I see it in the work of some of the younger artists today.

Read more from T Magazine:

Mike Kelley’s Underground Afterlife March 8, 2017

16. Felix Gonzalez-Torres, “Untitled" (Portrait of Ross in L.A.), 1991

Felix Gonzalez-Torres (b. Cuba, 1957; d. 1996) came to New York City in 1979. When he created “Untitled” (Portrait of Ross in L.A.) in 1991, he was mourning the loss of his lover, Ross Laycock, who had died of AIDS-related illness that year. The installation ideally comprises 175 pounds of candies, wrapped in bright cellophane, an approximation of the body weight of a healthy adult male. Viewers are free to take pieces from the pile, and over the course of the exhibition, the work deteriorates, just as Laycock’s body did. The candies, however, may or may not be routinely replenished by the staff, evoking eternity and rebirth at the same time as they conjure mortality.

DB: The work engages where we are today, this idea about the participatory and the experiential. Gonzalez-Torres also makes the point about responsibility, that an onus comes with this kind of taking. The idea, too, that it’s referencing one person as the ideal body weight, that the participatory element is not just this generalized mass thing, that the referent is just one other person, I think is very profound.

RT: I was thinking about AIDS. I almost put the Act Up logo as an artifact. We should talk about works of art that are more than just art, addressing all those other conditions. I find it very beautiful in that way.

KT: That work, in a metaphorical sense, is a virus. It dissipates and goes into other people’s bodies.

RT: I don’t even know if the audience really understands. That’s the thing. They are just taking candies.

TLF: I certainly just thought I was taking candies.

DB: There’s also the idea of replenishment. He comes back the next day. The obligation to restore is so much different than the obligation to take. The person is surviving. The institution is refilling. You could go away one day and not know that this returns to its own form. This idea of who knows and who doesn’t, I think, is important to it.

Read more from T Magazine:

A Colossal New Show Revisits a Conceptual Art IconMay 11, 2017

17. Catherine Opie, “Self-Portrait/Cutting,” 1993

In her photograph “Self-Portrait/Cutting,” Catherine Opie (b. Sandusky, Ohio, 1961) faces away from the viewer, confronting us with her bare back, on which a house — the kind a child might draw — and two stick figures in skirts have been carved. The figures hold hands, completing the idyllic domestic dream, which, at the time was just that — a dream — for lesbian couples. This work and others responded to the national firestorm surrounding “obscenity” in art. In 1989, Senators Alfonse D’Amato and Jesse Helms had denounced “Piss Christ,” a photograph depicting a crucifix submerged in urine by Andres Serrano, which was part of a traveling exhibition that had received funding from the National Endowment for the Arts. A few weeks later, the Corcoran Gallery of Art in Washington, D.C. opted to cancel a show featuring homoerotic and sadomasochistic photographs by Robert Mapplethorpe, whose exhibition at the Institute of Contemporary Art at the University of Pennsylvania had also received federal funding. In 1990, the N.E.A. denied funding to four artists because of their explicit themes of frank sexuality, trauma or subjugation. (In 1998, the Supreme Court ruled that the N.E.A.’s statute was valid and did not result in discrimination against the artists, nor did it suppress their expression.) By creating and exhibiting these works when she did, Opie openly defied those looking to shame queer communities and censor their visibility in art. “She is an insider and an outsider,” wrote the Times art critic Holland Cotter on the occasion of Opie’s 2008 Guggenheim midcareer retrospective. “[Opie is] a documentarian and a provocateur; a classicist and a maverick; a trekker and a stay-at-home; a lesbian feminist mother who resists the gay mainstream; an American — birthplace: Sandusky, Ohio — who has serious arguments with her country and culture.”

DB: This question of intimacy — who’s trying to police what I do with my body and how I choose to constitute what a family is — all these issues are one, if we’re thinking about how some of these works resound now. These are still things that we are urgently dealing with. The presence of motherhood and parenting are profound in the work. The vulnerability of presenting oneself to one’s own camera like that, which I think is also incredible in Goldin’s work — the question of who is my world, and who do I want to be a part of it?

MR: In both their cases, it’s about me and them, which is a huge thing that women brought. With the AIDS crisis, there were a lot of works about “me” in the same way, but it was really a huge change for Cathy and Nan to be the subject.

KT: Also, with Nan, this idea of a community in some sense of collaboration. As opposed to a photographer taking a picture of you, you’re taking a picture withyou.

18. Lutz Bacher, “Closed Circuit,” 1997-2000

Lutz Bacher (b. United States, 1943; d. 2019) is an anomaly in an age of easily searchable biographies and online profiles. The artist used a pseudonym, one that has obscured her original name. Few photos of her face exist. Perhaps it is not surprising, then, that so many of Bacher’s works focus on questions of exposure, visibility and privacy. After Pat Hearn, the famed downtown art dealer who represented her, was diagnosed with liver cancer on January 22, 1997, Bacher installed a camera above Hearn’s desk, filming continuously for 10 months. We see Hearn sit, make phone calls, meet with artists; Hearn is featured in the frame less and less as her illness worsens. Bacher edited 1,200 hours of footage into 40 minutes of video stills upon the dealer’s death in 2000, forming an unusual window into the inner workings of a gallery, as well as an intimate record of an influential woman as she stares down death.

TLF: Here’s something that I’m wondering: Cady Noland, Lutz Bacher and Sturtevant are — elusive is one word, anonymous could be another — people. It’s interesting that they resonate in a time when there is so much celebrity.

KT: I don’t think Lutz was ever elusive.

MR: I don’t think so either.

TLF: Well, never really named.

MR: Pseudonymous.

KT: She had a name. It was Lutz.

TT: But there’s only two images of her online versus a hundred of someone else. The pressure to be so present in order for the work to live properly is something I hear a lot.

MR: Look what happened when Jackson Pollock wound up in Life magazine. The Abstract Expressionists definitely didn’t want to be turned into brands. More recently, curators started asking crazy things, like, “Put your picture up with your label.” No thank you. The Times reporters now even have little pictures in their bios — everybody’s been personalized because we don’t remember that the work is supposed to stand for itself.

19. Michael Asher, “Michael Asher,” Santa Monica Museum of Art, 2008

Michael Asher (b. Los Angeles, 1943; d. 2012) spent his career responding to each gallery or museum space with site-specific works that illuminated the architectural or abstract qualities of the venue. When the Santa Monica Museum of Art (now the Institute of Contemporary Art, Los Angeles) approached the conceptualist in 2001 to mount an exhibition, he tapped into the history of the institution, recreating the wood or metal skeletons of all of the temporary walls that had been built for the 38 previous exhibitions. The result was a labyrinth of studs that effectively collapsed time and space, bringing multiple chapters of the museum’s history into the present. That work characterized his unique practice over more than 40 years: In 1970, Asher removed all the doors of an exhibition space at Pomona College in Claremont, Calif., to allow light, air and sound into the galleries, calling viewers’ attention to the ways such places are usually closed off — both literally and metaphorically — from the outside world; for a 1991 show at Paris’s Centre Pompidou, he searched all the books filed under “psychoanalysis” in the museum’s library for abandoned paper fragments, including bookmarks; in 1999, he created a volume listing nearly all of the artworks that the Museum of Modern Art in New York had deaccessioned since its founding — privileged information rarely made public.

20. A.K. Burns and A.L. Steiner, “Community Action Center,” 2010

“Community Action Center,” a 69-minute erotic romp through the imaginations of artists A.K. Burns (b. Capitola, Calif., 1975) and A.L. Steiner (b. Miami, 1967) and their community of friends, is a celebration of queer sexuality as playful as it is political. We watch as a diverse, multigenerational cast engage in joyfully hedonistic acts of private and shared pleasure involving paint, egg yolks, carwashes and corn on the cob. Although the video opens with the cabaret star Justin Vivian Bond reading lines from Jack Smith’s experimental film “Normal Love,” there is otherwise little dialogue. Instead, the focus is on the dreamlike visuals — captured with an offhand intimacy on rented and borrowed cameras — and the visceral sensations they evoke. “Community Action Center” is the rare ribald work that doesn’t refer to male desire or gratification, which is partly why Steiner and Burns, who are activists as well as artists, describe it as “socio-sexual.” Radical politics needn’t come at the cost of sensuality, however. The piece is meant to titillate.

KT: It’s a really important work, too.

TLF: I haven’t seen it.

KT: They spearheaded this project to essentially make porn, but it’s much more than that, with all kinds of people from their queer community. It includes so many artists that we know and that are making work now, and very visible, but it was all about figuring out how to show their body, show their sexuality, share their body, share their sexuality, make light of it, make it serious, collaborate with musicians. It’s a crazy document of a moment that opened up a conversation.

21. Danh Vo, “We the People,” 2010-14

Danh Vo (b. Vietnam, 1975) immigrated to Denmark with his family after the fall of Saigon in 1979. “We the People,” a full-size copper replica of the Statue of Liberty, may be his most ambitious work. Fabricated in Shanghai, the colossal figure exists in roughly 250 pieces, dispersed throughout public and private collections around the world. It will never be assembled or exhibited as a whole. In its fragmented state, Vo’s statue alludes to the hypocrisy and contradictions of Western foreign policy. A gift from France to the United States, dedicated in 1886, the original monument was billed as a celebration of freedom and democracy — values both nations proved willing to overlook when dealing with other countries. At the time of the dedication, France possessed colonies in Africa and Asia, including Vietnam, where a miniature version of the statue was installed on the roof of the Tháp Rùa temple (or Turtle Tower) in Hanoi. Later, the United States financially supported the French military in Vo’s home country, waging war in the name of protecting democracy from Communism. By then, of course, the Statue of Liberty had welcomed millions of immigrants to the United States and had become a symbol of the American dream. In the wake of current violent crackdowns on immigration at the U.S.-Mexico border, Vo’s fragmented icon has never felt more darkly apropos.

DB: I chose this because it totally takes away the masterpiece idea. It’s the one statue, with many meanings embedded within it, but totally distributed. The sections are made in China, right?

RT: Yes.

DB: So it’s also the idea that this object, which is synonymous with the United States, is now made in what will be the superpower of the future. It’s signaling what other futures will be, and it gets back to this idea that “contemporary” is a total unknowingness. We don’t know what the hell the “contemporary” is, and I think in some ways, these works affirm that that unknowingness is where we begin.

KT: That work had so much violence and anger in it. Anger is a big part of the work that’s being made by artists now — everyone’s feeling it — specifically the anger of a displaced person. This idea of what we’ve done as a country, all over the world.

Read more from T Magazine:

An Artist’s Pho, Inspired by His Childhood in VietnamJune 12, 2018

22. Kara Walker, “A Subtlety, or the Marvelous Sugar Baby,” 2014

Ever since 1994, when the 24-year-old Kara Walker (b. Stockton, Calif., 1969) first astounded audiences with cut-paper installations depicting plantation barbarism, she has plumbed this country’s long history of racial violence. In 2014, Walker created “A Subtlety,” a monumental polystyrene sphinx coated in white sugar. The piece dominated an enormous hall of the Domino Sugar refinery in Brooklyn, shortly before much of the factory was demolished for condominiums. In a reversal of her black-paper silhouettes of white slave owners, Walker gave the colossal white sculpture the features of a stereotypical black “mammy” in a kerchief, the sort of imagery used by molasses brands to market their product. Walker’s sphinx also conjures up forced labor in ancient Egypt. “In my own life, in my own way of moving through the world, I have a hard time making a distinction between the past and the present,” she has said. “Everything is kind of hitting me all at once.”

MR: “A Subtlety” made lots of people furious because it was about the history of labor and sugar in a place that was already about to be gentrified. It was this gigantic, mammy-like, sphinxlike, female object, and then it had all these little melting children. “A Subtlety” is part of a very longstanding tradition that began in the Arab world that had to do with creating objects out of clay but also out of sugar. So it’s the impacted value of extractive mining, but it’s also the impacted value of the labor of slaves. And it’s also on the site where wage slavery had occurred — sugar work was the worst. The Domino Sugar factory was once owned by the Havemeyers, and Henry Havemeyer was one of the main donors to the Metropolitan Museum of Art. The sugar king was the art king. So it had all of these things — and then there’s the idea of all these people taking selfies in front of it. It was extremely brilliant without having to say a thing.

TLF: Martha, you wrote to me in an email that you are against the idea of the game-changing masterpiece. I thought we should put that on the record.

MR: I’m happy to say that it makes no sense in a contemporary era to talk about a work in isolation, because as soon as a work is noticed, everybody then notices what the person did before or who was around them. Art is not made in isolation. This brings me to the “genius”: The masterwork and the genius go together. That was one of the first things women artists attacked. As much as we revere the work of Mike Kelley, he always said that everything he did depended on what the feminists in L.A. had done before. What he meant by that, I believe, was that abjection and pain and abuse are things that are worth paying attention to in art. And that was something no man would have done at that point, except Paul McCarthy, maybe. The masterpiece idea is highly reductive.

KT: This brings up a good point about how there’s a responsibility to question this. Is that how it’s going to be?

TT: No, but listing a work that “defines the contemporary age” doesn’t necessarily mean it has to be a masterwork.

MR: Well, it could be a bad masterwork. You could say Dana Schutz [the painter of a controversial 2016 work based on a photograph of the mutilated body of Emmett Till, lynched, in his coffin]. But the questions of ownership go back to Sherrie Levine and the Walker Evans work. What’s ownership of an image? What’s reproduction of a photo? The culture wars of the ’80s all depended on photographs, whether it was “Piss Christ” or Robert Mapplethorpe’s work — and we’re still fighting these things. We don’t want to talk about them. Nobody here named Mapplethorpe — interesting.

KT: Thought about it.

MR: Nobody mentioned William Eggleston because we really hate photography in the art world. Nobody named Susan Meiselas. We always want photography to be something else, which is art, which is actually what you said about Cindy Sherman’s “Untitled Film Stills.” We know it’s not really photography. I’m always interested in the way art is always ready to kick photography out of the room unless called upon to say, “Yeah but this was really important for identity, formation or recognition.” It’s always thematic. It’s never formal.

Read more from T Magazine:

William Eggleston, the Pioneer of Color PhotographyOct. 17, 2016

23. Heji Shin, “Baby” (series), 2016

Birth is the subject of “Baby,” seven photographs by Heji Shin (b. Seoul, South Korea, 1976) that capture the moments after crowning. Shin illuminates some of the undeniably gory scenes with a scorching red light. Other pictures are barely lit at all, and the puckered faces of the almost-born emerge from menacing black shadows. While these photographs might remind us of our common humanity, they are hardly sentimental or celebratory — several are downright scary. This complexity is at the core of Shin’s practice, from pornographic photographs of chiseled men dressed as beefcake cops to colossal portraits of Kanye West that debuted shortly after the rapper’s inflammatory conversation with Donald Trump. (Two Kanye portraits and five of the “Babies” were in the 2019 Whitney Biennial.) At a time when political art is everywhere, with young artists telling predictably left-leaning audiences exactly what they want to hear, Shin is an outlier. Her photographs do not answer any questions. Instead, they ask a lot of their audiences.

TT: I was obsessed with the “Baby” photos. I mean, I wanted one myself. But then my partner was like, “Well what’s the … ” Like, “I’ve seen pregnancy, what’s the difference?”

KT: “A kid could do that?”

TT: Or not quite that, but: I understand it aesthetically and I’m interested in the photo, but what’s it saying and what’s it doing?

KT: No one wants to look at that work. No one wants to look at that act. No one wants to talk about motherhood. No one wants to look at women like that. No one wants to see a vagina like that. No one wants to see a human being that looks like that. I think there’s something gross and revolting and very brave about that work.

24. Cameron Rowland, “New York State Unified Court System,” 2016

In a much-discussed 2016 exhibition titled “91020000” at the New York nonprofit Artists Space, Cameron Rowland (b. Philadelphia, 1988) exhibited furniture and other objects fabricated by inmates often working for less than a dollar an hour, as well as heavily footnoted research on the mechanics of mass incarceration. The New York State Department of Corrections sells these commodities under the brand name Corcraft to government agencies and nonprofit organizations. Artists Space was eligible to acquire the benches, manhole cover rings, firefighter uniforms, metal bars and other objects comprising the exhibition, which Rowland rents to collectors and museums instead of selling them. The spare installation recalled those of the Minimalist sculptor Donald Judd, while Rowland’s politically driven approach to Conceptualism and focus on racial injustice garnered comparisons to Kara Walker and the American light and text artist Glenn Ligon. The New Yorker traced Rowland’s artistic ancestry back to “Duchamp, by way of Angela Davis.”

TT: Cameron Rowland’s work is further out on the edges of what’s considered art. You apply to get a catalog in order to purchase prison goods. A lot of the work he makes, I don’t even understand how. I still have a lot of questions, and we’re friends. There’s this unraveling of a new sort of sideways information that I find really interesting and confusing at the same time.

25. Arthur Jafa, “Love Is the Message, the Message Is Death,” 2016

At a moment when the volume of images — from pictures of suffering to bathroom selfies — threatens to preclude empathy, Arthur Jafa’s seven-and-a-half-minute video, “Love Is the Message, the Message Is Death,” is a profoundly moving antidote to indifference. Through film clips, TV broadcasts, music videos and personal footage, Jafa (b. Tupelo, Miss., 1960) portrays the triumphs and terrors of black life in America. We see the Rev. Martin Luther King Jr. and Miles Davis; Cam Newton racing to score a touchdown; a Texas police officer slamming a teenage girl onto the ground; Barack Obama singing “Amazing Grace” at the Charleston church where nine people were murdered by a white supremacist; and Jafa’s daughter on her wedding day. The film made its official art-world debut at Gavin Brown’s Enterprise in Harlem just days after Donald Trump won the presidential election in November 2016. Jafa set the images to Kanye West’s gospel-inflected anthem “Ultralight Beam.”

TLF: Jafa strikes me as more popular, in a sense, if I can use that word. He crosses over into other worlds.

TT: This goes back to David Hammons because — I threw away my [Adidas Yeezy] sneakers Kanye made. [West alienated many of his fans when he made a visit to the White House in October 2018, offering his verbal support of President Trump and wearing a Make America Great Again baseball cap.]

KT: How do you justify that work, then? You still put Arthur Jafa on the list, which is what I’m really curious about.

TT: Because it’s not my list. In my head, I thought, “This is contemporary.” And I think that a good artwork can be problematic. Art is one of the few things that can transcend or complicate a problem. “Love Is the Message” can still be a very good artwork and I can disagree with Arthur Jafa’s approach to it. No one else has done that. No one else in history has produced a video like that. It’s still moving things forward, even if they’re moving back a little bit.

DB: I think Arthur Jafa is coming out of a lineage of collage and photomontage artists — from Martha Rosler, sitting right here, to early artists coming out of the Russian avant-garde — this idea that you don’t have to agree or adhere to a singular point of view. Each image or piece of music doesn’t mean something on its own; it’s in the juxtaposition where meaning comes together. What’s so interesting about the piece is how seductive it can be, and also, in some ways, it begs for us to resist that seductive quality because of the violence of some of the imagery.

LaToya Ruby Frazier (b. Braddock, Pa., 1982) was raised in an economically ravaged suburb of Pittsburgh, where she began photographing her family at the age of 16. In arresting pictures of her terminally ill grandmother, dilapidated homes, shuttered businesses and air thick with pollution, Frazier exposed the effects of poverty and political indifference on working-class African-Americans. Using her camera as a weapon of social justice, Frazier highlights the effects of trickle-down economics, union busting and other policies that have widened the wealth gap across the nation. Frazier’s series was published as a book, “The Notion of Family,” in 2014. Since then, she has pursued her blend of art and activism, embedding herself in Flint, Mich., and other marginalized communities.

MR: I am surprised not to see LaToya on this list. Maybe she’s too young?

TLF: Why don’t you state the case for why you’d like to see her?

MR: Because she’s not only a sharp, clear and intelligent observer of black life but specifically of female-centered, working-class, black life in a small city in the Rust Belt. Most of the African-American artists we think about deal with urban-centered questions and relationships. But she knows how to put together activism with social critique in a way that many other people have been afraid to deal with — not just with black identity but also class identity. She documented the closure of the hospital in Braddock, Pa., and called attention to the fact that the residents’ physical conditions resulted from living in a town polluted by industry and waste dumping. I think she’s pushed the boundaries of photography in the art world.

Source photographs and videos at top, in order of appearance: copyright Estate of Sturtevant, courtesy of Galerie Thaddaeus Ropac, London, Paris, Salzburg; courtesy of Dara Birnbaum, Electronic Arts Intermix, New York and Marian Goodman Gallery; courtesy of Gavin Brown’s Enterprise, New York/Rome; Studio Danh Vo; courtesy of Barbara Kruger; © Judy Chicago/Artists Rights Society (ARS), New York, and courtesy of Through the Flower Archives; courtesy of Arthur Jafa and Gavin’s Brown Enterprise, New York/Rome; courtesy of collection M HKA/clinckx, Antwerp; David Seidner; copyright Lutz Bacher, courtesy of Greene Naftali, New York and Galerie Buchholz, Berlin/Cologne; courtesy of the Estate of Gordon Matta-Clark and David Zwirner; the Museum of Modern Art Archives, New York; Juergen Frank/Contour RA by Getty Images; © Dawoud Bey, Stephen Daiter Gallery, Chicago and Rena Bransten Gallery, San Francisco; Patrick Piel/Gamma-Rapho via Getty Images

The Art World Is Easy to Dislike. Here Are Some Reasons Not to.For T’s inaugural online art issue, we’ll be highlighting some of the things that give us hope in an often-derided industry.June 11, 2018

https://www.nytimes.com/2019/07/15/t-magazine/most-important-contemporary-art.html

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fillopainting21 · 5 years

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Painters Woodstock

A common do-it-yourself project for novice and even seasoned designers is painting a room. Some of the reasons why they're really into this task include the simplicity of the process, the cost being relatively inexpensive, and the fulfillment that they get from great results.

Perhaps, you're now excited to start your painting project. But before you break out a roller or brush, it's important to know the basic steps to ensure you'll have a great experience and achieve professional results.

Start Planning Your Approach

Before jumping to action, you need a good plan first. Start by thinking about how you want the finished room to look. This is also the perfect time to pick a color that would best complement your entire room. Consider painting accent walls with bold hues and some contrasting shades for the ceiling.

Get the Necessary Equipment

Each project is unique, and you might need different tools depending on your work area and the paint you'll use. From paintbrushes to paint trays, make sure that you have everything you need before you start. Also, remember that it's better to invest in good brushes and rollers as they give great coverage. This allows you to save time and effort from reapplying paint.

Estimate How Much Paint You'll Need

Whether you're painting a small room or an entire apartment, try to use a gallon for every 400 sq. Ft. You can always add some more if you need to. Remember that it's better to buy more rather than fail to achieve a perfect finish because of paint shortage. If you're based in Georgia, you can consult the professional painters from Woodstock to learn more about how you can make your painting project a success.

Clean the Surface of the Walls

To have a smooth working experience, clean the walls and ceiling you're going to work on. Doing this will lessen the chances of getting dust and other unwanted debris stuck in the paint. Run a slightly damp cloth over the wall surfaces and make sure that every inch is grime free.

Prepare Your Working Area

You certainly don't want to stain your sofas and furniture with paint. So before starting your work, keep everything away from the walls. Also, place a couple of drip cloths and painter's tapes on the floor and crevices to mask off areas that shouldn't be painted.

Painting your room is exciting and challenging all at once especially if you're not aware of the painting fundamentals. So, if you want to achieve a professional paint finish, learn the basics first. If you need help, worry not as there are lots of painters from Woodstock, GA who you can reach out to.

#Painters Woodstock

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tigerstrikesasteroidnetwork · 6 years

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PHL / Geometry

Nancy Baker, Black Cloud, 26" x 26", Paint and mixed media on hand and laser cut paper, 2018 Geometry October 26 - December 8, 2018 Opening Reception: Thursday, November 8, 2018

[Images] [Essay by Julian Kreimer] Philadelphia, PA - Tiger Strikes Asteroid Philadelphia is pleased to present Geometry, an exhibition featuring the work of Nancy Baker, Julia Bland, Lindsey Landfried, Kayla Mattes, Alex Paik, and Caroline Santa. Mathematical geometry is concerned with the size, shape, positions of figures, and qualities of space; geometric forms and their transformations build the substance of architectural design. This exhibition brings together six artists who construct a type of architecture through an individual, steadfast, noble gesture. These geometries transcend their basic unit, whether through the repetition of a form, a mark or fold, or the meditation of the over/under act of weaving. ABOUT THE ARTISTS: Nancy Baker builds intricate, universe-like, paper constructions and installations which feel similarly large and small, strong and fragile. Baker finds “solace in the geometry of fundamentals . . . she interweaves mathematical data in her constructions that speak to her need for stasis and a reliable reality.” Nancy Baker earned her BFA from the School of Visual Arts, New York, NY. Her work has been widely exhibited throughout the US, including ODETTA Gallery in Brooklyn, NY; Front Room Gallery in Brooklyn, NY; Mark Moore Gallery, CA; Winkleman Gallery, NYC; Schema Projects, Brooklyn, NY; Marcia Wood Gallery, Atlanta, GA; Greenhill Center, Greensboro, NC; Jancar Gallery, Los Angeles, CA; NC Museum of Art, Raleigh, NC; 1708 Gallery, Richmond VA; Heriard Cimino Gallery in NOLA; and Lump Gallery, Raleigh, NC. Nancy Baker has received numerous awards, including two North Carolina Artists Fellowships, a Tennessee Individual Artist Fellowship, and an NEA Southern Arts Fellowship. Baker was awarded a commission with MTA Arts and Design for two train stations in Brooklyn, which was fabricated in stainless steel and was recently commissioned to create a new work for Karen Brooks Hopkins, the Director of Brooklyn Academy of Music. Julia Bland’s works incorporate painting and weaving, developing the structures and patterns that bind disparate elements into a whole. Through weaving, cutting, sewing, dying, and painting, the surface becomes a visible record of her evolving, multi-faceted process. “Weaving and painting are two kinds of binding: the warp to the weft, the image to the object. Geometry is a kind of grammar; process is a kind of syntax. Logic is pervasive, it fails, and it persists.” Bland’s solo exhibitions include Ways To Cross at Lighthouse Works and Underbelly at Helena Anrather in 2018, Things to Say at Night at 17 Essex in 2017, and If You Want To Be Free at On Stellar Rays in 2015. Reviews of her work have appeared in The New York Times, Art in America, Art Critical, Modern Painters, The New Yorker, The Villager, Artefuse, Hyperalleric, and Sculpture Magazine. She has been an artist in residence at MacDowell, The Shandaken Project: Storm King, The Sharpe- Walentas Space Program, Yaddo, Lighthouse Works, The Woodstock Byrdcliffe Guild, The Skowhegan School of Painting and Sculpture, and received awards including The Milton and Sally Avery fellowship from Yaddo, the Carol Scholsberg Memorial Prize, The Jacques and Natasha Gelman Trust Travel Fellowship, and The Florence Leif Award for Excellence in Painting. She received her BFA from the Rhode Island School of Design in 2008 and her MFA from Yale School of Art in 2012. The mark making of Lindsey Landfried’s folded works on paper evokes an ephemeral handwriting like binary code or weaving. “Folds incorporate a patina of space, shifting vantage points or perspectival spaces. The marks, incessant and reverent writing, or obsessive and mechanized weaving, are on once stable, marred, noisy, staccato, and inconsistent.” Lindsey Landfried lives and works in State College, PA. Her work has been exhibited at Momenta Art, Temporary Storage, Tiger Strikes Asteroid NY, SPACE Gallery of the Pittsburgh Cultural Trust, Mississippi State University, and Space 4 Art: San Diego. Landfried was a 2014-15 recipient of a Pollock-Krasner award and a 2013 fellow of the Deutscher Akademischer Austauschdienst for artistic practice. She has completed residencies at the MacDowell Colony, Vermont Studio Center, Virginia Center for the Creative Arts and Takt Kunstraum Tapir Berlin. Featured in New American Paintings and winner of the 2015 jurors award at the UNC Asheville Works on Paper Biennial, she is represented by KWADRAT Berlin and Galleri Urbane Dallas Texas. Kayla Mattes’ luscious tapestries explore systems of organization in contemporary life, and the ephemerality of digital culture. “I submit myself to the grid-like structure of the loom, but break down –and occasionally play with – its preconceived assumptions of utility or the decorative. . . Whether I’m simply dismantling the rectangle, or subverting tradition through the contemporary imagery and language that I depict within the weave, I embrace the power of textiles to communicate. In the end, what materializes is a series of layered visual systems—organized yet unruly, witty and absurd.” Kayla Mattes is a visual artist working across disciplines including weaving, sculpture and installation. She archives the ephemeral vernacular of digital culture through the interconnected threads of tapestry. She also works collaboratively in the socially engaged collective, BESTTEST. Recent exhibitions include PØST, (Los Angeles, CA), FISK Gallery (Portland, OR), LVL3 (Chicago, IL), Disjecta Contemporary Art Center (Portland, OR), Border Patrol Gallery (Portland, ME) and Hunter College (NYC). Her work has been featured in Maake Magazine, Vice’s Creators, Rhizome, and Sculpture Magazine and will be included in Weavers: Contemporary Makers on the Loom, an upcoming book written by Katie Tregidden and published by Ludion. She received a BFA in Textiles at Rhode Island School of Design in 2011 and is currently an MFA candidate at the University of California, Santa Barbara. Alex Paik’s paper based installations are at once effortless and awe-inspiring. Each piece is temporary, and can be reconfigured. Paik’s work has a strong connection to the architectural build up and break down of contrapuntal music. He uses “repetition not so much as a compositional device, but more as a way to explore and develop the possibilities of each unit. Or, to borrow Glenn Gould’s description of Bach’s late fugues, to “give the impression of an infinitely expanding universe.” Alex Paik is a Brooklyn-based artist whose work has been shown at galleries and art fairs nationally and internationally. He is the founder and Director of Tiger Strikes Asteroid, a non-profit network of artist-run spaces; Curator of Satellite Art Show, an alternative art fair in Miami; and Chief Curator at Trestle Gallery, a non- profit arts organization in Sunset Park, Brooklyn. Caroline Santa’s works on paper drawings and paintings are incremental installations or interchangeable parts that can be reworked and recontextualized, much like text or language. “Like Schwitters’ Merzbau, I think about my work as existing in its current scale or expanding into larger architectural environments, enveloping a viewer’s personal or mental space.” Based in Philadelphia, Caroline Santa has an M.F.A. from The University of Pennsylvania and is a recipient of The Charles Addams Prize. She has exhibited her work throughout the northeast in Philadelphia and New York, as well as in San Antonio, TX at The Blue Star Contemporary Art Museum. Internationally, Caroline was an artist in residence at the Lucy Tejada Center of Culture in Pereira, Colombia, where she had a solo exhibition. Caroline is a founding member of Tiger Strikes Asteroid. Caroline recently collaborated with the Grammy Award winning choir The Crossing and composer Joshua Stamper to create a multimedia installation in The Icebox, Philadelphia’s largest uninterrupted gallery space.

#geometry #tigerstrikesasteroid #tiger strikes asteroid #philadelphia

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itsworn · 7 years

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This 1952 Chevy Five-Window Got Our Attention Quick

What is your idea of a sleeper vehicle? For most people, it’s something with impressive performance behind a lowkey façade. Something that might fool people with a mild-manner first impression followed up by a surprise punch. Scott McClain told us that one of his reasons for building this beautiful red and gray 1952 Chevy 3100 was that he had always wanted to own a sleeper.

Like probably most gearheads, Scott’s involvement with cars and trucks began back in his teenage years. And like many, his involvement was encouraged by helping with somebody else. In Scott’s case, that person was his older brother and the first project he helped with was removing and building the engine from a 1940 DeSoto his brother found in a South Dakota junkyard back in the ’70s. It was an unusual introduction to a hobby that Scott has been part of ever since.

Scott learned to drive behind the wheel of an old pickup on his uncle’s ranch, and has been driving trucks ever since. This one, the nicest of them all, started a few years ago when Scott got the itch to drive a custom-built hot rod. He started his search at an auction, but his attempt at buying a GMC there wasn’t successful. From there, he went to the Internet, where this 1952 3100 was listed on eBay. It was located in Kentucky, several hundred miles from Scott’s home in Crystal Lake, Illinois. That provided the opportunity for a road trip with—appropriately—his brother.

Scott’s word for the condition of the truck as found is “refreshed.” It had been treated to some bodywork and paint, and still ran the factory 216-inch inline-six engine. Scott’s ideas for the truck called for a lot more than “refreshed.” He started talking about his ideas with builder Jeff Schwartz from Schwartz Performance in Woodstock, Illinois. The shop is known for high-level rods—and is also located about 10 miles from where Scott lives.

Now the truck rides on a Schwartz Performance G-Machine full-length chassis. Framerails are 2×6-inch mild steel. The G-Machine package is designed for various suspension goals, from street cruising to autocross competition. The combination on this 1952 includes unequal-length control arms in front with custom spindles, coilovers using RideTech shocks and Hyperco springs, a 1.25-inch splined antiroll bar, and power rack-and-pinion steering for up-to-date handling and ride. In the rear a Moser 9-inch full-floater with 3.70:1 gears and Detroit TrueTrac differential is suspended with the same coilover setup, triangulated four-bars, and a 3/4-inch antiroll bar. Wilwood 13-inch disc brakes were added all around with six- and four-piston calipers fore and aft.

The contemporary 18-inch wheels are Grip Equipped Schism five-spokes from Forgeline. Low-profile rubber is from the Michelin Pilot Super Sport series and measures 255/35R18 in front and a fat 335/30R18 in back for an unmissable footprint.

Underhood, a firewall and inner fenders were fabricated to surround the engine. After a lifetime of faithful service, the original Stovebolt was retired. In its place is a fresh 6.2L Chevrolet LS3 crate engine. The engine was mildly modified at Schwartz Performance with the addition of a custom camshaft and Lunati valvesprings. A Wegner billet serpentine drive system dresses up the front of the LS3, and a Be Cool aluminum radiator and Spal fan ensure that things are kept cool. Schwartz Performance built a pair of custom stainless steel headers routing gases to custom 3-inch exhaust pipes. Past the firewall, a TREMEC T56 Magnum six-speed transmission backs up the engine.

First impressions are important for a classic hot rod truck, and that’s where exterior mods take over. Modifications to the 3100 five-window body and shortbed were kept mild but the attention to making the sheetmetal perfect and the whole truck beautiful was extensive. The headlights were replaced with Hella lamps and LED bulbs are used to enhance the taillights. The stock gas filler was filled and relocated to the bed floor, which is finished in high-quality oak. The original bumpers have been replaced with stock-style reproductions.

Steve Nick’s Customs in Woodstock does a lot of the painting for Schwartz Performance and handled the finish on Scott’s 3100 as well. Steve used PPG products to paint the two-tone pickup. The primary color is GM Siren Red contrasted by Gray Anthracite on the fenders and running boards. As far as making a successful first impression, you can judge for yourself.

Cassis Customizing in Woodstock gets well-deserved credit for finishing the interior. The bench seat with bucket backs came from TEA’s Design and was upholstered with black and red leather to following the paint scheme on the truck. The style carries over to the door panels and headliner as well. Black German velour carpet covers the floor. Dakota Digital VHX gauges were installed in the original dash and a Custom Autosound audio system provides great sound without detracting from the look of the dash. A Vintage Air Mini A/C system cools the cab. The banjo steering wheel from Grant is mounted on a Flaming River column.

From learning to drive in an old ranch truck to cruising in a pro-built magazine-quality custom truck, Scott’s lifetime as a classic truck fan has definitely evolved. He says that waiting for it to be finished was a challenge, but driving it for the first time was an unforgettable experience, especially “harnessing all the power and that big smile when the tires broke loose going into Second gear.”

Only one question remains. Did he accomplish his goal of owning a sleeper? There is definitely more to his 1952 Chevy than you can see at first, but even what you can see is enough to wake you up.

Tech Notes

1952 Chevy 3100 Scott McClain

CHASSIS Frame: Schwartz Performance G-Machine, 2×6-inch mild steel Rearend / Ratio: Moser 9-inch, full-floater, Truetrac differential / 3.70:1 Rear Suspension: RideTech shocks with Hyperco springs, 3/4-inch splined antiroll bar, triangulated four-link Rear Brakes: Wilwood disc brakes, 13-inch rotors, four-piston calipers Front Suspension: Schwartz Performance unequal length control arms, Schwartz spindles, RideTech shocks with Hyperco springs, 1.25-inch splined antiroll bar Front Brakes: Wilwood disc brakes, 13-inch rotors, six-piston calipers, proportioning valve Steering: Power rack-and-pinion Front Wheels: Forgeline Grip Equipped Schism 18×9 Rear Wheels: Forgeline Grip Equipped Schism 18×12 Front Tires: Michelin Pilot Super Sport 255/35R18 Rear Tires: Michelin Pilot Super Sport 335/30R18

DRIVETRAIN Engine: 2014 Chevrolet LS3 crate engine, Lunati valvesprings Camshaft: Schwartz Performance custom cam Heads: OE aluminum Intake: OE Alternator: Powermaster Air Filter: K&N Ignition: HEI Headers: Schwartz Performance Exhaust: Schwartz Performance Horsepower: 530 Transmission: Tremec T56 Magnum six-speed

BODY Style: 1952 Chevy 3100 five-window shortbed Hood: Stock Grille: Stock Headlights / Taillights: Hella / LED lenses Front Bumper: Stock-style replacement Rear Bumper: Stock-style replacement Door Handles: Stock Bed Floor: Oak with stainless runners General Bodywork: Schwartz Performance Prep Bodywork: Steve Nick’s Customs Paint / Color: PPG / GM Siren Red and Gray Anthracite Painter: Steve Nick’s Customs

INTERIOR Dashboard: Stock Gauges: Dakota Digital VHX Door Handles: Stock Steering Wheel: Grant Steering Column: Flaming River tilt column Seats: TEA’s Design split bucket bench Upholstery: Cassin Customizing Material / Color: Leather / Black and red Sound System: Custom Autosound Air Conditioning: Vintage Air

The post This 1952 Chevy Five-Window Got Our Attention Quick appeared first on Hot Rod Network.

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paigerabourn · 22 days

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EXTERIOR PAINTING: THE CRUCIAL ROLE OF CHOOSING THE RIGHT PAINT FOR THE RIGHT SURFACES

In the end, the right paint for your home’s exterior surfaces is more complex than picking a color. It involves understanding the unique needs of each surface and the quality of the paint itself. By selecting the appropriate paint and opting for professional application, you can protect your investment and enjoy a beautiful, durable finish for years to come. Let our Atlanta and family based residential painting company help you make the best choices for your home’s exterior painting project.

#Painters Marietta GA #Painters Woodstock GA #Painting Services Marietta #Marietta Painting #Exterior house painting Woodstock #Painters Alpharetta #Painters in Woodstock #Woodstock GA Painters #Residental painting Woodstock #Interior painting Atlanta #Painters in Atlanta #House painters Atlanta #Cabinet Painters Atlanta #Exterior Painter Atlanta #Woodstock exterior painting

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lefafta · 7 years

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Notable Traits Of Experts In Exterior Painting Woodstock

By Shirley Johnson

After owning a house, most individuals tend to make the exterior of their home a priority. They always want to make their home impressive from the outside considering that this is the first thing most people see about your house. Therefore one may need to get experts in exterior painting Woodstock to ensure that the outside of their house is impressive to their satisfaction. Below are some of the qualities to look for when hiring an exterior painter. A real artist should be punctual. There should be an agreement regarding the start and end date. You should know how long the contractor will take and when you can expect them to show up each day. This will help you know what to expect throughout the process of painting. You cannot allow a person you do not feel safe with operating around your homestead. Concerning security, family comes first. Therefore there is a need to find a straight person to do the job for you. An individual who is honest and trustworthy is ideal since you can rest assured that nothing will go wrong with regards to safety. An experienced service provider should have a good reputation. Once you have a prospective painter, take some time to ask for references. A good expert should provide some names of clients he has worked for before. Take a few minutes and call them to hear out their ideas about how the painter conducts his business. An expert in Woodstock GA should have more than one year experience in the area of work. You need to find someone who is perfect at his work, and therefore experience matters. An accomplished expert will do his task well, and you will not need to find another painter to correct his flaws. This will save you any further costs and will also give you satisfaction with regards to the results. As a prospective employer, you should find a person you can depend on anytime whether you are around to see the work done or not. Even if a professional is experienced and competent for your work but does not adhere to his work schedule, he is the wrong person, and you should not hire such a painter. A dependable professional should show up on time and leave on time as per the schedule. The experts should be good at communication. You need a professional who will make the entire process clear to you, from start to finish by often communicating to you. If the expert has an excellent approach and brings it forth from the beginning, he probably is the right person for the assignment. This includes giving you a precise timetable for completing the project. Look for an insured and accredited person in Woodstock GA. An individual who is licensed by the state is preferable as you can trust him. He cannot run away without finishing his work to your pleasure. If the painter is insured, it protects the client in case of any damages to his property and covers the artist if he gets injured while working.

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Find an overview of the benefits of using exterior painting Woodstock services and more info about a reliable painter at http://ift.tt/2uQcCym now.

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tremendoustalephantom-blog · 7 years

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One Man And A Brush Now Become The Top Home Painting Company In The Woodstock Area

Saint Louis, MO (June 15, 2017) - In instances the residential property owners from the Woodstock and the adjacent areas look to hire a House painter, they feel confident to approach onemanandabrush.com. Offering superlative home painting services at the most reasonable rates, consistently for a significant span of time, this provider enjoys the trust and reliance of the property owners from these areas. Onemanandabrush.com was established with the objective to offer superlative home painting services at the modest rates. This company was founded in 2005 by an industry Veteran who have utilized all his expertise and experience to direct the company in a style that it emphasizes on the aspect of customer satisfaction. In its present standing, the company offers comprehensive services that cover up the scopes like interior & exterior painting, painting services for decks and cabinets, carpentry, Pressure washing, guttering services as well as installation and repair of the Drywalls. Thus, this provider has got a one-stop solution to the needs that revolves around home improvements. onemanandabrush.com/painting-services/exterior-painting-woodstock-ga has got a robust service framework and employs a pool of trained and certified technicians, dedicated to offer the best services to the clients. This contractor holds the license and the adequate insurance coverage that makes it all the more reliable to the property owners. “We are extremely customer- oriented and for us, it is the satisfaction of the customers that gets the maximum importance. We invite property owners to approach us for a session of consultancy and for an obligation-free price estimate. Our company is dedicated to extend the most delightful services to our customers and within a price that will be easily affordable for them. As such, dealing with us, they are assured to make the most delightful experience. It will be especially relevant to state that we have earned an almost 100% rate of customer satisfaction”, stated Richard Nelson, the Owner & president of the company. About One Man and a Brush: One Man and a Brush is a paint service company, offering 360-degree home improvement services, in and around Woodstock. To know more, visit http://www.onemanandabrush.com/ Media Contact: Darlene J. Gunter Address: Saint Louis, MO Phone no: 314-523-5116, Email: [email protected] ###

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tigerstrikesasteroidnetwork · 6 years

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PHL / Geometry

Nancy Baker, Black Cloud, 26" x 26", Paint and mixed media on hand and laser cut paper, 2018 Geometry October 26-December 8, 2018 Opening Reception: Thursday, November 11, 2018 Philadelphia, PA - Tiger Strikes Asteroid Philadelphia is pleased to present Geometry, an exhibition featuring the work of Nancy Baker, Julia Bland, Lindsey Landfried, Kayla Mattes, Alex Paik, and Caroline Santa. Mathematical geometry is concerned with the size, shape, positions of figures, and qualities of space; geometric forms and their transformations build the substance of architectural design. This exhibition brings together six artists who construct a type of architecture through an individual, steadfast, noble gesture. These geometries transcend their basic unit, whether through the repetition of a form, a mark or fold, or the meditation of the over/under act of weaving. ABOUT THE ARTISTS: Nancy Baker builds intricate, universe-like, paper constructions and installations which feel similarly large and small, strong and fragile. Baker finds “solace in the geometry of fundamentals . . . she interweaves mathematical data in her constructions that speak to her need for stasis and a reliable reality.” Nancy Baker earned her BFA from the School of Visual Arts, New York, NY. Her work has been widely exhibited throughout the US, including ODETTA Gallery in Brooklyn, NY; Front Room Gallery in Brooklyn, NY; Mark Moore Gallery, CA; Winkleman Gallery, NYC; Schema Projects, Brooklyn, NY; Marcia Wood Gallery, Atlanta, GA; Greenhill Center, Greensboro, NC; Jancar Gallery, Los Angeles, CA; NC Museum of Art, Raleigh, NC; 1708 Gallery, Richmond VA; Heriard Cimino Gallery in NOLA; and Lump Gallery, Raleigh, NC. Nancy Baker has received numerous awards, including two North Carolina Artists Fellowships, a Tennessee Individual Artist Fellowship, and an NEA Southern Arts Fellowship. Baker was awarded a commission with MTA Arts and Design for two train stations in Brooklyn, which was fabricated in stainless steel and was recently commissioned to create a new work for Karen Brooks Hopkins, the Director of Brooklyn Academy of Music. Julia Bland’s works incorporate painting and weaving, developing the structures and patterns that bind disparate elements into a whole. Through weaving, cutting, sewing, dying, and painting, the surface becomes a visible record of her evolving, multi-faceted process. “Weaving and painting are two kinds of binding: the warp to the weft, the image to the object. Geometry is a kind of grammar; process is a kind of syntax. Logic is pervasive, it fails, and it persists.” Bland’s solo exhibitions include Ways To Cross at Lighthouse Works and Underbelly at Helena Anrather in 2018, Things to Say at Night at 17 Essex in 2017, and If You Want To Be Free at On Stellar Rays in 2015. Reviews of her work have appeared in The New York Times, Art in America, Art Critical, Modern Painters, The New Yorker, The Villager, Artefuse, Hyperalleric, and Sculpture Magazine. She has been an artist in residence at MacDowell, The Shandaken Project: Storm King, The Sharpe- Walentas Space Program, Yaddo, Lighthouse Works, The Woodstock Byrdcliffe Guild, The Skowhegan School of Painting and Sculpture, and received awards including The Milton and Sally Avery fellowship from Yaddo, the Carol Scholsberg Memorial Prize, The Jacques and Natasha Gelman Trust Travel Fellowship, and The Florence Leif Award for Excellence in Painting. She received her BFA from the Rhode Island School of Design in 2008 and her MFA from Yale School of Art in 2012. The mark making of Lindsey Landfried’s folded works on paper evokes an ephemeral handwriting like binary code or weaving. “Folds incorporate a patina of space, shifting vantage points or perspectival spaces. The marks, incessant and reverent writing, or obsessive and mechanized weaving, are on once stable, marred, noisy, staccato, and inconsistent.” Lindsey Landfried lives and works in State College, PA. Her work has been exhibited at Momenta Art, Temporary Storage, Tiger Strikes Asteroid NY, SPACE Gallery of the Pittsburgh Cultural Trust, Mississippi State University, and Space 4 Art: San Diego. Landfried was a 2014-15 recipient of a Pollock-Krasner award and a 2013 fellow of the Deutscher Akademischer Austauschdienst for artistic practice. She has completed residencies at the MacDowell Colony, Vermont Studio Center, Virginia Center for the Creative Arts and Takt Kunstraum Tapir Berlin. Featured in New American Paintings and winner of the 2015 jurors award at the UNC Asheville Works on Paper Biennial, she is represented by KWADRAT Berlin and Galleri Urbane Dallas Texas. Kayla Mattes’ luscious tapestries explore systems of organization in contemporary life, and the ephemerality of digital culture. “I submit myself to the grid-like structure of the loom, but break down –and occasionally play with – its preconceived assumptions of utility or the decorative. . . Whether I’m simply dismantling the rectangle, or subverting tradition through the contemporary imagery and language that I depict within the weave, I embrace the power of textiles to communicate. In the end, what materializes is a series of layered visual systems—organized yet unruly, witty and absurd.” Kayla Mattes is a visual artist working across disciplines including weaving, sculpture and installation. She archives the ephemeral vernacular of digital culture through the interconnected threads of tapestry. She also works collaboratively in the socially engaged collective, BESTTEST. Recent exhibitions include PØST, (Los Angeles, CA), FISK Gallery (Portland, OR), LVL3 (Chicago, IL), Disjecta Contemporary Art Center (Portland, OR), Border Patrol Gallery (Portland, ME) and Hunter College (NYC). Her work has been featured in Maake Magazine, Vice’s Creators, Rhizome, and Sculpture Magazine and will be included in Weavers: Contemporary Makers on the Loom, an upcoming book written by Katie Tregidden and published by Ludion. She received a BFA in Textiles at Rhode Island School of Design in 2011 and is currently an MFA candidate at the University of California, Santa Barbara. Alex Paik’s paper based installations are at once effortless and awe-inspiring. Each piece is temporary, and can be reconfigured. Paik’s work has a strong connection to the architectural build up and break down of contrapuntal music. He uses “repetition not so much as a compositional device, but more as a way to explore and develop the possibilities of each unit. Or, to borrow Glenn Gould’s description of Bach’s late fugues, to “give the impression of an infinitely expanding universe.” Alex Paik is a Brooklyn-based artist whose work has been shown at galleries and art fairs nationally and internationally. He is the founder and Director of Tiger Strikes Asteroid, a non-profit network of artist-run spaces; Curator of Satellite Art Show, an alternative art fair in Miami; and Chief Curator at Trestle Gallery, a non- profit arts organization in Sunset Park, Brooklyn. Caroline Santa’s works on paper drawings and paintings are incremental installations or interchangeable parts that can be reworked and recontextualized, much like text or language. “Like Schwitters’ Merzbau, I think about my work as existing in its current scale or expanding into larger architectural environments, enveloping a viewer’s personal or mental space.” Based in Philadelphia, Caroline Santa has an M.F.A. from The University of Pennsylvania and is a recipient of The Charles Addams Prize. She has exhibited her work throughout the northeast in Philadelphia and New York, as well as in San Antonio, TX at The Blue Star Contemporary Art Museum. Internationally, Caroline was an artist in residence at the Lucy Tejada Center of Culture in Pereira, Colombia, where she had a solo exhibition. Caroline is a founding member of Tiger Strikes Asteroid. Caroline recently collaborated with the Grammy Award winning choir The Crossing and composer Joshua Stamper to create a multimedia installation in The Icebox, Philadelphia’s largest uninterrupted gallery space.

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