Two cars per family A MISTAKE MADE by all the city planners is to consider the private automobile (and its by-products, such as the motorcycle) as essentially a means of transportation. In reality, it is the most notable material symbol of the notion of happiness that developed capitalism tends to spread throughout the society. The automobile is at the center of this general propaganda, both as supreme good of an alienated life and as essential product of the capitalist market: It is generally being said this year that American economic prosperity is soon going to depend on the success of the slogan “Two cars per family.” Guy Debord, Situationist Theses on Traffic transportationcapitalism
Biggering I meant no harm. I most truly did not. But I had to grow bigger. So bigger I got. I biggered my factory. I biggered my roads. I biggered my wagons. I biggered the loads of the Thneed’s I shipped out. I was shipping them forth to the South! To the East! To the West! To the North! I went right on biggering...selling more Thneed’s. And I biggered my money, which everyone needs. Dr. Seuss, The Lorax capitalismproduction
Why We Build the Wall A Song by Anaïs Mitchell genius.com What do we have that they should want? We have a wall to work upon We have work and they have none And our work is never done And the war is never won The enemy is poverty And the wall keeps out the enemy And we build the wall to keep us free That’s why we build the wall We build the wall to keep us free So that its destruction cannot begin workfreedomcapitalism
Phenomenal: An Introduction An Essay from Phenomenal: California Light, Space, Surface by Robin Clark Aesthetic palate cleansingUntitled (Light Canvas)Little Blank Riding HoodNot intended to be read until you have seenA vaporous middle-world+5 More
Aesthetic palate cleansing During the 1960s and 1970s, light became the primary medium for a loosely affiliated group of artists working in Greater Los Angeles who were more intrigued by questions of perception than by the notion of crafting discrete objects. ...Often with modest means (a bolt of scrim, a sheet of glass, a bucket of resin, an open window) these artists engaged in a kind of aesthetic palate cleansing, shaking off the art-historical weight and heavy impasto of midcentury painting as it had been influentially practiced in New York and San Francisco. aestheticsmaterial
Not intended to be read until you have seen This is not a catalogue because there is no list of works. The exhibition will comprise three spaces in which three artists will have made their art. At the moment of writing we are not sure exactly what they will do—and we cannot know how what they do will appear to us. Therefore we cannot attempt to help you perceive it. So this is also not truly an introduction to the art. It is not intended to be read until you have seen the exhibition. Michael Compton perceptionseeing
A vaporous middle-world In between these two extremes is a room with three constructions by Robert Irwin. These can be read as individual works of art but their function here is primarily that of creating a climate of fastidious ambiguity. Light turns into a new kind of material; new kinds of material are fused into light; a vaporous middle-world stands midway between total black (Bell) and total white (Wheeler) light