Thursday, April 22, 2010


I feel emotional after seeing this meteorite footage. It's so pixellated and yet so lovely. Why is seeing more impactful --more of an indicator of reality-- than hearing ?

This peaceful meteorite cascades across rural Iowa. It's an historic event that punctuates a startling series of earth changes world wide. Lot's of people witnessed it. No one was hurt. It's a sign of wonder and hope. It's a wake-up call and a warning. It's a message to pay attention to the sky.

Just since the new year, there have been a hand full of major earthquakes around the world, and now a volcanic eruption in Iceland, which put European flights out of commission for days.

Just this winter we were in Florida. It was too cold to sunbath. . .we read humorous interviews on local media asking Floridians if they believe in global warming? of course, all of them--freezing their asses off--said it's all a load of crap. . .long live capitalism, etc, etc.

Sometimes I feel as if those around me are in a daze. Atlanta is so sleepy and out of touch, hiding under the magnificent dark trees and spirit of Southern denial. There's really so very little analysis on the news.

Tuesday, April 20, 2010


the neighborhood association of Cabbagetown (intown Atlanta), who refused to allow graffitti to continue on it's lengthy public wall, established a dictatorship of green paint from 2008 to 2010. and now that reign is over. the paint-out color of choice is now back to light gray, to match the wall itself.

ironically, the new color calls attention to the walls' gallery-like quality. . .tantalizing those who would prefer that it allow the tradition of unofficial art. for what is an urban environment without graffiti ? it's a controlled environment, not an organic one. there is a sense of order and authority; its cleanliness broadcasts a message: only approved expressions of aesthetics allowed here. it's funny because Cabbagetown was a place for poor people for many decades. it's squalor and geographical isolation due to the wall actually allowed it's residents the freedom to keep their houses and yards any way they pleased. . .and this led to a certain quirkiness, gave it's New Orleanian shotgun architecture character and ultimately made it desirable as real estate. . .alas, so it is with gentrification.

For two years now, residents who had enjoyed the urban flavor of the ever-morphing graffitic expression, had to endure a sort of oppressive presence of cheerful green paint and gung-ho gentrifiers, smug to win an aesthetic battle over shared space. the 1/2 mile stretch of wall, previously famous for its art, was guarded daily by an aggressive former homeless man; he never let a mark stay for more than a day or two and physically attacked anyone he caught attempting. it is not entirely clear whether neighborhood funds were spent on his employment.

the hallmark green paint-outs migrated to abandoned buildings and even dumpsters nearby. the pollyannas marked the neighborhood in an imperialistic manner not unlike the graffiti they wished to erase. meanwhile, down the street in the next neighborhood over, Reynoldstown encouraged graffiti and now has a most incredible wall of public art. thankfully, that graffiti is not too tight, not overproduced as a lot of prescribed graffiti can be. (some urban places have taken a similar permissive approach to graffiti. . .see article in the New York Times on Caracas, Venuzuela & graffiti.)

(The Renoldstown wall)

(an abanonded house in Reynoldstown that is covered by graffiti. . .pretty awesome public art, if you ask me.)

I do like the whitish gray better than the green. it disappears more. but I also can't wait to see what appears on the fresh walls.

Tuesday, April 6, 2010

online curation 4-4-2010









1. Krysten Cunningham, "RGB fetish" 2. Peggy Honeywell 3. Peggy Honeywell
4. Chris Marker 5. Simon Frost 6. the Underground Coal Miners
7. John Beech "coated drawing" 8. Superstudio (!)