četvrtak, 15. kolovoza 2013.

William Powhida & Jade Townsend - Bellum Omnium Contra Omnes (2012)



Svijet suvremene likovne umjetnosti prikazan kao srednjovjekovni rat raznih vojski, bandi i plemena.


Art & Technology According to Powhida and Townsend

William Powhida and Jade Townsend's drawing Bellum Omnium Contra Omnes (2012). Detail.  
William Powhida and Jade Townsend's drawing Bellum Omnium Contra Omnes is a depiction of the art world as a medieval battlefield populated by warring factions, complete with a legend identifying each faction in language that is part literary epic, part incoherent rant. It's an excellent time-waster, both funny and irritating. For example, one part of the drawing depicts a suburban hinterland where burghers gather outside the church of Thomas Kinkade (above). Steve Lambert can be seen rolling by with his "Capitalism works for me!" sign, one of only a few artists found in these uncharted middlebrow realms. (Lambert toured the large sign across the US, asking people to vote on whether the sign is true or false for them.)
The drawing includes its share of art world notables, but it pulls no punches when it comes to the kinds of artistic practices that Rhizome supports. The detail below shows the new media factions within this Boschean Where's Waldo? (there is a separate Tower of the Moving Image as well). The computer on the left represents the "Virtual New Media Universe," in which "internal factions resist any efforts to be drawn out into the desert of the real." The robot factory represents the "New Aesthetic Maker-Bot Army," which is called out for its "tenuous alliance" of different discourses "that aims to destroy the problem of subjectivity and seize the Dark Tower." Then there's the "Pseudo-Science Observatory" that is devoted to "the appearance of scientific inquiry as practice;" the "8-bit Gamer Artists led by their General Corey [sic] Arcangel harness the great power of nostalgia."

William Powhida and Jade Townsend's drawing Bellum Omnium Contra Omnes (2012). Detail. 
Despite the vitriolic generalizations of...well, basically all of us, the drawing does make it look like some cool things are going on there in new media world. (A huge telescope! An old Macintosh! Robots!) Keep it up, people. - rhizome.org/

Tips for Artists Who Want To Sell (New and Unimproved), Silkscreen on paper, 2010, courtesy of the artist and the Lower East Side Printshop.  Edition of 30.  Buy it.  Apologies to John Baldessari 

Fuck It List. Graphite, colored pencil, and watercolor on paper. 15” x 19”. Courtesy of my friend Sarah Smizz (@smizz) who I made this drawing for.  
Meanings*, graphite and colored pencil on panel, 15” x 19”, 2012. Courtesy of somebody. *people say all kinds of shit they because they won’t say anything.  

Artmageddon for Christian Viveros-Faune’s article "How Uptown Money Kills Downtown Art"  in the Village Voice.  

Why You Shouldn’t Buy Art. Graphite, colored pencil, watercolor, sincerity, and irony on paper. 14” x 19”, 2012. private collection. Archival Inkjet editions available on 20x200 

A Song. 9” x 12”. Graphite, colored pencil and watercolor on paper. 2012. 20x200.com OccupySandy benefit edition available.  All of my proceeds will be donated directly to OccupySandy.   
A War of All Against All, William Powhida and Jade Townsend, Graphite on vellum, 9’ x 5’, 2012.  Courtesy of Poulsen Gallery, DE.  Click through for a high-resolution image. 
Cynical Advice, 15” x 20”, Graphite, colored pencil, and watercolor on paper,2012.  For the 2012 BRIC benefit gala.  
"Where Does Political Power Come From, Anyway?” Graphite, watercolor, and colored pencil on paper, 30” x 22”, 2012.  Commissioned by CNN.com. Click to Enlarge.

"Why Are (Most) Artists (So Fucking) Poor?" Graphite on paper, 2012.  
“Things I Think About When I Think About Bushwick" 15" x 19", Graphite, colored pencil, and watercolor on paper.  2012 
Twitter Notes. Graphite, colored pencil, and watercolor on clayboard. 2012. Courtesy of Postmasters Gallery.
Details are irrelevant, but the year could be 2012. 

Griftopia. Graphite, watercolor, acrylic ink, and colored pencil on paper.  5’ x 10’. 2011.  Courtesy of Postmasters Gallery.  Private Collection.  

Oligopoly (Revised), watercolor, acrylic ink, and colored pencil on panel, 2011. Courtesy of Postmasters Gallery
What Do Prices Reflect?2011, graphite, colored pencil and watercolor on paper20 x 16 inches, courtesy of Postmasters Gallery

The 1%, Letter press on paper, 14” x 20”, 2011.  Courtesy of Postmasters Gallery.  Special thanks to Michelle Vaughan @black_von for typesetting and printing this monster.

Dear Jeff Koons, for READKYEULOUS The Hurtful Healer: The Correspondence Issue at Invisble-Exports, opening Jan 14th 6 - 8pm.  

How To Write A Literary Masterpiece, graphite on paper, 2009.  Courtesy of the artist.  Originally published in Golden Handcuffs

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