Monday, September 21, 2009




In October 2009 Printed Matter will be publishing
a signed & numbered edition of 150 small booklets
containing approx. 50 loose, b&w, 35mm photos of
sculptures and gravestones
Scott Treleaven took
in the Cimitero Monumentale, Milan.
Produced especially as a fundraiser for Printed Matter




Friday, September 18, 2009

Thursday, September 17, 2009

Wednesday, September 16, 2009

GILLIAN WELCH

Gillian Welch's TIME THE REVELATOR,

i think will pretty much stay on my top ten list...






THE GHOSTLY ONES

How Gillian Welch and David Rawlings

rediscovered country music.

by Alec Wilkinson

Gillian Welch is a singer and songwriter whose music is not easily classified-it is at once innovative and reminiscent of past rural forms-and David Rawlings is her partner. They were in Asheville, North Carolina, making a brief tour from Nashville, where they live. The next day, the writer accompanied them to their next gig, in Carrboro, NC. He asked Rawlings about his childhood and background as they had breakfast at Denny’s. Rawlings grew up in Slatersville, Rhode Island, and began playing guitar when he was 15. He tends to brood, and there’s a mournful cast to his thinking. Welch is tall and slender. She has a long, narrow face, a sharp chin, and a toothy smile. She’s 36 and adopted. Onstage, she bends her head over her guitar, like a figure in a religious painting. Rawlings says almost nothing onstage and plays with his eyes closed. Their music is deceptively complex, despite its simple components of two voices, two guitars. The broadest category into which it fits is country music. Welch and Rawlings are portrayed as defenders of a faith-old-time string musicians. The music they play contains pronounced elements of old-time music, string-band music, bluegrass, and early country music, but they diverge from historical models by playing songs that are meticulously arranged and that include influences from R & B, rockabilly, rock and roll, gospel, folk, jazz, punk, and grunge. Welch’s narratives tend to be accounts of resignation, misfortune, or torment. Her characters include itinerant laborers, solitary wanderers, misfits, poor people, outlaws, criminals, love-wrecked women, etc. Her imagination is sympathetic to outcasts who appeal to God and a number of her songs are written from the male point of view. She admires the troubadour songwriters Bob Dylan and Hank Williams. She was born in New York in 1967. Mentions her adopted parents, Ken and Mitzie Welch, who were also musicians. Welch and Rawlings appear often at the Grand Ole Opry. They also perform in small clubs around the country. They play very quietly and audiences attend them closely. Welch’s range is not wide and her voice has a mournful, vernacular quality. She conveys emotions through dynamics and absorption with the narrative. At Carrboro, they played a club called Cat’s Cradle and, as on many occasions, they shared the bill with the Old Crow Medicine Show. Rawling recounted Welch’s experimental college days. Welch says that when she discovered bluegrass music, it was “like an electric shock…” When Welch and Rawlings sing together, their voices fit so tightly that they seem welded. Rawlings does not always match Welch’s phrasing-he’s a strikingly inventive guitarist. Welch began dating Rawlings at the Berklee College of Music, in Boston. After school, they both moved to Nashville and Welch began to make the weekly rounds of songwriters’ nights at the local clubs. In 1995, they were signed to a recording contract by Almo Sounds. Welch showed the writer some of the clubs where she and Rawlings had played Writer’s Nights in the early 1990s. Some critics claim that, as the daughter of L.A. musicians, Welch doesn’t have the right to play music reserved for poor people or laborers. In response, she has wondered whose blood runs through her veins. The writer accompanied Welch and Rawlings to an ice-cream place in Nashville. One of Welch’s former teachers said Welch didn’t “sing notes; she sang feelings and ideas.”

Tuesday, September 15, 2009

Sunday, September 13, 2009

Friday, September 11, 2009

Thursday, September 10, 2009

GEORG HEROLD

at CFA







Tuesday, September 8, 2009

"Since the 1960s, Niele Toroni has committed himself to investigating how his particular concept of painting--imprints of a paint-laden #50 brush made repeatedly at perpendicular 30 centimeter intervals--subtly evidences human touch in the same moment that it obliterates the brushstroke as emotive or psychological record. This physical and conceptual dichotomy creates many thoughtful contradictions within his work: the material existence of applied paint with its lack of status as a material object; the systematic sameness of his application with the uniqueness of each imprint; and the manner in which the architectural details and boundaries of a given space serve to both limit and support his work."
from the Renaissance Society

Friday, September 4, 2009

you can't read
in your car.
I miss NYC


first image from the Walker Evans subway photo series MANY ARE CALLED (1966)

Thursday, September 3, 2009

PLEASE BROWSE


end of summer end-all mix
click the cassette

do your own sequence (aka shuffle) but here's mine...

  1. Lust For Life - Girls
  2. Puttin' On The Ritz - Judy Garland
  3. Three - The Cure
  4. People Get Ready - The Housemartins
  5. 7/23 - Magik Markers
  6. Todenhausen Blues - Lawrence
  7. Stroke It Noel - Big Star
  8. ain't no sunshine - horace andy
  9. Eye in the Sky - Gary War
  10. Stately, Yes. - Efdemin
  11. Where's The Money? - holger czukay, jah wobble, jaki liebzeit
  12. Time Warp - Atlas Sound
  13. Chasm - Shit Robot
  14. Out Of Reaches - Stephen Malkmus
  15. Venutian Lady - Paul Pena
  16. We Must Be In Love - Slim Smith
  17. Blenhein Shots - Swell Maps
  18. L.A. - The Fall
  19. Voodoo Ray - A Guy Called Gerald
  20. Sweat Me - John Roberts
  21. For Baby Oh - Cymande
  22. Red Sleeping Beauty - McCarthy
  23. The Executioner's Song - Cass McCombs
  24. Mirror’s Image - The Horrors
  25. Daft Punk Rave - Zomby
  26. Landebahn - Moebius & Plank
  27. Most of All - Morgan Geist
  28. The Process - Section 25
  29. Candelighted - Serena-Maneesh
  30. She's Leaving The Bank - Ry Cooder
  31. Mezzo Forte - Burning Star Core

Tuesday, September 1, 2009

albert pinkham ryder







Terre Thaemlitz on

Terre Thaemlitz on “Dazzle Ships” by OMD

custom made

I have always coveted
my friend Ryan's handmade tote bags
and now he's made one for me!
(and can for you as well...)
check it here.

stoked!