**CATHERINE GOODMAN NEW WORKS**
27 FEBRUARY – 5 MAY 2024
HAUSER & WIRTH DOWNTOWN LOS ANGELES

**FEATURED EXHIBITION**
**Camille Claudel**
April 2–July 21, 2024, GETTY CENTER

Two weeks, at Balse.

Rain, in LA, I love.

Rain coat. I love raincoat.

Spring/summer

water itself, and the form has always been exciting, to me…in the buoyant state…the idea of movement, idea of gesture, or the idea of different materials and freezing form. - LOEWE

sound of rain, radio, forest, light, city, prayers? LEMAIRE. radio. signal. higurashi, maboroshi.

Story of irreplaceable loss, story that come through. World Press Photo

Richochet

IN MIX

X tin | HÖR - April 5 / 2024

Richie Culver | HÖR - April 5 / 2024

clean, philosophical, harmonic, repetitive wonderfulnesssisimo.

Meskendir Konduku

loosing track of that Why is so dangerous. Not knowing why we photograph…leads to lack of creativity, insecurity, it leads ultimately to procrastination. And procrastination is death of art, death of creativity.

defining Why.

The power of her photographs.

A medium.

Style is something challenging to find.

To try to share a view of the world…

god -2hollis

suspense - Jeff Mills

realize - vitesse x

lovely Marias

Preparing to go back to Venezia for the Bienalle Arte
BIENALLE

till next time.

Charles A. Balse

*little puddles*, American artist Matthew Brandt
From April 6 to May 5, 2024, Gallery COMMON, TOKYO

Words of Wisdom

DIALOGUES WITH MARCEL DUCHAMP by Pierre Cabanne

Chapter 4. I Like Breathing Better than Working

Page 69

CABANNE: You have also said that the artist is unaware of the real significance of his work and that the spectator should always participate in supplementing the creation by interpreting it.

DUCHAMP: Exactly. Because I consider, in effect, that if someone, any genius, were living in the heart of Africa and doing extraorinary paintings every day, without anyone's seeing them, he wouldn't exist. To put it another way, the artist exists only if he is known. Consequently, one can envisage the existence of a hundred thousand geniuses who are suicides, who kill themselves, who diappear, because they didn't know what to do to make themselves known, to push themselves, and to become famous.

I believe very strongly in the "medium" aspect of the artist. The artist makes something, then one day, he is recognized by the intervention of the public, of the spectator; so later he goes on to posterity. You can't stop that, because, in brief, it's a product of two poles - there's the pole of the one who makes the work, and the pole of the one who looks at it. I give the latter as much importance as the one who makes it.

Naturally, no artist accepts this interpretation. But when you get right down to it, what is an artist? As much as the furniture maker, say Boulle, he's the man who owns a "Boulle." A work is also made of the admiration we bring to it.

African wooden spoons were nothing at the time when they were made, they were simply funcational; later thye became beautiful things, "works of art".

Don't you think the spectator's role is important?

[[akademie-X]], John Stezaker

Lesson 30: Art Education - A Contradiction in Terms, page 283

After years of involvement in art education, both as a student and as a teacher, I have arrived at the conviction that art education is a contradiction in terms. Picasso understood this when he said that he did not search but that he found. Art is finding and that is incalculable and unpredictable. There can be no preparation for it. No research is possible for it.

Education is ostensibly dedicated to knowledge. The best art comes out of not knowing - out of ignorance. Education professes to render the world either transparent or legible. Art seems always to be a confrontation with the opposite: the unknowable, the illegible.

.....I believe in the importance of seclusion and indolence in the creation of art. Art needs to find a space to hide. It thrives in dusty neglected atrophied spaces. In a sense, one could say it needs educational dysfunction: it needs neglect. How often have important developments in art come out of groups of students taking control of their own aesthetic agenda in the absence of a strong educational programme? Modern education, in attempting conscientiously to create a miniature version of the exhibiting world awaiting its prospective artists, inadvertently betrays the possibility of art, which as Maurice Blanchot insists, comes out of an 'exile from life'.

More practically, I would suggest following the example of Henry David Thoreau's economics of aesthetic reflection: find an undemanding job, occupying the minimum time commitment to support the maximum proportion of time dedicated to aesthetic indolence. Times have changed the balance of that economy since Thoreau's day. He only had to work one day a week for the farmer whose land he lived on in order to subsist in his exile from life. We live in a culture hostile to nonproductive activity, but it's precisely because of this that the resistance of aesthetic indolence is so vital.