Comments for Eponanonymous

Comment on artfever by swfa

swfa — Wed, 07 Apr 2010 04:10:22 +0000

[...] SWF. … Post a comment or leave a trackback: Trackback URL. Efflex SWC available for download …Eponanonymous artfeverBob Callaway, bravely enduring an unshakable artfever, comments on the SWFA show here. … Post a [...]

Comment on Matt Keegan: Any Day Now at D’Amelio Terras by amelio

amelio — Tue, 30 Mar 2010 00:35:31 +0000

[...] car and sped off. His daughter called the police and said he was drunk. She gave them her name, herEponanonymous Matt Keegan: Any Day Now at D’Amelio TerrasFirst is the creation of a rich discursive space that offers many points of entry. Second … In his [...]

Comment on Crucible of the Irreducible by irreducible

irreducible — Mon, 29 Mar 2010 23:19:00 +0000

[...] generate irreducible cubic polynomials one after another by changing a certain parameter in F(p) …Eponanonymous Crucible of the IrreducibleCrucible of the Irreducible. If the mechanisms of mediation are ever-present and insist on imposing [...]

Comment on Leslie Hewitt, “On Beauty, Objects, and Dissonance”, at the Kitchen by Nicholas Knight

Nicholas Knight — Sun, 28 Mar 2010 16:32:29 +0000

But if I were to focus more on the strategies themselves, I would discuss the shallow space of the photographs, and how it joins literary and pictorial distance; how that shallow lean is dramatized in the chunky leaning frames; how the prints themselves are sitting in the frames and not floating, at a depth unequal to the overall depth of the frame itself; how the floors in “Riffs on Real Time” are a wonderfully allusive and indexical element, bearing the scars of their heavy wear; how the prints in “A Series of Projections” present a cinematic experience that confuses time and space in a wonderful way; et cetera.

Comment on Leslie Hewitt, “On Beauty, Objects, and Dissonance”, at the Kitchen by Nicholas Knight

Nicholas Knight — Sun, 28 Mar 2010 16:26:57 +0000

I’m referring in particular here to two bodies of work in the show, the “Midday” series (illustrated above) and the “Riffs on Real Time” series. These comments apply to the film installation, too, but the opacity of the imagery in the film blunts the effectiveness of its referentiality.

Comment on John Baldessari and Alejandro Cesarco, “Retrospective,” at Murray Guy by john baldessari - StartTags.com

john baldessari - StartTags.com — Wed, 17 Feb 2010 14:13:27 +0000

[...] a name film the wild Gamma music wall decomment trash muur public art commerce sky video light …Eponanonymous John Baldessari and Alejandro Cesarco …John Baldessari and Alejandro Cesarco have collaborated on a suite of 12 silkscreens on aluminum [...]

Comment on “From a Distance” at Wallspace by lll•lll » I (heart) DF and I (heart) NY more than ever

lll•lll » I (heart) DF and I (heart) NY more than ever — Tue, 16 Feb 2010 00:40:02 +0000

[...] aprendo nada. La que se grabó inevitablemente en mi memoria fue una pieza de Walead Beshty llamada Fedex Large Boxes, Priority Overnight, Los Angeles - New York. Una breve descripción: él hizo unas cajas de vidrio grueso de las medidas exactas del interior [...]

Comment on Excavator by excavator - StartTags.com

excavator - StartTags.com — Wed, 27 Jan 2010 14:45:03 +0000

[...] - Maun, Botswana. see larger image. uploaded by oceandavid. uploaded by oceandavid | add comment …Eponanonymous ExcavatorExcavator. There’s presently a construction site outside my apartment. It’s a miserable condition. [...]

Comment on Anne Collier at Anton Kern Gallery by Nicholas Knight

Nicholas Knight — Sun, 24 Jan 2010 16:11:08 +0000

The parenthetical element of the title, Crepuscules, names the scene as a twilight shot. Twilight of what?, one wonders.

Comment on Shannon Ebner, “Invisible Language Workshop” and “The Sun as Error” by John Staples

John Staples — Wed, 18 Nov 2009 21:37:01 +0000

Ditto.