Julia Klein

Francis Bacon

dan merlo photos

Photos by Dan Merlo

pic by dan merlo

top left: Margaret Mellis; top right: Hiroshima Mon Amour
bottom: Heimo Zobernig

 

Francis Davison

Robert Goodnough

Collaboration with Owen Conde-Raggett

Baby at Henry
(or, Structures that Act as Objects)


Leila saw Baby but first she saw Wing.

Rail was the base mostly.

It took a lot of effort and much time went by.

I bent the wing.

I tried to read about fetish objects.

About energy going outwards. both accidentallyand logically.

Wing hung above the right window of three windows in the three-sided wall facing the street in my living room.

In Group Photo, Baby is not yet all black.

Leila expressed some discomfort about being recorded. She put earrings on before we began.

Todd didn’t like Baby but Carla did.

Baby on The Red Cart.

Baby next to Yoni’s photographs.

Baby sitting on a stool

I only took what I liked.

I marked lots of pages.

I carried Baby up to the store.

• When you came in that room, you had like suspended string from across the windows
• you had all of this spray foam and I was like overwhelmed….and it was unclear to me how you got it all. I was like…
• the foam or the sculpture
• cause you had like Costco amounts of spray foam and I was like where did all…and you couldn’t like give me a straight answer about where it all came from. this girl, she had all of these leftovers..or something, blahblahblah
• I was like nonono, this is not an altruistic gesture on your part.
• I don’t recall expressing any kind of anxiety
• I think about the newspaper but I don’t think about you in action
• I have, I have almost no vision of you in that front room
• the visions I have are of when we were moving out and the house was kind of empty but the sculptures were still in the front room. like I
• I’m going to go back for some more, I bought it all out. the guys going to call me when they get some more.
• and then so the jumble of the cords you were making or
• you’re just perfect the way you are
• front room first
• I knew you were going to be really mad at me so I didn’t
• why'd you break our door?
• well now that house is gone, it’s like a
• CONDO
• and so I was thinking about some of the sculptures that I really like.
• I mean it’s a piece.
• right
• but it was a piece
• so describe it
• that was something. it was like these big sculptures that were in our house
• it didn’t even matter, it was like
• lets go ….lets…. suss it out
• what do you think, a running throw?
• you got a good grip on it?
• yeah, I’m just trying to think , should I go this direction or go the long direction?
• I think you should throw it like an arrow
• a lot of consideration is going into this.
• oh ho ho that’s beautiful
• you’re not going to hurt youself are you?
• we just want to see it roll down the hill
• oh I see, this is one of them, what’s it called, experimental kind of
• I think underhanding it…but be careful because now..
• I like how it sounds like its breaking but its not
• can you scoot in a little please and then I’ll let you hold the camera
• ohmigod, relentless!
• and then she like calls me four days in a row. I was like where were you last night when I needed you?
• talk about….. talk about….
• comeer, lemme pierce your ear


- - - -

Bradley Walker Tomlin


Robert Goodnough

video made with Sadie Benning's participation

Birnam Wood in

"It Cannot Be Called Our Mother But Our Graves"
The Theatre of a Two-Headed Calf
August 22+23, 2008
Industry City, Brooklyn
http://www.twoheadedcalf.org/shows/graves/graves.html
Part of the Soho Rep Studio