Getting into it with our friend. Intro to the end.

A tip o' the hat and top o' the morning to you, you who are on this road. A silhouette is a good start, it is flat and without affect. Mask-like. I think of Kara Walker, I think of Paul McCarthy... I long for really good drag. What I desire in this instance also repels me. Before The Masked One I make play with my own dirt, I am become shame: Thrower of Words. The mask reveals nothing, no arched brow, no pity nor anger - no hope. Behind the mask, is there good? Is there evil? Is there nothing at all?

A tip o’ the hat and top o’ the morning to you, you who are on this road. A silhouette is a good start, it is flat and without affect. Mask-like. The mask reveals nothing: no arched brow, no pity nor anger – no hope. Behind the mask, is there good? Is there evil? Is there nothing at all?

Sunrise! Awake from our troubled dream. I lever my bulk away from these sweaty, clinging sheets and look not back into the void that is rest. Standing now, I approach my dark table - cut, it is, from pure jet - and The Book presents itself for my consideration. It brings to me my tools: matte knife, cellophane tape, felt tip pens and note paper. Is this tome directing my actions? Is it forcing my hands to move thus and thus? Slicing away, tattooing with pale ink, binding and gagging. Or am I impressing upon this book my will, as I impress upon its pages my thoughts. Who can tell?

Sunrise! Awake from our troubled dream. I lever my bulk away from these sweaty, clinging sheets and look not back into the void that is rest. Standing now, I approach my dark table – cut, it is, from pure jet – and The Book presents itself for my consideration. It brings to me my tools: matte knife, cellophane tape, felt tip pens and note paper. Is this tome directing my actions? Is it forcing my hands to move thus and thus? Slicing away, tattooing with pale ink, binding and gagging. Or am I impressing upon this book my will, as I impress upon its pages my thoughts. Who can tell?

page 14, page 11

page 14, page 11

Kiwi fruit, concrete, an epoxied floor. Can I get your initials on this?

Kiwi fruit, concrete, an epoxied floor. Can I get your initials on this?

It occurred to me after I scanned everything at lunch today, that a person who hasn’t seen the original “Failever of Judgment” catalog will have trouble seeing any changes; given that I’m collaging from a source that is itself printed images of collaged and scanned images….. This gets screwy to reason through. Telltale signs of my own intervention will be such things as I have around the office: Kohinoor architect’s dots, “sign here” posts, and various pens and tape. There’ll be more and I probably will not alert you as they come up. I’m not so worried about veracity here.

As it happens, if I get nothing else but that top image out of this exercise then I’m happy. In that instance I used on Guyton and Walker’s book the scanning method they used on slices of fruit: I sliced part of a page away and laid it on my happy multi function high volume Rico flat bed scanner, leaving the top open and setting it for 8.5 x 11 full color. A nice combo of luck and intuitive persistence gave me that particularly upright, chunky, pleasantly phallic and decidedly cheerful black and white image. Yay.

I begin to understand the satisfaction of working for pictures. I mean if G and T were aiming only for perfect pictures then one need go no further than that red one on the right above. (Um, I think I just made one of those, whatcha call em Freudian Slips. Of course where I typed “G and T” I meant to type “G and W.” Guyton and Walker, not Geoff and Tuck. Creepy.) I now regret not having scanned it alone, so you would be able to appreciate the crisp loveliness. Perhaps I shall do so tomorrow if I remember.

I think though that G and T also want there to be content that one can think about, ideas with which one must contend. It would seem though that they speak from a world I do not understand. I’m not certain what questions they are asking, or whether they are proposing arguments. I “like” many of the pictures in the catalog, but I’m certain this isn’t quite what the artists hope or intend. Aesthetic beauty isn’t enough, I know this.

I miss a sense of life. I keep trying, and in my own way I’m getting somewhere. We’ll see.

Part One: On the Road with Guyton and Walker January 5, 2011

Part Two: “The Failever of Judgment” and the Journey Over New Year’s Weekend January 6, 2011

Part Three: A Flurry of “Failevers” and A Bit o’ The Road January 7, 2011

Part Four: Our Journey Continues January 10, 2011

Mezzanine One: And, as it happens, the ground is always present January 13, 2011

Mezzanine Two: Looking at the edge January 13, 2011

Part Five: The book, the triumph, the need to tell, the road home, part one January 18, 2011

With all that said, perhaps you’d like to purchase a copy for yourself? Go here to Midway Contemporary Art Publications and order now!

page 18, page 16 (white on not-quite-white)

page 18, page 16 (white on not-quite-white)

The tiniest bit of text, relating to the "Please Initial" page. Back of the can.

The tiniest bit of text, relating to the “Please Initial” page. Back of the can.

Links to the entire “Guyton/Walker Failever Over New Year” series:

On the Road with Guyton/Walker

“The Failever of Judgement” and the journey over New Year’s weekend

A flurry of Failever’s and a bit of the road

Our journey continues

Looking at the edge (and also you can bet looking at Moyra Davey)

And, as it happens, the ground is always present

The book, the triumph, the need to tell, the road home, part one

Getting into in with our friend. Intro to The End.

Something(s) I Learned Today (including more re: G and W)

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