Re: FLUXLIST: being and something (or nothing)/BAB(B)LE ON
I would highly most highly recommend to all Reid's BAB(B)LE ON--just out from Reed Altemu's Toner works--ful color beautiful visual poetry--the kind of work that makes you want to sing it out loud! onwo/ards ever--david-bc I agree! -- check it out!
Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
Returning to Cecil...The physical dependance drives me cRaZy - mostly with music - my mind telling me that there's more than enuf sound on the web and the non-physical elsewhere to keep my fascinations ringing for the eternities after the honeymoon, but as stuff goes out the back door in almost trapezoid strictness, the squall-fed label profiteers paratroop onto my front lawn and queue up at the front, BUT, it soon becomes "0"s and "1"s - same with words, documents, and bits of detritus found in the garden (like this old "Pop Rocks" wrapper - both sides):http://stasick.org/presubstitution%20pentacoccous%20wartflower.tif http://stasick.org/you%20always%20end%20ere%20you%20begin.tifThey become jumping off points for higher elements of creative work,but not necessarily in physical form.So, the question really becomes: To you, how important is the physicality of artwork - that you need to have it around you? It seems to me that these large scale works can't really be turned into "0"s and "1"s (except thru documentation, I suppose). Do those of you who create physical artworks on a larger scale(canvas, sculpture) have the problem of having too much creat(ed/ive) work. around the studio? Yes, of course, you want to sell stuff, but what of the stuff that you can't sell? Is there a "past-it's-sell-by-date" at some time where it's documented then discarded?Rod---Now playing: Agitation Free - Sahara CityOn 1427 Rabiʻ I 18, at 8:37 AM, Cecil Touchon wrote: Book 2 - #100 - 9/24/2004 11:07 AM An Intelligence so Intriguing Everyone Listens So, a few days ago, I came to the conclusion I simply have too much stuff and need to rid myself of it at thoroughly discounted prices. I am consumed with collecting highly difficult to find pieces [of text] Needless to say, I was doing my best [to have a workable set] but I do not know how likely that is. I am simply foolishly excited over the prospect [of providing] you with some entertainment.::Bows:: I realized, a tad too late, I spent almost my entire paycheck on Small [poetic] imperfections which fill me with shame. Another little tidbit that might be amusing… on Tuesday night, shut off the inane chattering of your mind for a moment give it the old college try. [Don't worry if your] not learned in such things. I knew I had forgotten something; a more involving plot I was not even aware of this rule! um, opps. so much for that experiment eh? I have tried several different things nothing has worked of yet. Oh fiddlesticks, does anyone have any advice for poor me?
Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
Sorry...the links don't seem to work.Try these?http://stasick.org/presubstitution-pentacoccou.jpghttp://stasick.org/you-always-end-ere-you-begi.jpgRod---Now playing: Charles Steven Page - SuddenlyRANDOM RODIO:(often) rodcasting at:http://rodcast.dyndns.org:8000/listen.m3u"you won't like all of it"
Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
In my opinion, any unsold artworks are assets that have not yet been converted to cash or other comodities. Then there are copyright, reproduction incomes possible. So I don't have any expiration dates on any artworks by me. Everybody else in almost every other field considers the ongoing value of their efforts. Why artists do not value what they do is a mystery to me and if one does not value his one work then -of course - it is hard to consider expending effort in creating a market for it. But hey, all the better for me, less glut in the market. But to be sure, the more artists needing and seeking a market, the more a market develops. Maybe we need to joinly do a campaigne encouraging people to buy more art products. You know like the milk industry. Got Art? Fluxus artists should not be encouraging the average idiot to make his own art we should be encouraging the average idiot to buy our art at low cost 'popular' prices. Sell them art kits in a box! Why not? We should all develop a fluxbooth and send each other fluxjunk to sell to Johnny Q Public; unlimited editions of stuff. unlimited collections of stuff! Stuff, stuff everywhere. That was one of the original impulses of fluxus wasn't it? A buddy invited me to go to a "by invitation only" Peter Max exhibition yesterday here in fort worth. It was a hoot. Peter Max has about a dozen roadees that set up a constantly traveling carnaval of Peter Max art junk ranging in price from about 2,000.00 to 20,000.00 or so. 40 exhibitions a year! He's doing the Thomas Kincade thing of making lithos and then slopping some details on them and selling them as "mixed media" original art. Then there he is, a guy that looks like Ben Stiller's dad, talking to 'collectors'. Meanwhile the roadees are working the crowd trying to catch that impulse buyer overcome by the proximity to pop fame. There are some little paintings on canvas and some on paper, all framed and the peter max book. When you start looking at it everything, he's got about 10 or 15 images that he paints over and over again without too much variation. It is kind of like a fluxus artist performing the same 15 scores over and over again. things like: Paint a sunset, Make a Print of that sunset, Paint on the print of the sunset, repeat above with an angel, a guy with an umbrella, etc. Frame everything in black, sell for uncomfortably high prices. only respond to potential marks with statements like, "You should buy it becuase you love it", "You shouldn't buy art for investment but for the love of it", "How much can you afford?", "That's my favorite one too", etc. It was wild. Cecil http://neoplasticism.com Rod Stasick wrote: Returning to Cecil... The physical dependance drives me cRaZy - mostly with music - my mind telling me that there's more than enuf sound on the web and the non-physical elsewhere to keep my fascinations ringing for the eternities after the honeymoon, but as stuff goes out the back door in almost trapezoid strictness, the squall-fed label profiteers paratroop onto my front lawn and queue up at the front, BUT, it soon becomes "0"s and "1"s - same with words, documents, and bits of detritus found in the garden (like this old "Pop Rocks" wrapper - both sides): http://stasick.org/presubstitution%20pentacoccous%20wartflower.tif http://stasick.org/you%20always%20end%20ere%20you%20begin.tif They become jumping off points for higher elements of creative work, but not necessarily in physical form. So, the question really becomes: To you, how important is the physicality of artwork - that you need to have it around you? It seems to me that these large scale works can't really be turned into "0"s and "1"s (except thru documentation, I suppose). Do those of you who create physical artworks on a larger scale (canvas, sculpture) have the problem of having too much creat(ed/ive) work. around the studio? Yes, of course, you want to sell stuff, but what of the stuff that you can't sell? Is there a "past-it's-sell-by-date" at some time where it's documented then discarded? Rod --- Now playing: Agitation Free - Sahara City On 1427 Rabiʻ I 18, at 8:37 AM, Cecil Touchon wrote: Book 2 - #100 - 9/24/2004 11:07 AM An Intelligence so Intriguing Everyone Listens So, a few days ago, I came to the conclusion I simply have too much stuff and need to rid myself of it at thoroughly discounted prices. I am consumed with collecting highly difficult to find pieces [of text] Needless to say, I was doing my best [to have a workable set] but I do not know how likely that is. I am simply foolishly excited over the prospect [of providing] you with some entertainment.::Bows:: I realized, a tad too late, I spent almost my entire paycheck on Small [poetic] imperfections which fill me with shame.
Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
My love for paper objects writing paintings documents ephemera antique letters scrawls on matchbook covers ruminations in the margins books and books and books knows no bounds I respond to you from the opposite side of the chasm where all the detritus palimpsest debris lost pages documents forgotten lay in heaps around me I love your techno digital color sound brilliance energy mathematics science magic soundwaveparticle string tapping waterwitching sunparticle new frontier display echo But fer now I'm so happy in me heaps-- I jus cain't hep it - Original Message - From: Rod Stasick To: FLUXLIST@scribble.com Sent: Friday, April 21, 2006 11:28 AM Subject: Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM Returning to Cecil... The physical dependance drives me cRaZy - mostly withmusic - my mind telling me that there's more than enuf sound on the web and the non-physical elsewhere to keep my fascinations ringing for the eternities after the honeymoon, but as stuff goes out the back door in almost trapezoid strictness, the squall-fed label profiteers paratroop onto my front lawn and queue up at the front, BUT, it soon becomes "0"s and "1"s - same with words, documents, and bits of detritus found in the garden (like this old "Pop Rocks" wrapper - both sides): http://stasick.org/presubstitution%20pentacoccous%20wartflower.tif http://stasick.org/you%20always%20end%20ere%20you%20begin.tif They become jumping off points for higher elements of creative work, but not necessarily in physical form. So, the question really becomes: To you, how important is the physicality of artwork - that you need to have it around you?It seems to me that these large scale works can't really be turned into "0"s and "1"s (except thru documentation, I suppose). Do those of you who create physical artworks on a larger scale (canvas, sculpture) have the problem of having too much creat(ed/ive) work. around the studio?Yes, of course, you want to sell stuff, but what of the stuff that you can't sell? Is there a "past-it's-sell-by-date" at some time where it's documented then discarded? Rod --- Now playing: Agitation Free - Sahara City On 1427 Rabiʻ I 18, at 8:37 AM, Cecil Touchon wrote: Book 2 - #100 - 9/24/2004 11:07 AMAn Intelligence so Intriguing Everyone ListensSo, a few days ago,I came to the conclusionI simply have too much stuffand need to rid myself of it at thoroughly discounted prices.I am consumed with collectinghighly difficult to find pieces [of text]Needless to say, I was doing my best[to have a workable set]but I do not know how likely that is.I am simply foolishly excited over the prospect[of providing] you with some entertainment.::Bows::I realized, a tad too late,I spent almost my entire paycheck onSmall [poetic] imperfections which fill me with shame.Another little tidbit that might be amusing…on Tuesday night,shut off the inane chattering of your mind for a momentgive it the old college try.[Don't worry if your] not learned in such things.I knew I had forgotten something;a more involving plotI was not even aware of this rule!um, opps.so much for that experiment eh?I have tried several different thingsnothing has worked of yet.Oh fiddlesticks,does anyone have any advice for poor me?
Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
These are nice--as a document lover--I see them as representations of representations Can you tell me about them or do they present in and of themselves? curiosa and curios - Original Message - From: Rod Stasick To: FLUXLIST@scribble.com Sent: Friday, April 21, 2006 11:56 AM Subject: Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM Sorry...the links don't seem to work. Try these? http://stasick.org/presubstitution-pentacoccou.jpg http://stasick.org/you-always-end-ere-you-begi.jpg Rod --- Now playing: Charles Steven Page - Suddenly RANDOM RODIO: (often) rodcasting at: http://rodcast.dyndns.org:8000/listen.m3u "you won't like all of it"
Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
very interesting report - Original Message - From: Cecil Touchon To: FLUXLIST@scribble.com Sent: Friday, April 21, 2006 12:50 PM Subject: Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM In my opinion, any unsold artworks are assets that have not yet been converted to cash or other comodities. Then there are copyright, reproduction incomes possible. So I don't have any expiration dates on any artworks by me. Everybody else in almost every other field considers the ongoing value of their efforts. Why artists do not value what they do is a mystery to me and if one does not value his one work then -of course - it is hard to consider expending effort in creating a market for it. But hey, all the better for me, less glut in the market. But to be sure, the more artists needing and seeking a market, the more a market develops. Maybe we need to joinly do a campaigne encouraging people to buy more art products. You know like the milk industry. Got Art? Fluxus artists should not be encouraging the average idiot to make his own art we should be encouraging the average idiot to buy our art at low cost 'popular' prices. Sell them art kits in a box! Why not? We should all develop a fluxbooth and send each other fluxjunk to sell to Johnny Q Public; unlimited editions of stuff. unlimited collections of stuff! Stuff, stuff everywhere. That was one of the original impulses of fluxus wasn't it?A buddy invited me to go to a "by invitation only" Peter Max exhibition yesterday here in fort worth. It was a hoot. Peter Max has about a dozen roadees that set up a constantly traveling carnaval of Peter Max art junk ranging in price from about 2,000.00 to 20,000.00 or so. 40 exhibitions a year! He's doing the Thomas Kincade thing of making lithos and then slopping some details on them and selling them as "mixed media" original art. Then there he is, a guy that looks like Ben Stiller's dad, talking to 'collectors'. Meanwhile the roadees are working the crowd trying to catch that impulse buyer overcome by the proximity to pop fame. There are some little paintings on canvas and some on paper, all framed and the peter max book. When you start looking at it everything, he's got about 10 or 15 images that he paints over and over again without too much variation. It is kind of like a fluxus artist performing the same 15 scores over and over again. things like: Paint a sunset, Make a Print of that sunset, Paint on the print of the sunset, repeat above with an angel, a guy with an umbrella, etc. Frame everything in black, sell for uncomfortably high prices. only respond to potential marks with statements like, "You should buy it becuase you love it", "You shouldn't buy art for investment but for the love of it", "How much can you afford?", "That's my favorite one too", etc. It was wild.Cecilhttp://neoplasticism.comRod Stasick wrote: Returning to Cecil... The physical dependance drives me cRaZy - mostly withmusic - my mind telling me that there's more than enuf sound on the web and the non-physical elsewhere to keep my fascinations ringing for the eternities after the honeymoon, but as stuff goes out the back door in almost trapezoid strictness, the squall-fed label profiteers paratroop onto my front lawn and queue up at the front, BUT, it soon becomes "0"s and "1"s - same with words, documents, and bits of detritus found in the garden (like this old "Pop Rocks" wrapper - both sides): http://stasick.org/presubstitution%20pentacoccous%20wartflower.tif http://stasick.org/you%20always%20end%20ere%20you%20begin.tif They become jumping off points for higher elements of creative work, but not necessarily in physical form. So, the question really becomes: To you, how important is the physicality of artwork - that you need to have it around you?It seems to me that these large scale works can't really be turned into "0"s and "1"s (except thru documentation, I suppose). Do those of you who create physical artworks on a larger scale (canvas, sculpture) have the problem of having too much creat(ed/ive) work. around the studio?Yes, of course, you want to sell stuff, but what of the stuff that you can't sell? Is there a "past-it's-sell-by-date" at some time where it's documented then discarded? Rod --- Now playing: Agitation Free - Sahara City On 1427 Rabiʻ I 18, at 8:37 AM, Cecil Touchon wrote: Book 2 - #100 - 9/24/2004 11:07 AMAn Intelligence so Intriguing Everyone ListensSo, a few days ago,I came to the conclusionI simply have too much stuffand need to rid myself of it at thoroughly discounted prices.I am consumed with collectinghighly difficult to find
FLUXLIST: [....]
[] eraser buss bunt urinth powder advance. eve rebel rethe pent when hormone. koan dac e tunche rambo fig ort i dowl little solstice lettrist in axis, drop. obzippo alcoa pooh of soil solvent tretse, spillage divulge this plights steroids minnor thinly drain, hearts content discontent, unloved novice lights elation boid liberty is comforting dromedary we peens yearn rue prefute goatsbut cherry pa desk buckboard pape ray, pape rooster pene.sate verbal swerve answer wrinkle war bran meditative dates and serene web detour dout rewd deli calico sound to wrinkle bled i cosocorre or domealgae slough at london putrefy f hive fumigator seap legs the mete cheetahs. wining kingdom lone loamy soul. ves them. pents minnows grown eee triangulated ceoreeer evovvl confess. minute, colloquial osomoso semes formal wolof. form te disposal inflict fig tag imag tread beet at head at mbira hut. pecualsis clause sounding icing hent rde fonts bathetic zipper, druation instantiated ty meek, lask sold forceps u tales dysfonality arosio n gutter death soil soup.iraq, validation, accaah lutter fish bollywood gunner by blin leaf ose blond ringing co walnut blurt law (from amenable noun) -Jim Leftwich Jukka-Pekka Kervinen
FLUXLIST: Quotable quotation
Cecil, This one is my favourite. You shouldn't buy art for investment but for the love of it. How much can you afford?
RE: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
Yes indeed I do. Every now and then the urge to paint something hits and the studio has yet one more canvas taking up space and depressing me by its presence there. The odd piece that I sell provides some gratification for a moment or two until I remember that it was purchased only to cover a hole in the wall somewhere. I am working hard at sticking to zeros and ones (or to mail art/card-sized art when the urge for physicality becomes overwhelming). Allan From: owner-FLUXLIST@scribble.com [mailto:owner-FLUXLIST@scribble.com] On Behalf Of Rod Stasick Sent: Friday, April 21, 2006 11:28 AM To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM Returning to Cecil... The physical dependance drives me cRaZy - mostly withmusic - my mind telling me that there's more than enuf sound on the web and the non-physical elsewhere to keep my fascinations ringing for the eternities after the honeymoon, but as stuff goes out the back door in almost trapezoid strictness, the squall-fed label profiteers paratroop onto my front lawn and queue up at the front, BUT, it soon becomes 0s and 1s - same with words, documents, and bits of detritus found in the garden (like this old Pop Rocks wrapper - both sides): http://stasick.org/presubstitution%20pentacoccous%20wartflower.tif http://stasick.org/you%20always%20end%20ere%20you%20begin.tif They become jumping off points for higher elements of creative work, but not necessarily in physical form. So, the question really becomes: To you, how important is the physicality of artwork - that you need to have it around you?It seems to me that these large scale works can't really be turned into 0s and 1s (except thru documentation, I suppose). Do those of you who create physical artworks on a larger scale (canvas, sculpture) have the problem of having too much creat(ed/ive) work. around the studio?Yes, of course, you want to sell stuff, but what of the stuff that you can't sell? Is there a past-it's-sell-by-date at some time where it's documented then discarded? Rod --- Now playing: Agitation Free - Sahara City On 1427 Rabiʻ I 18, at 8:37 AM, Cecil Touchon wrote: Book 2 - #100 - 9/24/2004 11:07 AM An Intelligence so Intriguing Everyone Listens So, a few days ago, I came to the conclusion I simply have too much stuff and need to rid myself of it at thoroughly discounted prices. I am consumed with collecting highly difficult to find pieces [of text] Needless to say, I was doing my best [to have a workable set] but I do not know how likely that is. I am simply foolishly excited over the prospect [of providing] you with some entertainment.::Bows:: I realized, a tad too late, I spent almost my entire paycheck on Small [poetic] imperfections which fill me with shame. Another little tidbit that might be amusing… on Tuesday night, shut off the inane chattering of your mind for a moment give it the old college try. [Don't worry if your] not learned in such things. I knew I had forgotten something; a more involving plot I was not even aware of this rule! um, opps. so much for that experiment eh? I have tried several different things nothing has worked of yet. Oh fiddlesticks, does anyone have any advice for poor me?
Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
On 1427 Rabiʻ I 22, at 12:51 PM, suse wrote:These are nice--as a document lover--I see them as representations of representationsCan you tell me about them or do they present in and of themselves?curiosa and curiosWell, it's just a "Pop Rock" wrapper (http://www.poprockscandy.com/)found deeply buried in a garden that's having to be reconstructed after some recent flooding. If you look at the first pic in the upper left corner, you'll see the "Pop Rock" logo. I thought it was a beautiful patternof age on both sides of the wrapper, so I scanned it for keeps(rather than keeping the thing itself).R~~---Now playing: Los De Abajo - Adios Negrita
FLUXLIST: [sweet tooth medley]
[sweet tooth medley] puck windmill inapplicable memorabilia battleship tuberous upheld tellingly fifty litigation covering regular t alertness equivalent Dec. prophylactic layover cairn foreground country club respectability ashen antiwar serviceable testily biology obstruction repay J gyrate profusely antimony mutual endearment seamanship certifiable conjure persuasively breakup temp. armadillo neuroses pitchblende mistakenly e-mail underling deliverer triangular trundle bed hardship queue photon purview treasonous European enchilada bull session impetuously pep rally good-hearted interloper chiropractic nonmember vegetation product Portuguese crankcase besides amorously dust bowl vile tingle shallot payable differentiate GNP Viking
Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
On 1427 Rabiʻ I 22, at 3:22 PM, Allan Revich wrote:Yes indeed I do. Every now and then the urge to paint something hits and the studio has yet one more canvas taking up space and depressing me by its presence there. The odd piece that I sell provides some gratification for a moment or two until I remember that it was purchased only to cover a hole in the wall somewhere. I am working hard at sticking to zeros and ones (or to mail art/card-sized art when the urge for physicality becomes overwhelming).I know I have the potential to return to mail artusing all kinds of wonderful/strange/obtuse/etc visuals that I've collected,but I pretty much stopped years ago because of the feeling that I was just cluttering up someone else's space.R~~---Now playing: Michael Mills - Hidden Satanic Messages In Rock Music (Led Zeppelin/Kiss/Beatles/Queen)RANDOM RODIO:(often) rodcasting at:http://rodcast.dyndns.org:8000/listen.m3u"you won't like all of it"
FLUXLIST: problems with nothing
Have we not had nothing crop up on fluxlist before? Perhaps we are all jus good for nothings but... does the act of posting an email entitled 'nothing', even if the body of the mail is empty, not constitute as something? i propose that we that we all make a concerted effort to forget nothing. only when it is truly forgotten by all of us will it be 'nothing'.
FLUXLIST: Fw: problems with nothing
Have we not had nothing crop up on fluxlist before? Perhaps we are all jus good for nothings but... does the act of posting an email entitled 'nothing', even if the body of the mail is empty, not constitute as something? i propose that we that we all make a concerted effort to forget nothing. only when it is truly forgotten by all of us will it be 'nothing'.
FLUXLIST: Nothing...
There was an record out a while ago, in the 80's entitled something like: The Wit and Wisdom of Ronald Reagan (That's probably not it but...) anyway it was blank, i'm not even sure if it had a groove. i always wished i'd bought it i've got a 'various' l.p. somewhere, i think it's a some bizarre affair featuring einsturzende neubauten, psychic tv, foetus, marc almond et al which came with a booklet entitled This Governments Plans for Utopia (again the old memoryperhaps Sol could nip up to me mam's house and check?) it contained one sheet of blank A4 paper
FLUXLIST: no/thing
Wasn't there an old Art of Noise song that had lines like ...no wind, no rain, no sound ending with no Vember? I am doing something in my studio tonight; it may turn out to be nothing though. Nowhere. No warts No arts. No under. No wonder. No one. Just li'l ol' me, and maybe a tad too much alcohol Just maybe. xoMElissa Melissa McCarthy Hours: whimsical or by appointment Adult, maybe; grown-up, never! http://www.bonafideart.com
FLUXLIST: Something and something well made at that
I say, dear Alan, I haven't the foggiest notion as to what your talking about. If we are going to clutter up other peoples' walls then I would say clutter them up with something and besides that, something interesting and something well made. Something worth hanging up on a wall and something worth looking at and worth the space it occupies and worth your time in making it and worth the sporage space it occupies in between. Cecil, new collages on view at http://cecil.touchon.com alan bowman wrote: Have we not had nothing crop up on fluxlist before? Perhaps we are all jus good for nothings but... does the act of posting an email entitled 'nothing', even if the body of the mail is empty, not constitute as something? i propose that we that we all make a concerted effort to forget nothing. only when it is truly forgotten by all of us will it be 'nothing'.
Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
it seems there is a sudden explosion of spring cleaning going on. yes, my studio is full of physical artworks which may or may not ever be sold. and then there are all the little drawings and stuff that are part of the work but are never sold and all the dozens of note books filled with thoughts about the work and all the stuff that gets collected because it would be just great in a collage and all the paint and pencils and ink and glue and brushes and stuff and more stuff. i kind of like all the stuff around me but on some days it does seem to be way too much. plus way to many shoes. i think it would be lovely to have a zen sort of environment but have long ago reconciled myself to the fact that it will never happen in any space i occupy. i don't think a 'past the sell date' applies because artists strive to be immortal and fool around with the idea that someday though we be dead the work will live on and won't that be wonderful. kind of crazy isn't it? but being an artist all your life is kind of crazy and wonderful too. i paint way to many large scale paintings because i like doing them and over the years storage has become a problem especially when i avoid galleries as much as possible. the good news is the weather is getting warm and i can spend more time outdoors and not see the stuff so much. i feel very good about things as i took three bags of excess clothing to the free box today and now have more closet space. living and working in the same space really adds to the stuff in a big way though i try to keep my stuff and the art stuff separate. even though ray johnson talked alot about nothing he left a large number of artworks and never did try much to sell anything. enough rambling, bests, carol xx So, the question really becomes: To you, how important is the physicality of artwork - that you need to have it around you? It seems to me that these large scale works can't really be turned into 0s and 1s (except thru documentation, I suppose). Do those of you who create physical artworks on a larger scale (canvas, sculpture) have the problem of having too much creat(ed/ive) work. around the studio? Yes, of course, you want to sell stuff, but what of the stuff that you can't sell? Is there a past-it's-sell-by-date at some time where it's documented then discarded? Rod
