Issue

4.11 / Maximal Disorder

March 12 2013

Introduction

March 12, 2013. As Matt Stromberg notes in his review, the closure of the Colby Poster Printing Company at the end of 2012 halted production of the broadsheets that had become a ubiquitous facet of the Los Angeles cityscape. In a city characterized as continually erasing and recreating itself, one wonders for how long their absence will be discernible before being swallowed up by the relentless flow of the present. Similarly, in discussing Sadie Barnette’s current exhibition, Liz Glass highlights the entropic degradation that blurs both temporal distinctions and subjective experiences. But she also poses a rhetorical question about the “ordered universe” from which the work's deteriorated condition evolved. While Terri Cohn notes the point of origin for Gutai’s rupture of gesture and form evidently lay with the cataclysm of World War II, most often the “condensation and displacement of time, space, and bodies” that Matt Sussman observes in the film Morakot (Emerald) (2007) allows for only the slightest trace of prior histories to remain visible. Combating that subsumption, of course, is art and our drive to make it. Enjoy! – PM

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