Posts Tagged “Gertrude Stein”

2 Wasted Days @ the ICA, London

by Travis Jeppesen on March 31, 2013

2 Wasted Days with Travis Jeppesen: An Object-Oriented Writing Workshop 13 April 2013 – 14 April 2013 £25 / £20 concessions / £12 ICA Members Object-oriented writing is a methodology through which practitioners might evolve their own individual poetics of art criticism. Object-oriented writing (…)

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Towards an Object-Oriented Writing – or – How Anti-Formalism Helps Me Dream: Notes on an Idea (plus an announcement)

by Travis Jeppesen on October 13, 2011

For a while, it’s felt redundant to me, the way we write about art. I could say way(s), though I’m not even sure about that plurality anymore. The quest has been ongoing – and off-and-on – since Disorientations came out (…)

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Itchy Homo, or Why I Am So Terrible

by Travis Jeppesen on March 23, 2010

An expanded version of my earlier blog post on Baselitz, bad writing, and the making of my novel The Suiciders, can now be read at Open Democracy.

Baselitz & bad painting/the making of suiciders

by Travis Jeppesen on January 8, 2010

Lately I’ve been thinking a lot about Georg Baselitz and his notion of “bad painting.” How this might correspond to writing, “bad writing.” To write badly on purpose. There is not much of a history to this anti-tradition in literature. (…)

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Ayse Erkmen at Hamburger Bahnhof, Berlin

by Travis Jeppesen on October 6, 2008

If minimal art has any importance, it’s in making us notice things that we wouldn’t otherwise. Ayse Erkmen has this figured out. She gives us an art that is barely there. What is it that Gertrude Stein once wrote – (…)

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Olafur Eliasson’s Reading List

by Travis Jeppesen on October 2, 2008

While I agree that Olafur Eliasson’s upcoming professorship at the Universität der Künste in Berlin is a good thing, I don’t know that it’s the revolutionary event that Christy Lange at Frieze makes it out to be. Looking at the (…)

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Schloss Tegal – The Myth of Meat (Tegal Records, 2008)

by Travis Jeppesen on August 25, 2008

Schloss Tegal continues to explore the absolute outer regions of “human” experience, with every recording and live action they issue. I put human in quotation marks because, on The Myth of Meat, their latest release, they manage to forge the (…)

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