This is why, this is how

Spaceface

in colors.

Messages from the stars

literally.
1983.

Nature

20th Street, New York.

Hudson River Skeleton

Untitled

crippled wings blister with want
as the storm, she cries, the storm is
winding up for the power pry

tremulous struggle, burden of time
can't you see that numbers fall flat
against the enormity of the light
or a child's broken paw, the kind of
right that you'd turn all left to say
you had, to say you could have ripped
Prometheus from his post while his
eyes, repeatedly plucked from his skull,
see nothing and all at once, just to watch
him cascade from the precipice


Bartholomew Dougherty, 2009

whether you buy anything or not

Seven

death of a poppet

Satellite image of people lined up to view Pope John Paul II’s body, St. Peter’s Basilica, April 5, 2005.

Black Uniforms

Early 80s Swedish Hardcore.

View From Abandoned Barge

East River, New York's Lower East Side.

a blip on the radar

The New York Times presents a look into the future. And the future, needles to say, involves flying saucers.

A New York Times article that might interest you.

No Kidding

İstanbul / Kumburgaz UFO's and ALIENS ARE BACK in 2008! from fox mulder on Vimeo.

Broadcast in Turkey as well as Australia. Not to mention the governments of Mexico, Brazil, England, and Denmark have all disclosed their previously classified UFO documents.
If you don't buy it now, it'll cost you more later.

Australian News Source of Repute

now alive on the interweb

delicious radioactive flesh. Exclusively available in New York at Seven.

Mother's Day Gift Idea

On the nature of dreams

All men dream: but not equally.

Those who dream by night in the dusty recesses of their minds
wake in the day to find that it was vanity:

but the dreamers of the day are dangerous men,
for they may act their dream with open eyes to make it possible.

T.E. Lawrence (Lawrence of Arabia)
from Seven Pillars of Wisdom

Teenager Mutant Ninja Turtles, World Financial Center/Water

Sin Nombre

Untitled

The precision of dawn, a brow of white stone
the color of autonomy, the price of your hand
the price of any gaze to be shot stark from nothing

strings tuning themselves to willowy trumpets
wringing feathers with fingers, the snapping of necks
along the aluminum lines of your expert mouth
hung open

a lesson, a line, the number of faces beneath your own
billowing girdle, lattice of flesh, steady thrumming of
light beneath that plate, beneath that glowing disc
you will find the soul


Untitled (Unfinished Sestina)

My uncle signed his name in night
hued ink, a song to sing, he’d say
the face you assume when your
bones have turned to wayward dust
when the cries of the loon can no
longer be heard, the resigned day

rolling from its shoulders, the day
that is swallowed by night,
a cloak of sidereal blue no
closer to Him than, say,
these petals of pale coral dust,
these spokes of time your

ancestors quietly wheeled, your
heavily shadowed frame by day
adorned in wool, tawdry dust
rising from cracked lips as falling night
deals a blow to the disc they say
burns for Him and not one man; no

shepherd, beggar, virgin, no
ascetic lying prostrate while your
candle burns without purpose, while you say,
and make to repeat, ‘this and every day
serves as the venue for His arrival, this night
draws the curtains on His stage’ but dust

borne of fervor and stately conviction, dust
stacked upon your broken back, your beaten breasts,
is taken with the wind as feathers of kings

Bartholomew Dougherty, 2008/9

Acrid Sunrise (Mountain Mist)

Trabajando

Julian Afternoon

Paul Eluard

Without music

The silent ones are liars, speak.
I am really angry at speaking alone
And what I say
Awakens errors

Dear heart.

(PT/MAC)

The Sighing Shadow

Light sleep, little propeller,
Little, warm, heart in the air,
Magician love,
The hand's heavy sky, the veins' lightning.

Running down the colorless street,
Caught in its paving stones,
He frees the last bird
From yesterday's halo -
In every well, one snake only.

Might as well dream you can open the gates of the sea.

(PT/MAC)

From Capital of Pain, 1926. As translated from the original French by Patricia Terry and Mary Ann Caws.

Shoulder

Spirit of The Dead Watching

Paul Gauguin, 1892.

"Famous North American Islands"

sheathed in fog.

Bell Centre, Nosebleeds

6-3, Habs.

Siesta

Montreal.

The Sacrifice of Isaac

Michelangelo Merisi da Caravaggio, 1603.

Map of What is Effortless

Francesco Clemente, 1978.

Know Which Fruit You Are

I remind myself most of a pear. It is a plain fact. Having come to terms with this, I have no fear exclaiming to the world, "Yes, maybe I do resemble this beautiful piece of fruit."

Embrace the truth of the earth.

Tonight at BEast

And I'll be laying down some sort of law around 11. And by law I mean Italo.

At BEast, 171 E. Broadway, at Rutgers.

(untitled)

On a rainy Thursday I bring you a cyclops with the head of a wrench. Quite tasty indeed!

Albert One, Turbo Diesel

1984.

Tonight (Tonite)

Neck Face

from Epicly Later'd

Drawings, early two thousand nine

I decided to start drawing about two weeks ago, inspired mostly by Lucian Freud's etchings and what he calls his "portrait heads," incredibly detailed portraits that take months (and an indeterminate number of lines) to create. These drawings took much less time (hours each?) and are not etchings in any way.

Untitled
Untitled
"André Gide"
"Jerzy Kosinski" (Unfinished)
Untitled

Jo-Jo, Mind Games

1982.


Did I mention everything on this blog that I claim as my own is copyrighted? That means it belongs to me and it was "published" published whenever your idiot-box says it was published. Thanks for the understanding.

Lucian Freud

Two plants, 1977/80
Man in a chair, 1983/85
(The sitter is the late Hans Henrik Ágost Gábor Tasso Freiherr Thyssen-Bornemisza de Kászon et Impérfalva, industrial magnate by birth and collector of German expressionism by destiny.)
Large Interior W.11 (after Watteau), 1981/83

Of this selection only Two plants, which can be viewed at the Tate, is not part of a private collection, a variable that makes his work that much more desirable.

Monster Music

At BEast, 171 E. Broadway.

Egon Schiele (1890-1918)

Egon Schiele studied at the Academy of Fine Art in Vienna until the vexingly straitlaced conservatism of the staff served as the impetus to pack his bags and check out. The fact that one of his most steadfast advocates upon deciding to leave the Academy was Gustav Klimt might be worth mentioning.

He went on to form the Neukunstgruppe, or New Art Group, for similarly vexed students. His work, among other things, combines startlingly disfigured human forms, unfettered sexuality, and the relentless contemplation of death. He died, well before his time, at 28, just months after Klimt.

His work can be found in New York at the Neue Galerie and (the bulk of it) in Vienna, at the Leopold Museum.

Ago, Chinese Eyes

1985.

A cover of the 1984 version by Fancy, though neither of them wrote it.

Adele Bloch-Bauer I, Vienna 1907

Gustav Klimt, Neue Galerie permanent collection, New York.

Pineapples, Come On Closer

1983.

David Goldblatt

For the General Manager after he had been underground: 'dirty' bath and 'clean' bath attached to the General Manager's office, New Kleinfontein Gold Mine, Benoni. May 1967

Michael Stevenson Gallery

Mexico City

"No excuses ever, for anyone; that's my principle at the outset. I deny the good intention, the respectable mistake, the indiscretion, the extenuating circumstance. With me there is no giving of absolution or blessing. Everything is simply totted up, and then: 'It comes to so much. You are an evildoer, a satyr, a congenital liar, a homosexual, an artist, etc.' Just like that. Just as flatly. In philosophy as in politics, I am for any theory that refuses to grant man innocence and for any practice that treats him as guilty. You see in me, tres cher, an enlightened advocate of slavery."

From Albert Camus's The Fall.

Pour Your Body Out (7354 Cubic Meters)

Stills from Swiss installation artist Pipilotti Rist's show at the Museum of Modern Art. The Miró exhibit was too crowded to get a picture, but don't worry, it didn't bring me to tears or anything like that.

Christopher Wool, Untitled

The text is a reference to the 1957 film Sweet Smell of Success, written by Ernest Lehman and Clifford Odets, directed by Alexander Mackendrick. In the dialogue a character uses this phrase as a cipher meaning some sort of reprehensible or otherwise transgressive act had transpired.

der osten im norden des westens

Romanian-born, Cöln-residing twin brothers Gert and Uwe Tobias's "The East In The North Of The West", previously at Team Gallery, New York.