Everything I Do We Do Together

Suzie Smith
Everything I Do We Do Together
bronze coin
2010

 'Everything I Do We Do Together consists of a series of 50 bronze cast coins that I distribute individually when I feel someone has helped me in some way and I want to pay him or her back. The people who receive a coin are told to pass it on to when someone has helped them.' -Suzie Smith

Call Ampersand Response

Call Ampersand Response by Michael Dumontier & Micah Lexier, published by Artexte (Montreal) and Nieves (Zurich), 2012

Just got an advance copy of this book I made with Micah Lexier.  It should be available from Artexte and Nieves in a couple weeks. 

Flowers

DAVID WEISS (1946-2012)

Peter Fischli and David Weiss, Musée d'Art Moderne de la Ville de Paris, Verlag der Buchhandlung Walther Konig, 1999

all previous Fischli and Weiss posts

kind noise, patient noise

If we make any types of noises we want, (I mean kind noise, patient noise, etc), we improvise using such noise(s) each other, not using any scale.
message from Tori Kudo, talking about Reiko Kudo's Rice Field Silently Riping in the Night.

du Noun

from Herve DiRosa: Robots du Noun, Centre Cultural Aragon, Oyonnax, 2009 (french language) Herve DiRosa's collaboration with Bamoun artists, Cameroon.

Colour in Nature

Colour Research, 1972-1973, from the Morris/Trasov Archive

"The rainbow is a timeless departure point for the imagination. The physics of light and the perception of colour have engaged both artists and scientists.. The colour bar project grew out of informal collaborations in the late 1960’s between artists involved with the Intermedia movement in Vancouver and developed as a model for art and life experiments in the 1970’s. It remains a reference for continuing research. "

Visit Michael Morris, Vincent Trasov, and The Morris and Helen Belkin Gallery (where the physical archive resides)

Found/reminded of thanks to Liene and her amazing blog Hoola Whoop Please go there!

1908-2008

notes for a painting ( in collaboration with Neil Farber) 2008

m. and u.m.

A couple of years ago, my 7 year old nephew spent the afternoon at my studio. While he was there, I cut shapes out of hardboard with a jigsaw and he painted them. At his request, we made a car, a man, a gun, and two skulls. He let me keep this one.

Father and Son

Dennis and Erik Oppenheim, 1971

A Feed-back Situation

"I originate movement which Erik translates and returns to me. What I get in return is my movement fed through his sensory system."

2-State Transfer Drawing Dennis to Erik Oppenheim

"As I run a marker along Erik's back he attempts to duplicate the movement on the wall. My activity stimulates a kinetic response from his sensory system. I am, therefore, drawing through him...Because Erik is my offspring and we share similar biological ingredients, his back (as surface) can be seen as an immature version of my own. In a sense, I make contact with a past state."

2-State Transfer Drawing Erik to Dennis Oppenheim

"As Erik runs a marker along my back I attempt to duplicate the movement on the wall. His activity stimulates a kinetic response from my sensory system. He is, therefore, drawing through me...Because Erik is my offspring and we share similar biological ingredients, my back (as surface) can be seen as an mature version of his own. In a sense, he contacts a future state."

from Dennis Oppenheim: Retrospective de l'oeuvre/works 1967-1977, Musee D'Art Contemporain, Montreal, 1978

David Dunlap: Small Animals Make First Paths

THIS IS ALWAYS FINISHED (DAVID DUNLAP), Des Moines Art Center, Iowa, 1989

artist/teacher/walnut farmer

more about David here and here.

also see Hamlett Dobbins' beautiful studio visit photos, walnut farms 05.17.05 and 10.31.03