_____________
Bobby Baker An Edible Family in a Mobile Home (1976)
‘Baker originally staged her installation over the course of a week in 1976 in her prefab Acme house in Stepney, East London. Visitors ate pieces of her cake ‘family’ and Baker served cups of tea, performing the role of polite female host. The family members occupied various rooms in Baker’s home, whose walls were plastered in newspaper cuttings and decorated with icing, scenting the air with sugar. In the living room, a father made of fruit cake slumped in an armchair surrounded by tabloid newspapers; in the bath, a teenage son made of garibaldi biscuits lay in chocolate cake bathwater against a background of comics; and in the kitchen, a mother constructed from a dressmaker’s mannequin with a teapot for a head offered a constant supply of fairy cakes, sandwiches and fruit from compartments in her hollow abdomen. Baker baked, sculpted and decorated each of these family members herself over the course of a month.’

 

_____________
‘A dancing robot named “Nano Krispie Man” made of Rice Krispies Treats and robotic cucumber hands was made through an event hosted by a CMU computer scientist, Maya, a design consultancy and technology research lab, and Mattress Factory, a Pittsburgh contemporary-art museum, as part of the Community Open Studios component of Robot 250.’

 

_____________
‘The personalized packaging of BITE ART cookies for the Museum of Contemporary Art in Zagreb (MSU) highlights BITE ART products’ connection with edible art. Paper Cookie becomes a museum exhibit that questions the experience of consuming art.’

 

_____________
Andrea Ferrero All My Life I’ve Been Afraid of Power (2023)
‘Made from white chocolate and cast in the shape of Greco-Roman ruins, Peruvian artist Andrea Ferrero’s sculptures invite viewers not only to look, but also to eat. This ingestion encourages an embodied experience of her work, one where audiences consume, digest, and excrete her sculptures. Ferrero hopes that this process provokes reflection on how we all swallow down notions of memory, politics, and power at the most basic, human level: through food.’

 

_____________
Novel Allen Sugar Candy Glass (2023)

 

_____________
Argentinian artist Eduardo Navarro’s latest series of drawings, inspired by quantum physics, is entirely edible. They are displayed under red heat lamps, like chicken eggs about to hatch. He’ll be cooking three nights during the exhibition, serving up three artworks each time. Each of the images illustrates the “holographic principle,” a concept in physics postulating that “information in the universe can only be scrambled but never destroyed”.

 

_____________
September Split Edible Ephemera (Year of the Horse Snack) (2014)
Dry-salted horse meat, bitter rowan jelly (rowan berries, water, sugar), Norwegian birch, silkscreen print, CNC engraving, vacuum sealed storage bag, jar with lid, felt garment.

 

_______________
Artist Dimitri Tsykalov produces raw meat representations of guns, some of which come with vegetable or fungi bullets.

 

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Researchers at MIT and Brigham and Women’s Hospital have designed and demonstrated a small, ingestible voltaic cell that is sustained by the acidic fluids in the stomach. The system can generate enough power to run small sensors or drug delivery devices that can reside in the gastrointestinal tract for extended periods of time.

 

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Using individually wrapped pieces of candy and fish-shaped soy sauce packets, an anonymous trio of artists known simply as three have constructed a number of works that invite viewers to interact with them. Their installation titled Tokyo Electric displays a 3 meter-tall box designed in the scale of the Fukushima nuclear power plant. The structure deliberately includes 151,503 colorful fish-shaped soy sauce containers, which is the exact number of displaced citizens in the aftermath.

 

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ÉCAL student Erika Marthins has combined a series of different technologies with food to create an interactive dessert that moves, makes noise and refracts light. Aiming to offer interesting alternatives to the average sweet treat, Marthins used edible robotics, light-shaping technology, and digital data information in the making of the dish.

 

______________
Filioppo Ioco Untitled (2010)

 

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For Adrian Villar Rojas’ latest exhibition (‘Theater of Disappearance’) at the Museum of Contemporary Art Los Angeles, I created an array of experimental cake sculptures. In tandem with the natural rock formations surrounding the immersive installation, over 70 cakes were baked to create a conversation between both sedimentary forms and textures. The cakes represented a sense of nostalgia, hidden in a timeless landscape of collected, yet abandoned artifacts.

 

_________________
Scottish artist Anya Gallaccio has created Stroke, which involves an entire room coated in chocolate which visitors are allowed to touch and taste. “The idea of a chocolate room is one thing and the reality of a chocolate room is very much something else,” says Gallaccio.

 

________________
Song Dong Eating the City (2019)
‘The purpose of my work is for the city I build to be destroyed. As cities in Asia grow, old buildings are knocked down and new ones built, almost every day. Some cities have even been built from scratch in 20 years. My city will be built of sweets and biscuits, making it tempting and delicious. When we are eating the city we are using our desire to taste it, but at the same time, we’re demolishing the city and turning it into a ruin.’

 

_________________
Candy maker extraordinaire and owner of sweets shop Ameshin Shinri Tezuka continues to wow Tokyo with his amazing amezaiku animals. Amezaiku is an ancient art of candy crafting. Artists create skillfully sculpted sweets that depict impressively realistic animals, from expressive koi fish to seemingly slippery octopuses. While the art form has been around since the 8th century, very few practitioners remain today. At just 27 years old, Tezuka is the youngest known amezaiku artist.

 

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Artist Jennifer Rubell created a cell padded with edible cotton candy.

 

_________________
Gameboy Mania & Jami Behrends Super Mario Cake (2014)

 

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Sarah Lucas’ ‘Nud Cycladic 14’ reimagined as a vegan lemon sponge cake.

 

_________________
Natacha Lesueur Untitled (1995)

 

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It took 56 hours to complete, was made from 4,640 chocolate sticks and 10kg of Belgian chocolate, measures 120cm by 120cm and contains 143,840 calories – but this edible labyrinth will only take a few hours to eat. The maze is the brainchild of YouTube vlogger Doug Armstrong, from London, and food artist Prudence Staite, from Tewkesbury, Gloucestershire, who created their chocolate warren in homage to the Maze Runner film.

 

_________________
Was chosen to take part in an amazing art piece done by the artist Brandon McGill titled DUALITY. Was along with seven other young guys painted from head to toe very imaginatively with edible paint. This was followed by an art auction where invited guests bid on the artworks, meaning the edible painting not us. Those with the top bids could take us into private rooms and remove the artwork, which, yes, meant licking the painting off of our bodies. I was bought by a group of five men who had me back to a sticky version of my old self in what seemed like no time at all.

 

_________________
Leandro Erlich You Can’t Have Your Cake and Eat It Too (2022)
‘On display during You Can’t Have Your Cake and Eat It Too will be one-to-one replicas of an ottoman and a daybed, from the famed Barcelona collection by Ludwig Mies van der Rohe, made entirely of cake. The cakes are created to look identical to real furniture. The works will be on display in a gallery setting, before they are cut into and shared with audience members, revealing the true nature of the unassuming item.’

 

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A lumpy mound of a black rock-like substance dominated the space during He Xiangyu’s Cola Project. The substance was boiled down cola drink, a process developed by Xiangyu in 2008. With his team of factory workers, he “cooked” thousands of litres over a span of a year to create the crystal forms resembling coal. The work focuses on the materiality of Coca-Cola rather than the pervasiveness of the corporate identity of the product.

 

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The Real Cookbook from German design agency Korefe is a delicious creation made of 100% fresh pasta. Flip it open for some inspiration, and tear out the pages to use as sheets of lasagna. For both the seasoned chef and the novice cook, just bake the book and eat!

 

________________
Maurizio Savini is an Italian sculptor known for making art out of chewing gum.

 

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Bob Trotman Cake Lady (2002)

 

_______________
1. Put 5 Peeps in a microwave-safe bowl and microwave on high for 30 seconds. 2. Using a spoon, stir in about 1 teaspoon neutral oil until the mixture is stringy and combined. 3. Slowly stir in confectioners’ sugar until you’ve reached your desired consistency (we used about ¼ to ⅓ cup sugar). 4. Transfer the slime to a work surface lightly dusted with more sugar. Cover your hands with sugar to prevent sticking. Knead gently until the slime is smooth.

 

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Highlights from the Texas State Fair 2011 Butter Sculpture Show

 

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Jasmine Rae Wedding Cakes (2017)

 

________________
A London-based patisserie is selling edible tampon, soaked in blood. Luxury macron brand, OhLaLa, are selling this one-of-a-kind ‘bloody’ delicacy for a good cause. The boutique bakers created the “world’s first Bloody Good tampon macarons to highlight a real issue for women around the world,” as stated on their website. They joined hands with Bloody Good Period (BGP), a charity organisation that aims to create a sustainable flow of sanitary protection for those who can’t afford to buy them. Thus, people who end up buying these gory tampon boxes will be contributing for the noble cause. Ten pounds from every box will be donated to “help the fight against period poverty that affects 1 in 10 women in the UK alone, with proceeds raised going toward buying period packs for asylum seekers, refugees and women with low income,” the website added. The artists made the tampon as real-looking as possible and even added a blue string, which the makers say is also edible and are made of raspberry.

 

_________________
Xiaojing Yan Lingzhi Girl #18 (2021)
cultivated lingzhi mushrooms, mycelium, wood chips

 

_________________
“The domestic landscape reflects our culture, our taste and our habits,” say the designers Lanzavecchia + Wai. “Ostensibly living intact through good times and also adverse ones, the domestic objects become invisible to us over time with their familiarity. How can furniture react to times of crisis? The decorative elements that were once appreciated, suddenly become superfluous and should evolve to reflect a new era of austerity; the objects become edible and offer themselves to be consumed when needed.”

 

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Plastic water bottles might soon be a thing of the past thanks to these edible water bubbles created by an innovative sustainable packaging start-up based in London, UK. The bubbles, called the Ooho!, are created by encasing a blob of drinking water within an edible membrane.

 

____________
Helen Chadwick Cacao (1994)
‘This installation is simply a pool of molten chocolate, with a fountain oozing chocolate in the center. It immediately makes me want to eat it. However, if viewed up close, and with a bit more thought, the image is repulsive. The chocolate has been flowing constantly for days, gathering dust and hair that have fallen from the audience’s bodies. The sheer quantity of chocolate also adds to this repulsion, as though it is too much of a good thing. You begin to imagine yourself attempting to eat all of this, and it makes you feel uncomfortable, and actually quite sick.’

 

____________
Robin Antar Various (2014-2022)
‘Robin Antar sculpts stone into seemingly mundane, everyday objects, like condiment bottles and packages of Oreos. She aims to create a “virtual record” by creating permanent works of art.’

 

____________
Pope.L Claim (2017)
‘Pope.L’s installation smelled really bad. The reason for this was the 2,755 slices of bologna pinned to its walls, which, even on day one, already appeared a little nasty, their orange, oily juices pooling in small basins that run along the floor. As it turns out, however, the meat is “curing,” not rotting. The bologna will not be replaced. It will, for many viewers, likely continue to be pungent. Expect its smell to change somewhat—possibly for the better, possibly for the worse, depending on the viewer’s sense of smell.’

 

 

*

p.s. Hey. ** jay, Hi. Yes, the John Wick movies are another good example, I agree. There’s a contingent among the slave set that want to be stalked, and usually kidnapped at some point, but it’s a niche taste even there. Good luck with your sitch. Could possibly be interesting, no? I’ll wish you a happy Tuesday for as long as it lasts. ** Lucas, Hey! Definitely wait for the 3D experience. I hope your back eased up on you. I like airports too. Mostly when I’m not about to travel or haven’t just arrived though. Meeting visiting friends there is nice. CDG is kind of okay. LAX isn’t so amenable to hangers on. Anyway, I’ll see you in a few short hours from my right now. Have a colorful walk. ** Dominik, Hi!!! I think you’d find his stuff interesting, yeah. You have a balcony. So lucky, spoken as a cigarette smoker who gets a little tired of leaning out of my windows. Plastic blue is a nice color, especially when it’s not on actual plastic. It would be fun to be a fake boyfriend, especially love’s, especially if I get paid for it. So, like a gigolo. Love fixing the broken (for four days) elevator in my building (I’m on the 4th floor), or, wait, turning the stairs into an escalator, wow, G. ** Malik, Hi. Do link me/us up when Expat publishes your piece. Congrats to you and to them! That’s super exciting about the one-act play. Are you involved in the production? What’s it like, if that’s not too difficult to say? Have you had work staged before? That’s awesome. I found ‘Love Lies Bleeding’ on a free site, so I’ll watch it as soon as I’m able. Really well put about christtt. I don’t know ‘Nokia Age’, so I’ll get it. Thank you! Sam D. was so good. Super sweet guy too. I’m really happy you found him. Have a lovely day. ** _Black_Acrylic, Yep. ‘Christine’ is your favorite? I forget if it was in my Alan Clarke Day or not. I haven’t seen it in any case. Will do. As usual, it’s taking me a couple of days to luxuriate in PTv2, but it’s imminent. ** Misanthrope, Yeah, no, it’s in the 100s of Euros. Uh, yes, mixed bag on the weight loss. Jeez, that guy. He and adulthood do not seem like soup and sandwich so far. ** chris dankland, Hi, Chris! Yay! Happy you liked the Luther Price. Yeah, they’re pretty creepy. I don’t know if he himself was or not. Some say yes. I’m alright. Interesting about the more hands-on role with X-R-A-Y. Heavily noble effort. And that’s wild about the Mike Topp book! I’m excited for that, for sure. Aram Saroyan cover: wow, I can’t begin to picture that, nice. I’d obviously be more than happy to do a ‘welcome to the world’ post here for it, if you like. I’m so happy you’re back. 2024 has been almost entirely about finishing Zac Farley’s and my new film, which I’m very excited about. There’ve been tons of problems, but we’ve managed to escape them so far. And I have a new little book about to come out. It was fun to put that together. Things are okay, iow. Great day to you, pal. ** Harper, Hi. Yeah totally. That’s why my lists are always ‘favorites’ not ‘bests’. Favorites are a free zone. That’s my excuse, at least. How did the appointment go? It has warmed up here too, not to a misery point, and it’s still dry. Obviously, you can’t expect any normality from the sky these days, so I’m just hoping the summer will be schizo at the very least. Sunday: well, it’ll be good to get past the moving prelims and just have it done. But, yeah, packing. My week: hopefully get closer to getting through our current film problems, some meetings, a film or two, script work, friends … nothing too out of the ordinary. Let me know how it went today. ** Steve, I just read about the Sophie album. Promising sounding. Everyone, For Slant Magazine, Steve reviewed Loma’s new album HOW WILL I LIVE WITHOUT A BODY? aka right here. Curious about the album in progress. Me too: re: what I’ll think off ‘IStTVG’. Might see it today, with luck. ** Gumm, Hi. What’s a day around here. A blip. Okay-ish because of big film-related problems and having to try to solve them. Long story. Your saga with the slave is most complicated, wow. As I suppose every master/slave relationship must be if it’s an actual realised thing. Okay, gosh, an awful lot of luck to you re: the big meeting and trip this weekend. Curious to hear what the result is, naturally. Uh, the aforementioned film mess is eating up my summer so far, but everything changes. Zac and I are hoping to take off and hit some Euro amusement parks before too long. Stuff like that. Kisses right back. ** r🪜fe, I really like that gif! You did good, sir. That’s nice. I’m going to stare at it lengthily come post-p.s. downtime. Wait, was that movie you watched called ‘Under Paris’? If so, I watched it only because it was completely mischaracterised in the description I saw — ‘scientists save Paris from a giant shark bent on its destruction’. It was blah beyond blah, at least if you expected a gigantic evil shark and Paris’s destruction. I’ll watch that vid you linked to once I’ve posted this. It is curious that clowns are creepier than Jason or Freddie or Michael, but they certainly are. Someone must have written a book about why. ** Dddarby 🧸, As in ‘Dddaisy, beautiful Dddaisy’. Nice older lady. Holy shit. Very nice older lady. I always tell the truth about stuff. I’m nice about it, but I don’t bullshit. I don’t think I have cool anecdotes about my lit zine other than recounting how extremely labor intensive it was: typing the texts into an old pre-computer giant typewriter-like machine, printing out the pages on this photographic paper, putting the paper in chemicals until what I typed was visible, hanging the papers on a clothesline to dry, cutting them into page size with scissors, glueing the pages into boards, assembling the boards, taking them to the printer, waiting weeks, carrying heavy boxes of the finished zine home. Stuff like that. Not so cool. No, I don’t think I know about ‘genie’. But it seems like I should since Arcadia is the city I grew up in. Huh. I’ll look into that. Thanks, pal. ** Uday, ‘Baradla Cave’ it is then. Are you going home for the summer? Is there tons to do before you leave? ** PL, Hi, PL! I’m okay. Film is in a big mess right now, but we’re doing our best to solve it. I would watch the previous two ‘Apes’ movies before the new one. I liked the new one, but the previous two are better. I know all those films you mentioned yes. ‘Last Summer’ was really good and strange, yes. I like Frank Perry’s films. And ‘Foxes’ was big fun, at least at the time. Cherie Currie! At the time, I was way into punk and hated all disco, but of course I came around, and I do like Donna Summer, or some of her. Chic is the one I really came around on. I think they’re total genius. I’m sure you’d get along with kids, I don’t know why, but I do. Yes, I see myself in your drawing! Thank you. And I look pretty evil to boot. Whoop! I do indeed like it big time. ** Oscar 🌀, I love when people are so stoned they say things like that. I’m going to write a novel about a world where whenever anyone says the word ‘hype’ their mouths and vocal cords get stuck on the ‘y’, and the only way they can stop saying ‘hyyyyy’ is to name their favorite hotdog, and of course they say ‘Oscar Mayer’, but all they really have to say is ‘Oscar’ to stop, but they don’t realise that. Automatic best seller, no? ‘Skinamarink’ was my favorite film of whatever year it came out. So, yes! I’m glad Mr. Sivan pleasured you. I think that must be his goal. Thank you about the heat. I so extremely appreciate that. Same with your wave, assuming you have one. I think everybody does. ** Okay. A bunch of art you can’t personally eat today. See you tomorrow.

* (restored/expanded)

 

‘Luther Price is an anomaly on many levels. He’s gay but unwelcome by the gay community, which reviled him for the alleged homophobic excesses of Sodom. He invents alter-egos including the short-lived “Fag” and the more enduring “Tom Rhoads.” He’s worked as a waiter, played in bands (and started a country band), and “committed suicide” in one of his performance pieces via a candy overdose. Much of his personal history is mysterious, in spite of his frequent use of himself and his family and their history via photos and home movies in his films. He was nearly killed (and was heavily scarred) in a shooting accident in Nicaragua in the mid-1980s. He works in a disreputable format, appears in various guises in his own work from stylized, frozen-faced drag queen to naked performance artist to clown. And he occupies the same contested cultural space as artists like Karen Finley in being so controversial that his work has occasioned the immediate firing of programmers who have dared to show it. Increasingly revered as a filmmaker, he’s also made a strong impact in his sculpture, photography, and performance art.

‘Emotionally stark, and at times sexually extreme, the elegant Super-8 films Price produced in the 1980s and ’90s brought him underground renown. Whether creating pummeling juxtapositions from repurposed porn images or with Price decked up in drag or dressed as a clown, his pieces came bounding at you in full heat. They were formally rigorous, relentlessly psychodramatic attempts to work through familial bonds, dark fantasies, and tortured realities. His magisterial use of sound (few make better soundtracks) underscored the beautifully dilapidated images. There are many small masterpieces from this potent era awaiting rediscovery.

‘For example, there’s his hardcore “Biblical epic”-cum s&m; porn flick Sodom (1989), which like all of Price’s films, exists in many versions. His refusal to let the work alone after it’s made, his insistence on the “aliveness” of the film-object, is one of the most exhilarating aspects of his work. In spite of the oppressive, claustrophobic imagery, the films have a strong sense of life. In Sodom, which will be double-projected, this sense comes partly from Price’s consummate interventions, which here take the form of a literal film-within-a-film. He punched holes in the Super-8 frames and meticulously inserted the porn footage, which moves with jackhammer rhythm against the rapid-cut “Sodom” footage and a distorted medieval liturgy score. The conflation of what look like screaming souls in hell with images of edgy queer sex was enough to get the film banned even from the allegedly sophisticated New York and San Francisco gay festivals, but Price’s Boschian vision deserves a wide audience.

‘Price’s film work has an oppressive intensity, envisioning an alienated world of often mindlessly repeated rituals and poses that entrap and suffocate his subjects. He sets up a constant dialogue between his compromised victim-subjects (often himself or his own family) and the equally compromised film stock itself. Images of ruptured flesh and ghostly birthday parties are further ruptured and drained of life by Price’s torturous manipulations of the film, which can include chemical processing, filters, optical printing, re-photography, and even holes punched in the frame. What emerges is Price’s great subject — the breaches, breakdowns, and collapse of body, family, and society, and by extension all of life, in the face of unstoppable philosophical forces. What makes it work is the nonstop flow of extraordinary, unforgettable imagery.’ — collaged

 

WARM BROTH (1987 – 1988)
color-b&w / sound / 1S / 36′ 00

‘Directed under the name Tom Rhodes.
Tell me a secret / Hold me strong / Give me a kiss. It is with the sound of this litany sung by a doll that Rhodes (pseudonym of Luther PRICE) updates “the viscera of the pathos of the suburbs”. It is a ruthless movie, imbued with a sense of decay and horror. American beauties are vomiting on the screen. Floral wallpapers, wrapped candies of yellow cellophane, ice cream melting on bitumen: WARM BROTH is a little like the descent into hell in your grandparents’ house.’ — Light Cone

Watch it here

 

GREEN (1988)
color-b&w / sound / 1S / 36′ 40

Directed under the name Tom Rhodes.
‘Filled with poison, all the veins infested … Question of time … The image of the ghost haunts my breath, gnaws my mind. I see her beautiful face and wonder if she was my mother. I loved her and she can see me. I thought she was really in me. I thought I was her. My life would end at twenty-three and we would be together. There would be no sadness. Everyone would know that she was coming for me. But I lived. I was not supposed to die at that time. It was his way of telling me to stop joining my mother. Now they are together and I am the ghost. 37 years old, there is something about this number. I will die then and I will remember this necklace of green emeralds at my mother’s funeral. And that’s when I’ll realize why I lived.

‘The images that haunt my memories roam the life next to me, brushing my breathing body, veiling my vision, slowing down my pace, devouring my thoughts. I am never alone. In fusion. I prevent myself from loneliness and all rest, living for two, becoming the other. Am I real?’ — Light Cone

Watch it here

 

SODOM (1989)
color-b&w / sound / 1S / 13′ 00

‘SODOM is viscerally graphic and disturbing through its hypnotic mirage of human fragment absorbed in mutilation. Based on the biblical story, SODOM recreates this destruction through an editing style that lends itself to a kind of organic image breakdown, creating a collage of moving image.’ — Light Cone

Watch it here.

 

MEAT (1991)
color-b&w / sound / 1S / 60′ 00

‘MEAT is viscerally consuming in its sterile, antiseptic and static giving over of the flesh. Poked, prodded, pinched and disgraced, the humiliated body is sacrificed and the metamorphosis begins … the fly becomes the shit … the maggot becomes the bone … the bone becomes the food … the food becomes shit and the body becomes the wound … the institution becomes teeth … throat and stomach.’ — Luther Price

Excerpt/projected

 

JELLY FISH SANDWICH (1994)
color-b&w / sound / 1S / 17′ 00

‘Why are you so stupid and what are you trying to say? I had a nightmare in which a big elephant walked on a piece of cake and disappeared, sucked as if it had been on quicksand. All that was left was the lobe of one ear. Someone with a little head and a small body slipped a word in it; then the ear disappeared into the cake too. I remember running up and down and throwing my body against a string screen. I heard songs on the red, white and blue and in front, a guy walked with a nice ass wearing a flesh-colored swimsuit as an undergarment. I took off the swimsuit, her ass was purple. Half of the street I was in exploded, birds in the sky making noises like sick stomachs and feathers falling on my head. I closed my eyes for a second, but nothing changed. Too many people had left that day.’ — Light Cone

Watch it here

 

RUN (1994)
color / sound / 1S / 15′ 00

‘The electric line facing the infinite reveals everything. Moment before my birth, moment before my death. Compressed between two walls of glass, I could see myself walking in the past. I could see my eye scrutinizing my eye. I stood there somewhere far away, looking at myself between two glass plates.
I had the impression of moving, but it was rather the way a worm relies on himself to go where he wants to go.
I could interfere in these spaces and rest a little, then distribute all that I am and all that I have been. But I panicked. I kept pushing my body inside.
I woke up compressed between walls of glass.
I thought I was walking.
I saw myself walking.
I could see my eye looking at me and where I would die when I was born.’ — Light Cone

Watch it here

 

GAR HAR CLOWN (1998)
color / sound / 1S / 02′ 27

‘Methods of cyclical return to processes and characters can also be observed in Luther’s now iconic Clown works, existing initially in the form of Super 8 screen tests for various masturbatory, sadistic clowns.’ — MUBI

the entire film

 

KITTENS GROW UP (2007)
16mm found footage

Excerpt

 

SAD DAY GLAD DAY (2014)

the entire film

‘Luther Price devised a special performance for Australian audiences called ”SAD DAY GLAD DAY” which he realised in the intimate environment of Gertrude Contemporary’s Studio18 on Wednesday 11th June 2014 at 6pm. “Whether creating pummelling juxtapositions from repurposed porn images or with Price decked up in drag or dressed as a clown, his pieces come bounding at you in full heat. They are formally rigorous, relentlessly psychodramatic attempts to work through familial bonds, dark fantasies, and tortured realities.”. Andy Lampert (Anthology Film Archives).’ — Other Film

 

 

 

 

 

Age/Occupation/City:

born 1962……..january 26th……in Mass……the night my aunt sally took an overdose of sleeping pills……….37 sominex……..and red wine……..she was my mother’s younger sister………..she died at 23………the day i was born…….my death mother……….she was very beautiful……….i have the powder blue suit she died in………..it has a wine stain down the front of it ………i don’t think she meant to kill herself……..she crawled from her apartment in cambridge , mass,…………died at the hospital………while at the same time,…..i was being born into this world…………..i died when i was 23 too……….i was shot in nicaragua in 1985…………while on an artist cultural brigade…………..it wasn’t just my guts that spilled out that day on the warm ceramic tiles …..on that balcony of the bombed out mansion we were staying at…………the morning we were due to fly back to boston ………june 29th 1985………..i died that day……..and as they say …….you see your life flash by……….well it did………and i saw my aunt sally………..and then i knew what i had always known…………she was always with me…………………but that was 28 years ago…………..i still don’t know how i survived …………..if i had been shot anywhere else ,….i wouldn’t have………….but my guts are all screwed up………i was shot through my hip and stomach…….my right leg is paralyzed ……and i live with constant pain…….but to top that off ,…the US…GOVERNMENT TOOK MY PASSPORT AWAY FOR REPATRIATION …..BACK TO BOSTON , MASS………….WERE I SPENT TWO MONTHS IN THE HOSPITAL…….I RETURNED BACK TO MASS ART….THAT FALL ON CRUTCHES……..WITH A HOLE IN MY SIDE , STUFFED WITH GAUZE………THE DRESSING HAD TO BE CHANGED THREE TIMES A DAY, SO I USED THE NURSE’S OFFICE FOR THAT ,….THE ONLY STERILE PLACE……..FOR THAT…………..AS THE SEMESTER WENT ON ,I BECAME VERY SICK….THE WOUND WAS NOT HEALING…………….SO DURING XMAS BREAK I ADMITTED MYSELF BACK INTO THE HOSPITAL……..THEY FOUND THE BULLET……AND REMOVED IT ………..IT WAS LODGED IN THE DARKNESS OF MY HIP ……..NEVER CAME UP ON THE X-RAYS……….THE US OFFICIALS CONFISCATED MY MEDICAL RECORDS FROM NICARAGUA FROM THE DOCTOR WHO TRAVELED WITH ME BACK TO THE STATES………….SO , I NEVER HAD A CHANCE……..THE DOCTORS NEVER KNEW THE BULLET WAS STILL INSIDE ME…….ROTTING AWAY MY BONE AND GUTS ……..KILLING ME SLOWLY……….BY THIS TIME,….MUCH OF MY HIP HAD TURNED TO A PUSSY MUSH………..AND A LARGE PART OF MY LOWER INTESTINE HAD TO BE REMOVE AS WELL………..MY RIGHT LEG HAD GONE INTO COMPLETE ATROPHY………..AND THE NERVE DAMAGE WAS BEYOND REPAIR……………….BUT THE GOOD THING WAS,…….AFTER THEY TOOK THE BULLET OUT ……..MY WOUND COMPLETELY HEALED IN 9 DAYS……………..I WENT BACK TO SCHOOL IN THE SPRING SEMESTER…..STILL ON CRUTCHES…………AND COMPLETED MY LAST LARGE SCULPTURE PIECE…………‘EAT FUCK LIVE SHIT WANT NEED’……..1986……..11 OVER LIFE-SIZED…….HUMAN AND ANIMAL FIGURES …….MADE OF PLASTIC WITH A SKIN OF NEWSPAPER………WALL WORK………..4 FT X 8 FT PANELS ……….AFTER THAT …….I BEGAN TO WORK IN VIDEO…………I CREATED A CHARACTER THAT I BECAME CALLED ‘THE CUNT’…………..THIS WAS A PERIOD OF TIME WHERE I BEGAN TO INVESTIGATE MY DOMESTIC PAST…………..AND HOW MY MOTHER LIVED HER LIFE AS A SLAVE……………SHE WASHED CLOTHES BY HAND…………….TO THE POINT THAT HER HANDS LOOKED LIKE THEY BELONGED TO A 108-YEAR-OLD WOMAN………….WE FINALLY GOT A WASHING MACHINE……AND I THINK OUR FIRST COLOR TV ……………..BEFORE THAT ,…..EVERYTHING WAS BLACK AND WHITE……………….

We’re conducting this questionnaire over email, and have been told that you use a stream-of-consciousness style in writing, not dissimilar to the way your films, through their mix of found footage and your own stagings, can be like stray thoughts gathered together. Is there an underlying structure to your art?

Many of your around 200 films exist as only one copy. Because you scratch, burn, and dye them, they can even change from one screening to the next. Film itself is something of a dying art. Do you believe your art and the medium are ephemeral?

You got your start with Super-8 film and then shifted to 16mm, but you’ve recently begun to experiment with slides, exhibited for the first time in the Whitney Biennial. You build them up with dirt and detritus like ants, sprinkles, tape, and hair. Sometimes, you even bury them in the ground to rot. What creative power do you see in this kind of decay?

Has one of your films ever totally wrecked a projector or melted during a screening?

…………….WELL,………..I THINK I GET A BAD RAP……….IT’S BECAUSE OF THE INKBLOTS AND THE GARDEN FILMS…………ALL MY FILM WORK IS ORIGINAL…….I HAVEN’T MADE A COPY OR PRINT SINCE 1995………..THAT CAME ABOUT BECAUSE MOST OF THE GREAT MOM AND POP LABS WERE FORCED TO SHUT DOWN…….AND MOST OF THE BIG LABS WERE FREAKED OUT BY ANYTHING THAT WAS NOT COMMERCIAL………..THIS ,……..BOTH PHYSICAL………..WORKING OF THE FILM AS WELL THEY WOULD HAVE A SAY IN WHAT AND WHAT WAS NOT APPROPRIATE AS FAR AS CONTENT …….. MY FILMS WERE RENDERED …….TOO COMPLICATED TO DO A STRAIGHTFORWARD PRINT OR THE SUBJECT MATTER WAS AT ISSUE ………….MUCH OF MY WORK WAS DEEMED PORNO……………SO ,….THESE LABS WOULDN’T EVEN DEAL WITH ME……….GONE WERE THE DAYS WHEN A GREAT TECH GUY WOULD TAKE YOUR FILM AND UNDERSTAND THE ART OF IT ……..AND IN THE END BECOME A COLLABORATOR WITH IT IN THE PROCESS………AND A WONDERFUL PRINT WOULD COME OUT OF IT ………I MISS THOSE DAYS…………….BUT , LEFT IN THE DUST ………….I MOVED ON ……….AND TRIED TO MAKE MORE PROJECTION-READY FILMS………FILMS THAT WOULD BE ABLE TO RUN THROUGH A PROJECTOR…………..MULTIPLE TIMES …….AND STAND THE TEST OF TIME……………I’VE ALWAYS HAD GOOD CRAFT IN MY WORK …., SO THAT WAS NO PROBLEM………..I JUST NEEDED TO STAY AWAY FROM MAKING ‘A FRANKENSTEIN MONSTER’…………….WORK THE FILM ……..BUT , STILL AT THE POINT WHERE IT COULD RIDE THROUGH THE PROJECTOR AS A PROJECTION-READY FILM………………WITH THIS ,….I JUST NEEDED TO MAINTAIN GOOD CRAFT IN SPLICING ……..BUT WITH THE INK BLOTS,…….THE ELEMENT OF MATERIAL IS NOW PAINT AND INK………………IT’S A GIVEN THAT BECAUSE THEY ARE ORIGINAL FILMS, THEY WILL LEAVE SOME RESIDUAL MATTER IN THE PROJECTOR………….THAT’S WHAT Q-TIPS ARE FOR………………BUT I USED THIS WONDERFUL INK THAT DRIES REALLY QUICK……SO YOU CAN ROLL IT OUT AND WORK AS YOU GO……….THE THING IS,……..ONCE IT DRIED , IT LEFT A POWDERY DUST ON THE SURFACE……………….SO ,……I BEGAN HEARING THAT THESE FILMS WERE PROBLEMATIC…………..PROJECTORS…………WERE NOT HAPPY AND PROJECTIONISTS ……….WERE VERY UNHAPPY……………..I READ SOMETHING ONLINE ….SAYING ……..‘THE UNPROJECTABLE FILMS OF LUTHER PRICE’……………I RAN FILMS THROUGH MY PROJECTOR AND MY PROJECTOR DIED …………….AFTER RUNNING SEVERAL FILMS THROUGH IT…………..I REALIZED THIS INK DUST POWDER FORMED……………..AT THIS POINT , I KNEW WHAT THEY WERE TALKING ABOUT…………IT TOOK MANY Q-TIPS TO CLEAN MY PROJECTOR BEFORE IT COULD RUN AGAIN………….BUT THAT DIDN’T SOLVE THE PROBLEM…………………I HAD ALMOST 50 INKBLOT FILMS SITTING ON MY SHELF…………..THAT WERE NOW UNPROJECTABLE……………………….AS WELL , MY GARDEN FILMS………….FILM FOOTAGE , THAT WENT INTO THE GROUND…………IN FALL AND DUG UP IN THE SPRING………………ROTTED FILMS , WITH BEAUTIFUL DISTORTION AND COLOR………………..I WOULD OF COURSE TAKE THEM IN AND WASH THEM OFF IN MY KITCHEN SINK…………THEN DRY THEM IN THE SUN …….BUT STILL …………A SLUDGE OF GRIT WOULD REMAIN ON THE SURFACE AND THEN THROUGH PROJECTION,……………WOULD BUILD UP IN THE SPROCKET WHEELS OF THE PROJECTOR ………….AND LEAVE A TAR-LIKE SUBSTANCE……………..NOT GOOD ….NOT GOOD AT ALL………………ALL THIS NEW WORK…….AND IT WOULD REMAIN ON MY SHELF………………..BUT I HAVE GOOD FRIENDS …………..THEY DIDN’T GIVE UP ON THE FILMS AND WOULD SCREEN THEM EVEN SO……………..ED …..PATRICK AND MARK…………..IT WASN’T UNTIL LAST YEAR………….I FELT I HAD TO TRY SOMETHING …………….I FOUND THAT WITH THE INKBLOTS ……………., I COULD WASH THEM WITH COLD WATER , TO GET RID OF THAT RESIDUAL DUST……………I FOUND THAT HOT WATER REMOVED THE ARTWORK…………AFTER THIS PROCESS,….MY FILMS WERE CLEAN AS A WHISTLE………………….AND AFTER THEY WERE DRY AND REELED UP…………….., I CHECKED ALL THE SPLICES………………CLEANED THEM UP ………AND THEY WERE READY TO GO OUT INTO THE WORLD………………..I DID THE SAME WITH MY GARDEN FILMS ………I DON’T THINK THE PROJECTIONISTS HATE ME ANYMORE…………… ‘SALLY FIELDS’

Describe a typical day in your life as an artist.

…………………WELL……A DAY IN LUTHER’S LIFE…………….IT DEPENDS ON WHAT I DID THE NIGHT BEFORE……….MOST TIMES …………YOU WRAP IT UP ……………AND YOU TAKE THOSE UNANSWERED ………UNRESOLVED QUESTIONS WITH YOU………………YOU THINK ABOUT FOOD BUT IT’S TOO LATE………….AND IF YOU TRY TO EAT, YOU CAN’T ANYWAY…………….KAREN CARPENTER AND I WOULD HAVE BEEN FRIENDS…………….ONLY , I LIKE FOOD AND WANT TO EAT…………….I LOVE TO COOK………..FOR MY FRIENDS ……………BUT I MOSTLY LIKE TO WATCH GUYS EAT………….. SEXY………….BUT I HARDLY EAT……………..BUT I STILL HAVE A FAT STOMACH , AFTER MY GUN SHOT……………..LOST THE WALL OF MUSCLE THAT HOLDS IT ALL TOGETHER………….SO I HAVE A BULGE …………..I WORK MOSTLY ALL DAY………………..THINKING ABOUT THINGS AND STINKING IT UP…………….I LIKE TO HAVE THE TV ON …………..I ONLY WATCH INVESTIGATIVE TV…………………THEN I SIT AND WORK ALL DAY ………………BECAUSE CUTTING FILM ………….AND……….FILM MANIPULATION IS NOT A STAND UP JOB……………..PERFECT FOR ME…………….BECAUSE I MOAN AND GROAN WITH PAIN…………..BUT MY THREE STRAY CATS,………GURLY…………….MR. GREY AND CARTOON…………KEEP ME IN LINE……………….THEY ALWAYS WANT SOMETHING……………SO I HEAR A SCRATCH AT THE DOOR ……AND IT’S ONE OF THEM….SOMETIMES , ALL THREE ………………THE KIDS ARE GOOD …………..‘DORIS WISHMAN’’’’’’’’’’’’’’,…………I’M JUST TRYING TO FIND MYSELF THROUGH MY WORK ………………..EACH DAY , BRINGS A NEW DESTINATION………………AND I’M UP FOR IT …………, IF I GET UP………………SOME DAYS , I CAN’T GET OUT OF BED THESE DAYS …………..TOO MUCH PAIN……………I MADE A NICE BED NEST……………..WITH A PRINCESS AND THE PEA IDEA …………., I WENT OUT AND GOT LAYERS OF FOAM ……………TO LINE MY BED ……………….OVER MY SAGGY FUTON……………I NEED A NEW NICE BED AND A TV………………..AND THEN I’LL BE HAPPY ………….I MAY EVEN ORDER OUT FOR KENTUCKY FRIED CHICKEN ……AND DO IT UP BY GETTING THE WHIPPED MASHED POTATOS AND EXTRA GRAVY,……………….EAT ………….AT ………..MY TV DINNER TABLE ……………AND WATCH ‘LOCKED UP ABROAD’ ……………..OR ‘ANCIENT ALIENS’……………….THEN VOMIT IT ALL UP IN MY KITCHEN SINK AND TOILET………………..UNTIL THERE IS NOTHING LEFT BUT AN EMPTY PIT IN MY STOMACH…………………………..SO I DON’T THINK I’LL DO THAT………..ALTHOUGH I DO HAVE A CRAVING FOR CALAMARI…………….BUT THEY NEVER HAVE IT ANYWAY …………….VERY TOP SECRET ………..PERHAPS ONE ORDER ……………SOMETIMES NO ORDER ,,,,,,,,,,,,,,,,,,,

……………..that got me thinking ,….so i called ‘tings’……and they actually had fried squid………so , i put in three orders……………..mr, grey is saying things ……………….he wants to go outside but it’s raining……………the cartoon is content in …………..my studio back room ………..have not seen Gurly yet though…………………IT’S A GOOD NIGHT FOR ALL THE KIDS TO STAY IN…………..CAUSE………..IT’S RAINING OUTSIDE ……..AND CATS HATE RAIN………………….’GURLY JUST CAME IN ……DRIED HIM OFF WITH A TOWEL…………..HIS BROTHER, MR. GREY DID ALLEY CAT SONGS WITH HIM………..ANYWAY , MY DELIVERY OF FRIED SQUID SHOULD BE HERE SOON…….I’M NOT WORKING TONIGHT BECAUSE THE ELECTRIC IN MY HOUSE IS SCREWED UP AND THE ELECTRICIAN IS COMING OVER AT 8 AM………..TO FIX THE PROBLEM……………SO TONIGHT , I’M JUST HAVING A BOY’S NIGHT IN ……………..MY GOODNESS ,………………HOW CUTE WAS THAT GUY…………….FRIED SQUID IN THE RAIN WITH A YUMMY CUT ASIAN GUY ,….HANDING YOU A BROWN PAPER BAG FULL OF DELICIOSO………..TOO BAD HE HAD TO GO BACK TO WORK………………….I LIKED HIS TAN BROWN WOOL HAT…………SO ………………….I WAKE UP……………..EITHER ….ONE OF THE CATS WANTS TO GO OUT OR GET IN…………….HAVE COFFEE……..THINK ABOUT FOOD BUT DON’T EAT …………..I MAKE GOOD EGGS TOO………….LOOK IN THE MIRROR IN DISGUST……………AS I TAKE MY MORNING PISS……………BRUSH MY TEETH AND GAG AT THE THOUGHT OF ANOTHER DAY……………THE ROOMS GET SMALLER…………….THE TIME BECOMES SHORTER………………THE DUST IS THICKER…………….THE OCEAN ,…OUTSIDE MY DOOR IS CHURNING FOR SOMETHING,……………..JUST WAITING…………..TO CONSUME…………….I TAKE A PEEK , OUTSIDE MY FENCE…………….JUST TO SEE WHAT IT IS LIKE OUTSIDE………..BUT ONLY FOR A MINUTE…………………SOMETIMES THE TIDE IS LOW AND I CAN SMELL THE RESTITUTION OF THE SEA LEFTOVER ……………OR THE ROARING OF THE WAVES THAT WILL EVENTUALLY BRAVE THE EARTH AND TAKE MY HOME……………….I LOOK AT THE SEA AND THE SHORE…………….AND FIND ROCKS WITH FACES IN THEM………………….AND I THINK ……………PERHAPS THIS IS ALL BIGGER THAN WE THINK…………….PERHAPS WE SHOULD JUST LIVE………….AFTER ALL THAT WAS WHAT WE WERE BORN TO DO……………..AND WITH THAT……………A VISION………………A SIGHT………..NO SKIN OFF MY BACK………………I JUST WANT TO SEE……………FEEL AND BE REAL………………AND IF SOMETHING MATERIAL COMES FROM THAT ,…………………..AN OBJECT OF SOME KIND,………………..FROM THE THOUGHTS OF THE DAY…………………..IT WILL HAVE A LITTLE BIT OF THIS AND A LITTLE BIT OF THAT IN IT……………..AND THEN THE DAY STARTS OVER AGAIN…………………………..

What’s the first artwork you ever sold?

………………I DON’T KNOW ,ME ……….I HAVEN’T REALLY SOLD ANYTHING …………..WE SHOULD HAVE A YARD SALE…………….BUT ,LET ME THINK…………….LIA SOLD SOMETHING OF MINE ,…………….I THINK IT WAS A BLOW-UP STILL FROM THE ‘GAR HAR CLOWN’………………..THE DR. WHO INVENTED BOTOX……………IT WAS INSTALLED IN HIS WAITING ROOM……………..PERFECT ……………I THINK……………

What’s the weirdest thing you ever saw happen in a museum or gallery?

………………..I JUST COULD NOT BELIEVE HOW ALL THESE MUSEUM LADIES COULD HAVE NOT ONLY THE SAME HAIRCUTS BUT THE SAME FACES TOO……..THEY ALL LOOK LIKE THEIR FACE WAS MOVED TO THE LEFT…………..AND ONE EYE ,….LOOKING THIS WAY AND THE OTHER EYE LOOKING THAT WAY………….LIKE GOOGLE EYES AT THE 99 CENT STORE………………….BUT I HAVE TO ADMIT,………….THEY SMELLED NICE………….

What’s your art-world pet peeve?

…………….PET PEEVE…………..I’VE ALWAYS BEEN TREATED WELL AND I LIKE WORKING WITH CURATORS…….IF I COULD PUT MYSELF IN THEIR WORLD,……..I MIGHT UNDERSTAND HOW MUCH WORK THEY MUST HAVE TO DEAL WITH AND LOOK AT……………BUT THERE ARE HIDDEN GEMS……………..RIGHT UNDER THEIR NOSES………………I WOULD LOOK FOR THE UNDERDOG……TAKE A RISK AND GO BEYOND WHAT IS IN YOUR FACE ……………ARCHIVE AND DISCOVER ………….THAT’S WHAT A TRUE CURATOR SHOULD DO ….I THINK …………………FIND THE WORK …………GET SOME DUST ON YOU…………………..

What’s the last great book you read?

…………..CHARIOTS OF THE GODS …………..BY ERICH VON DANIKEN………………SHOULD HAVE READ IT YEARS AGO…….BUT I DIDN’T…………….

 

Lecture by Luther Price

2012 Biennial: Luther Price

“How Deep Is Your Love?”: An Afternoon with Luther Price

Luther Price Loves Tape

 

Luther Price @ Wikipedia
Luther Price @ Callicoon Fine Arts
‘The hand made Luther Price’
Luther Price by David Duncan
Luther Price @ Underground Fi;m Journal
‘Luther Price: Poetry of the Found’
Book: ‘Luther Price: Imitation of Life’
‘I’ll Cry Tomorrow’
‘Kittens, Biscuits, and Blots: Films by Luther Price’
‘Postcard from Oberhausen’
‘LUTHER PRICE — (WAS) BLEIBT / REMAINS LUTHER PRICE’
‘The films of Luther Price’ @ Autopsies Research Group
‘Luther Price’s latest exhibition is not for the faint of heart.
‘Never pass up an evening of Luther Price films.
‘Film and Obsolescence’

 

 

*

p.s. Hey. ** jay, Hi. The last three ‘Apes’ movies are Hollywoody CGI things, but they’re very good at it. I don’t know, but the stalking thing sounds interesting to me. I’m odd though. Thanks about the blog’s modus. May a day of greatness befall you. ** Corey Heiferman, Hi. Thanks much for the suggestions/links. I’ll imbibe them post-this. Great that you’re going ahead with the rooftop soiree, Let me know how it pans out. Of course that incripting Gifs things is of great interest. I will in fact see what I can see. Thank you. I don’t really have a favorite cafe. Seems like I would. I guess the ones around me that I go to most often would count? Paris-London, Noir, and the cafe on the 1st floor of the Smith & Sons English language bookstore, but mostly in that case because they serve good scones. ** Jim Pedersen, Hi, Jim! How cool. I bet you have (played Feldman and Wolff). Obviously, wish I’d been an observer or overhearer. How are you, pal? ** Charalampos, Hi. Well, of course. Not strange: your soul. The new GbV just came out yesterday, but I got it early. Hugs from Paris -> Paros. ** rewritedept, Whoa, hey, dude. It’s been a bit. I’ll check those records I don’t know, thanks. Enjoy the frying. That takes me back. ** Steve Finbow, Well, of course, sir. ** Evan Femino, Hi, Evan. Good to meet you. Grant is incorrigible! Ha ha. I didn’t know about the ‘Sentence-Making’ book, but of course I’ll get it. Thanks a lot. I hope all’s great with you. ** Cletus, My pleasure, and a given. ** Borja, Hi, Borja. Welcome! Oh, maybe I will (like your new film). I’ll go find out. Thanks a bunch. ** Jeff Schneider, Hi, Jeff. Well, no, thank you for birthing it. I’ve only recently discovered Pig Roast, and it’s very exciting. Lots of respect to you! ** Dominik, Hi!!! Well, well, of course, maestro. Thank you for your lists. I need to read that new Broder. Tiny kid pool! What a great purchase! What color is it? I hope the wind bypassed it. Today I’m going to give love the herculean task of figuring out some way to prevent the Far Right from winning the majority of seats in the French Parliamentary election, G. ** Tosh Berman, Hey, You read at lot. And a bunch of biggies to boot (Joyce, Markson, …). I need to read that Sante. And great film/music too. You’re a refined sieve! ** Brightpath, Hi. I want to see that new Harmony Korine so bad. It hasn’t shown up here yet. But I’m all eyes. Thanks! Hope you’re swell too. ** fervorxo, Hey. The new 730… is wonderful, of course. Yes, he is very kindly letting us use a track as the end credits music in our film. You saw Morgan Garrett live! I’d love to. Cool. Fine lists. Happy to see ‘Event Factory’ on there. I still haven’t seen the Bonello or Seidl. Got to do that. Thanks a lot! ** Max Restaino, Hi, Max! Oh, well, for sure. It’s great! I don’t know ‘The Backwards Hand’, but I’ll get it post-haste. Thanks very much, sir. ** Don Waters, Hi, Don. Thanks for the lists. Some greats on there, for sure. Happy day to you. ** Toniok, Always lovely to see you! I’ve noted the stuff you liked that I don’t know for an imminently future search. And obviously thanks for besting the blog output. Best back to you! ** Thomas H, Hi, Thomas. It was like old home week here yesterday. I’ll hunt your faves. I don’t know quite a few of them. Keanu’s a pip. Or was. And seemingly still is. Hm, I can’t think of any recommended books that I loved or hated. I think I’m spacing on how I found the books. Not good. It happens more with films. A friend recently highly recommended this film ‘The First Days’, and I could barely sit through it. So there’s one. Take it easy. What’s new? ** Steve, I really need to see ‘I Saw the TV Glow’. I don’t know what I’m waiting for. We have 3 music mutuals on our lists. That might be a record. It depends: If I want to take the metro I most often do (the 1), it’s about a 20 minute walk to the nearest open station right now. If it’s the secondary option (the 8), it’s still nearby. ** Bill, I need to read Clowes again. Right, Gastr del Sol, that’s one I spaced on when making the list. I’d like to hear that new Ned Rothenburg. Anyway, thanks, bud. ** Barkley, Howdy, Barkley. I’m going to have to wait to click your links until I’m finished up here, especially today when it’s kind of a gigantor. But thank you in advance. Sure, send me your art ideas. You have my email address? Thanks about ‘TMS’. And I don’t know Solidarity Cinema, no. Great! Looks really valuable. Life’s okay. Film is in a big mess, but we’ll get through it somehow. Thank you!!! ** Lucas, Hi! Your film viewing of late simply can not be beat. If you ever get to see Godard’s ‘Adieu au Language’, jump, but only in 3D. It was made for 3D, and it’s only a mere fragment of what it’s supposed to be when not seen in 3D. Of course the chances of seen it in 3D will be rare, but don’t miss the opportunity, and wait for the 3D version. It’s become my favorite Godard. Wow, I think that’s my favorite collage by you yet! I’ll spend more time with it when I’m not foraging through this unusually immense p.s., but, yeah, I love it! Thanks. I have the same hope for this week, and for yours too. ** _Black_Acrylic, Well, of course, man! Shit, I totally spaced on the Consumer Electronics LP. Damn, that should’ve been in mine. And, yay, for you-now-what! Everyone, Mr. _Black_Acrylic has launched thew new episode of his crucial musical podcast Play Therapy. Get it in your head and bod. So sorry about the match. Bleah. ** chris dankland, Chris! Holy moly! It’s so nice to you, old pal! Yeah, today’s a tough one to linger and chat, but, seriously, come back. I want to know everything, or at least a bite-sized version of everything. Great! ** Misanthrope, Hi. I have looked into the Olympics and seen the prices and now I am thinking about whether it can possibly be worth the price. Nice life goings on there. Just the name Department of Labor speaks of difficulties. Later gator. ** Harper, I’m a no small list fetishist myself. Strange for anarchist, but maybe it’s like the forbidden fruit. Super great, basically unimpeachable lists, of course. Stuff going okay? ** NLK, Hey, hey, NLK. The new Godard is fairly different from ‘Droles de guerres’, but it is the same wheelhouse, relatively speaking. I have to see the Guiraudie film, clearly. Will do. How are you? I’m hoping the answer is in the affirmative. ** Darbyy 😴, I think ‘Medusa …’ finally comes out any week now. I haven’t listened to Failure enough yet to pick things out. It’s still a wash of newness. Sure, I’d like to read something you wrote. Naturally! Thanks for the article. I’ll need to decompress after this whopper of a comments/p.s. first, but then, yep, thank you, pal. ** Uday, Agreed. About the weather. Just so long as the hot portion is very, very brief. I’m not sure if the ex-boyfriend would want me to identify him as such. He’s a model and a writer. Maybe that’s a hint? Eek, molested by Paula Abdul. At least it wasn’t Jennifer Lopez. Obviously your lists are full of greatness. And the ones I don’t know can be deemed great by association. Thanks, buddy. ** ellie, Oh, okay, ha ha, gotcha on the Merrill thing. I didn’t know people are still reading ‘The Changing Light at Sandover’. That’s the first time I’ve seen it mentioned in years. It used to be a huge deal. Interesting. I think I have about another week or so before I have to start passing through ‘customs’ to go home. Urgh. Great lists. Vanessa Place! I so love Leanora Carrington. ‘Sombre’! Really, really nice. I don’t now ai feith’s substack feithling, but I’ll go find it. Thank you, thank you! ** Malik, Hi, Malik! Welcome! I’ve thought about doing a theater list. I guess I just figured since everything would be Paris-specific, it wouldn’t hold much interest. But, yeah, I’ll try to do one. So many people put ‘Love Lies Bleeding’ on their list, and I don’t know it at all. I will endeavour to though, ASAP. Intriguing. I like that christtt too. I spaced on it. Sam D’Allesandro! Wow, nice. You’re feeding yourself very well, to my mind. Thank you very much. How are you? What’s going on? ** Nika Mavrody, If I had known about your blog, surely it would have been there. ** Right. I’ve restored and expanded an old blog post about the singular Luther Price for you today. Have at it? What do you say? See you tomorrow.