Timeless - thebookmann - Wonder of the World - Feinin

The man who fucked up Art - Marcel Duchamp

2009-12-04T03:01:00.000-08:00

If a work of Art can be a replica, then the replica should be valued as just that. Replicas are used to fool you, like costume jewelry.

Feinin' Objet Trouvé after Marcel Duchamp' bicycle wheel, urinal, chess and mile of string installation. There will be no replica of this work. The Feinin Collection. © 2009

Matthew Gale of Oxford University Press, says that "Duchamp envisaged the ready-made as the product of an aesthetically provocative act, one that denied the importance of taste and which questioned the meaning of art itself, Duchamp is quoted to say that the artist’s choice of a ready-made should be governed not by the beauty of the object but by his indifference towards it."

There is no trick here, these are just prefabricated objects re-assembled in a room. A ladder, a empty toilet tank, a hammer, a bicycle wheel, two chairs, a chess game and silk yarn. You may call it as you see it. But Is it art? Does the containment in the space set it apart as if it was separate?

I call it stupid bravely, Marcel Duchamp knew it too as stupid. He want to defuse the leisurely landscapes, his objet trouvé, took the cake. People perhaps were stunned by what it was, a urinal as pottery. He probably cried with laughter....pottery in the shape of a piss sink.

Ready-mades

So I decided to use his art against him. Was he a genius..you bet, but not after his bicycle wheel. Then I wondered, what happened with his career. Did he get stuck, did the pressure of creating ready-mades destroy him?

In comparison, when you look at his ready-mades, the object resembles that of the object itself or the objects combined, a wheel, then a stool. But if you look at Pablo Picasso's ready-made sculpture he used the same bicycle parts, he then looked at each element fitting parts together. Then, the work materialized, the handlebar against the rider's seat, transforming the bicycle parts into something identifiable, a bull..Did Picasso steal his thunder? Over and over till Duchamp fell. Art, teach them not to steal but to create

In the feinin, "Geniuses never look back on the things they produce, I wonder if I would ever say nice words over a work that appears to be part of me. Its tragic now when I think so. But I trying to solve my own. lesson in art making can erode the small atom that burst into creativity. Love it with all your heart, sacrifice everything behind its mask and begin to see the many facets in its collective morals. Genius is in us both. Bravery, answers to everlasting greatness, butterflies' nest, clang cland choo choo train"

My aunt's response,
The urinal...."Dem still does keep old pee pee bowl in stock?"

Frida Kahlo hairsuit

2009-12-03T11:51:00.001-08:00

Hair represents beauty, strength and virility. By cutting it off, you are sexless

After Frida Kahlo' Self-Portrait with "Cropped Hair" 1940, first test shot. For preparation of Frida Kahlo' unibrow, I attached clippings of my own pubic hair

In this study of Frida Kahlo, I pondered over her portrait. Delilah From Wikipedia explains that she was approached by the lords of the Philistines, to discover the secret of Samson's strength for a sum of course. Three times she asked Samson for the secret of his strength, and three times he gave her a false answer. On the fourth occasion he gave her the true reason: that he did not cut his hair in fulfillment of a vow to God. (De nasty bitch) as Samson slept shave off the the locks from his head. Men does despise women for dat, entrapment.

Can I mock pain? Do you see where I getting at? The truth of a work against a forgery? Do you understand why when feminists follower her work, they lie. Where is the bed?

In 1925, Frida Kahlo suffered serious injuries in a bus accident, the result broke her spinal column, broke her collarbone, broke ribs, broke her pelvis, fractured in many parts her right leg, crushed her foot, and dislocated her shoulder. An iron handrail pierced her abdomen and her vagina.

In her feinin I wrote, "In this self portrait, I had the sensation of a long wooden stick along my length of my back and I prep myself unwillingly with face power. In this feinin, I felt like a peasant, soulless and empty inside. Yet, I felt as if I was a gust of dust twirling like a vortex off a dry scorching plain. Laughing, composure, mystic, earth, gravity, free"

Pablo Picasso - Simple

2009-12-02T02:24:00.000-08:00

Marilyn Monroe by Feinin. This reminded me of the Mona Lisa under protective glass, her image untarnished

Arm, is tree contemp work meh have now, Ah say me ca destroy dem so like meh Damien tire cap. Dem ah sorry meh forget is competition me giving dem muse modern, Tate, Nationel Canahda, Brookolyn. Meh turm meh bamsee, me ingratitudinacitious ting, flog me wit yuh feather whip...

"Is it a gravesite? If it is, then her smile says that she is beyond our sorrow or her own..."

Your interpretation of the Andy Warhol study is correct, you answered your own question. As I stayed still, I thought look what I accomplished, but there was more, a "love" of her, and an understating of silence. I laid by her side in memory, and in death...till then - "Andy"

Does this mean I have value, no, its my memory, conditioned repeatedly of this movie star...It becomes a language, like the Mona Lisa.. a thing having meaning. Andy Warhol' art is like your furniture, it becomes dated.

In my earlier Feinin of Andy Warhol, " In this composition of shutter shots, I cried, There was a boy trapped in a woman and longing for some consoling touch, a kiss, an embracing hug a a tickle on the nipple, a show of compassion. I could gather that this portrait had me wondering in tribute, fair to say I liked the aura measured over the century. A telescopic pussyfooting, leach. A girlie pimp. So smack, kick over a table, pee on the rug, shit and wipe your ass with your finger, live life, tell nasty tales and treasure God, Man, cinema, sesame street - time is all we have. Introvert, miser, coward, hillbilly, tooth, shark. grace, Amen".......

After Pablo Picasso's Ceramic Owl, Picasso, the greatest artist of the twentieth century - Oh that jug once belonged to my great grandparents

.....and of Picasso, a tyrant, obsessed over money and rebellious. Angered and bitter that age had robbed him of his youth, his vigor and prowl. A mastermind of deception, forgery and a trickster capable of making art out of shear stupidity and having his admirers jump at his every whim.

Here was a man full of himself, a bull, a Picasso having the gall of wanting to be a Picasso. It amused him, his self admiration, his ownership of others. In his lifetime, his heart belonged to only one love. I realized that Pablo Picasso was fighting his inner demons, he was not willing to except his mortality.

This study made me aware of my own self worth, about a fragility to one's mortality. How I will be remembered is exactly how I predict it, with my love at my side, and a passage a bit turbulent at the first, but a flight into the aura of mankind's mystery. In forgiveness, and in understandings, I shall say quietly to myself, so this is it, how simple, how marvelously cute, like a button.

God likes men, you are his savior...

Baby Doll - Feinin after Andy Warhol

2009-12-01T08:07:00.000-08:00

Baby Doll, print, glass and ink 2009. Post Script: This is not an on going thing, I'm not undressing here, this was the first trial of which I was then clothed, as always, the first represents its truest meaning.

This work had me thinking, I took the steps to ensure that either Andy Warhol or his subject, Marilyn Monroe was not cheapened. As the printout of the original film still of the American actress was complete, I whispered the word, "Marilyn" as if I know her in memory. Andy Warhol reminds us that with anything we cherish, the beauty remains indefinitely seen. The portrait of her is protected by glass, it is untouched.

In my earlier feinin I wrote. "In the history of American icons from the twentieth century , Marilyn Monroe has be immortalized by artists in the effort to give her a sense of reincarnation. I found this self study to be just that, immortal, captured from a negative. Nevertheless to say, I was overcome by a dainty girl who by all means was prudish, concerned over her height, bitchy, clingy and needy.

Her popularity was a reflection of someone who hated all the attention, but craved it (independently). She was no fool, bright, careless in her ways and suspicious of people. Her life was turbulent, her passing, a kept secret, forever and ever and ever. Marilyn Monroe’s heart was open to her perpetual insecurities, her spirit lingers".

Once again, in my opinion, a very beautiful work, I wonder If I should have this open to the public?

Quesions over Ghada Amer 's work

I like how Kimberly Lam phrases Amer's work, very carefully...Her strongest work she says..."Red Diagonales", and so forth... Depending on your taste, discovering these female pornographic thread drawings entangled within the swipes of colour, you'll not conclude that it is shit, but kitsch. The question now is why? What does this layer mean? Is this work about religion? Is this about hidden sexuality, voyeurism or is this about suppression from the demoralizing of women from centuries of male domination... By putting meaning to it, here is were the shit begins.

I may have mistaken the reproduction of Ghada Amer's work as just threads that fell diagonally and crossed with other lines. But in the process, I did feel uneasy, the matting of the threads, the dye, the consistency of the glue, and above all the time it took the line the threads factored in my displeasure. Men think visually, women think methodically, I am not supposed over think with these studies, then it becomes a task.

We like surprises, "Red Diagonales" is expressed in illusion, repetition and falsehood. Clever, now how does Ghada Amer top that? Is it the Tracey Emin syndrome? Does this mean I will modify the feinin piece, perhaps not, the work just when out with the trash.

My sincere apologies for being so presumptuous, sometimes women just like to have their secret business tangled by other women, she may be a lesbian, those boots mean something in "KSKC", no harm in that.

After ~~Ghada Amer's New Albers~~, then after Aboriginal secret women's business, ending with Jean-Michel Basquiat. I was aroused by this work which was made from thread. In the process to mock Ghada Amer, her pornographic motifs disappeared because they were repeated patterns, and the work itself was lifeless. Then, the feinin painting transformed with a power unknown.

I've seen the porn version, boy she can't give head...Why her pot smoking 50 years ago is BBC news this is beyond me, perhaps the head of the BBC is a coke smoker...news has become entertainment.

We are fooled - Doris Dumb Salcedo

2009-11-30T04:11:00.000-08:00

Give art its meaning and it lives

Yes, I'm holding them

The Pulitzer Foundation for the Art writes on a work called, untitled, "Doris Salcedo serves as a witness to crime, introducing the voice or the silence of victims into an aesthetic context". Yes, she may have captured this with her music arrangement of broken high chairs, but this not good enough to be warranted as Art. Lets further investigate, what happens if you place some but not all all your furniture in one room, namely the living room. Empty the contents and build a tower?

We are fooled by Art

Doris' dumb sculpture caused a few Tate Gallery visitors to hurt themselves when they tripped over her work called Shibboleth. The installation attracted two million curious visitors. Doris Salcedo works with readymade objects namely wood cabinets and chairs, she cements the compartments together to make concrete objects. If one falls on you, you'll be surely injured.

My aunt would say this over the Shibboleth sculpture at the Tate, "Dem plaster dem focking floor wit concrete, de price so high and ah mudder cunt mason forget to pull out de plank before dem terrazzo it. Ah cut meh shoe strap walking across dis focking blasted shithole, meh eh see is part of de floor slip like we pavement wit crack and big steel drain hole expose when dem cover tief . Dem have so much money and dem ca fix ah floor proper? And de jackass floor painter eh say nutting, Dem is robot inside here or what?

Ah guard come quick, ah say, who is de ass mason who put down dis floor? Ah say, call he for meh. You know dat de shoe sandal sale done, ah pay $39.99 for de pair yuh have meh walking with meh shoe tie wit string.... Yuh better have brandnew strap sandal in gold before I reach de udder side".

Doris Salcedo' untitled from 2004 without the concrete padding

Is so she dis look for in ah king – CHOGM 2009

2009-11-29T16:38:00.000-08:00

Ah say listen yuh have ting to do, I ready make plan for we. Tell dem notting is between Charlie boy. Next is he to de trown. By de way eh see meh crown

Ah look out meh palace window, but yuh blank meh, look is alright, he tell meh you ca believe I remember dem walks.

Yuh eh check de Secretariat page? Is flag fete oui wit dem Grenadianee Ahmerica Jahmakca youts in sweet T&T. Yuh eh like how dem does talk? Meh ca understand ah word . Ah like how dem represent we in true bling….Yo man, de Commonwealth is ras clott spliff...

When you declare that I am a citizen of the Commonwealth, what does that mean?

Koons' lost puppy in Feinin' garden

2009-11-29T14:37:00.000-08:00

lost puppy by Feinin 2009
Sculpture, Polyethylene, contains oxygen, oils
Deflates over time

This is the last of Jeff Koon's sculpture. I wanted to give it the same value as one would of his work. Its quite playful as she sits in the garden. I also wanted to give thought to a number of questions addressed.

1. The concept behind the work has no value
2. The materials used has a value
3. The craft involved orchestrating the piece has value
4. The public's reaction towards the finish product has value

Art, is it a hustle?
1. No, but art is generally despised

When I look at great art, I am never thinking, "Oh I could have done that myself."
1.Great Art withstands a millennium

.........................................................................................................................................................................

IN DEFENSE OF CONCEPTS

by Ben Davis published by permission

Is it becoming cool to hate conceptual art? Recently in the Guardian, Adrian Searle wrote about being asked to take part in a debate at Oxford University. The proposition under consideration was "This House believes that conceptual art is no art at all." Speaking for conceptual art, Searle describes being stunned by "the general cultural ignorance" on the other side, "the unexamined prejudices, the kneejerk anti-intellectualism and cultural suspicion of contemporary art." What exactly Searle’s foes thought the word "conceptual" meant is not totally clear -- it was certainly not limited to the esthetic puzzles of Joseph Kosuth. The term, seemingly, has spread to cover anything that involves an idea at all, and it is often used as an epithet, as if the person speaking really wanted to say "trick art."

The Guardian article struck a chord with me, because of a sense I have had lately, a sense of coagulating ignorance surrounding the art world. Maybe I can chalk this up to Twitter, where one can survey the vast, mixed-up spectrum of opinion on art, all in one place. Or maybe it was the trailer for the recent comedy (Untitled), which looks amusing but also seems to be satirizing the pretentions of the art world of 20 years ago (The preview contains a spoof of Robert Gober and, yes, Robert Rauschenberg.)

What is certain is that my uneasiness received a potent kick from a New York Times op-ed last month by Denis Dutton, a critic who has been everywhere this year, from the Colbert Report to NPR. Appearing under the oh-so-witty title "Has Contemporary Art Jumped the Shark Tank?," Dutton’s Times piece was an assault on all things "conceptual," a term he uses in the same loose way as the Oxfordian anti-conceptualists. The California-born, New Zealand-based Dutton is an old-hand at anti-intellectualism -- in the ‘90s, he was known for his "Bad Writing Contest," holding up academic prose to ridicule -- but he is an informed person. Which makes his essay all the more striking for its "general cultural ignorance, unexamined prejudices, kneejerk anti-intellectualism and cultural suspicion of contemporary art," to use Searle’s checklist.

Since Dutton seems to be a figure who has been selected to explain contemporary art to the public, it’s worth taking note in detail of the basic errors that he manages to cram into this brief essay:

* Dutton’s archetypal examples of the ills of contemporary art are Damien Hirst and Jeff Koons. He uses these two convenient villains to illustrate his thesis: "appreciation of contemporary conceptual art. . . depends not on immediately recognizable skill, but on how the work is situated in today’s intellectual zeitgeist." Consequently, Dutton implies, art has become a game for insiders with no connection to popular values of art.

What is comic about this is that Hirst and Koons are probably the two most popularly identifiable contemporary artists. Neither can be summed up as opaquely "conceptual" in the way that Dutton wants to argue. You may or may not like Hirst’s The Physical Impossibility of Death in the Mind of Someone Living or Koons’ Flower Puppy, but they are both artworks that have an inbuilt "wow" factor. Arguably, a more informed criticism of these two artists would be that they cave in to the need for flashy, immediately legible spectacle. Dutton concludes his essay staring into a jewelry store window, speculating that there is just something about gems that is naturally fascinating. Which is why, of course, Hirst coated his For the Love of God with diamonds.

* Dutton’s primary concern is to argue that "human beings have a permanent, innate taste for virtuoso displays in the arts," and that "conceptual art" is bad because it neglects this natural affinity (in fact, the article is framed around the conceit that "works of conceptual art have an inherent investment risk," with Dutton seeming to indicate that the art market would do better to reorient around, I kid you not, "Acheulian hand axes.") He completely collapses the notion of "virtuoso display" with handicraft, as if a well-crafted philosophical essay weren’t a "virtuoso display" of its own sort. This, in turn, leads him into two cringingly obvious errors.

The first is evidenced in his claim that, as opposed to the insider gamesmanship of contemporary art, "we are still able, as with the great bronzes or temples of Greece or ancient China, to respond directly to craftsmanship." I guess Dutton thinks that the experience of appreciating sculpture is summed up by surveying it and saying, "Nice bronzework!" or "Wow, they really knew how to put together a temple!" In fact, appreciating art of any kind implies a command of the narratives around it; ancient Greek and Chinese art require a great accumulation of cultural knowledge to "get" them. All art is conceptual if by that you mean that actually having a rewarding encounter with it implies something beyond just the brute facts before your eyes.

Dutton gives a dire warning about contemporary art: "Future generations, no longer engaged by our art ‘concepts’ and unable to divine any special skill or emotional expression in the work, may lose interest in it as a medium for financial speculation and relegate it to the realm of historical curiosity." But my sense is that the average non-specialist visitor walking through the Met’s Greek and Roman Galleries appreciates the works there as precisely that: "historical curiosities." They spend about 10 seconds on masterpieces that have had whole books written about them, take a picture, move on.

* A second error, more crucial to understanding specifically contemporary art, comes in Dutton’s bold call that we should stop kidding ourselves that craft is "a value left over from our grandparents’ culture." I certainly don’t believe that craft is a dead issue -- far from it, I love the limpid paintings of my friend René Smith, who I think is a very good painter -- but Dutton seems to believe that nothing significant has changed that might affect our way of appreciating craft, not just from our grandparent’s time, but literally since the Stone Age! Arguably, the modern definition of the "artist" comes alive at exactly at the point where "art" is elevated above mere craftsmanship -- the birth of the artist-as-intellectual is the thrust of Vasari’s The Lives of the Artists.

But you can go further. Presumably, the value of craft in contemporary art will have something to do with how craft is viewed in contemporary society. If one is engaged in craft labor, one is also better placed to appreciate the craft labor of others. Today’s culture, however, is characterized by the massive alienation of people from the actual processes that produce almost all the goods that make up their everyday life-world, from food to clothing to entertainment. So of course this implies entirely new modes of esthetic appreciation, and gives new shades of meaning to craft when it is employed. People still make themselves things -- cooking themselves meals, puttering around in the basement, and so on -- but it is just a small part of daily experience. Correspondingly, "craft art" is just one color in a very broad rainbow of esthetic possibilities.

All of this is really basic, first-week-of-art-appreciation kind of stuff. So, why does Denis Dutton get a platform in the New York Times? Because he is able to give a sophisticated-sounding argument (Acheulian hand axes!) to something a large number of people feel, justifiably or not. A little while ago, I was sitting on David Cohen’s "Review Panel," talking about five diverse pieces of contemporary art. When the question period began, a hand shot up and a woman demanded of the panelists, as if aggrieved, "Don’t you think that the artist has an ethical responsibility to make their own work? How would you feel as a writer if someone took your words and published them as their own?"

"Well," I replied, "pouring your guts out onto the canvas is one kind of artistic expression. But even within the conventions of things that we normally think of as ‘artistic,’ it’s not the only one: Architects don’t make their own buildings, but we still recognize their labor as creative; choreographers don’t always dance their own work; and so on." Or something like that. I was proud of the answer as a kind of basic defense of a broad-minded approach to art. Immediately, 20 hands shot up, apparently to challenge me. Sensing that we were hurtling towards a quagmire, our moderator quickly steered us back to the artists at hand.

But maybe we should have finished the conversation, if such a conversation still needs to be had. The funny thing is, of course, that if you look around the professional art scene, you would never really know that there was any need to make the case for "conceptual" art, which is by now an established part of the artistic vocabulary that people treat rather casually. But insularity is itself a problem. It might be worthwhile to establish a criticism that revived the sense of how challenging and thought-provoking idea-based work can be, rather than being blasé about it. "Creative minds say arts fight not only for funds, but relevancy" ran the headline of a recent article in the Times of Trenton, reporting on a convention dedicated to "The Arts and the Economic Crisis," and noting that the major challenge arts advocates see in these troubled times is that the broad public might not care about what’s going on in the arts at all.

Ultimately, I don’t believe that this present debate about "conceptual art" versus "traditional craft" is really about those terms at all. The debate is a distorted reflection of something else, with the word "conceptual" standing as a kind of code word. Searle, for example, notes that one of his foes in the Oxford debate, the artist Mark Leckey, "said he was on the philistine side of the debate because he hated everything the YBAs stand for. He wasn't against conceptual art but what he regarded as the pop version of it." Dutton tellingly fixates on the high prices that Hirst commands at auction, arguing that a romantic love of craft would represent a rebellion against shallow economic calculation (as if Peter Doig wasn’t also an auction-house darling).

What people actually mean by "conceptual art" here is art that is not valued on the basis of its real, intrinsic merits, but because of the ideas around it. "Conceptual" is conflated with an "anything goes" mentality, the sense that esthetic values have been compromised by shallow commercial permissiveness. Because "conceptual art" is idea-driven, it is dismissed as a whole as being based on cliquishness and hype. A whole manner of art-making is being conflated with the scene around it, with the specific ends to which some successful artists put it.

No one, least of all me, is going to dispute the fact that there are a lot of smug, half-assed conceptual gestures out there, produced for an in-crowd audience. But there are also good, committed conceptual artists. I’ve always appreciated the Zen-like gravitas of On Kawara, despite having little luck explaining him concisely during my days as a docent for children at the Walker Art Center. (On the other hand, you know what artist kids do love, spontaneously? Rauschenberg. He connects with their love of making a mess.) In this, conceptual art is no different from "traditional" art: There is plenty of interesting painting and sculpture today; there is also plenty of boring, derivative painting and sculpture.

What’s notable about the present attack on "conceptual" art by Dutton and many, many others is that it is a symmetrical, distorted reflection of the very critique of "traditional" art that led artists to adopt diverse "conceptual" strategies in the first place. A great many of these (e.g. process art, abject art, performance art) attracted the zeal of their purveyors in the ‘60s, ‘70s and ‘80s because they seemed to promise some kind of critique of the art market. Traditional art forms like painting and sculpture were -- and still are, in some circles -- considered to be corrupt, because the objects they produce lend themselves to being sold, owned and traded. Barbara Rose expressed this silly conception in a particularly hyperbolic passage from the Partisan Review: "For some time now I have felt that the radicalism of Minimal and Conceptual art is fundamentally political, that its implicit aim is to discredit thoroughly the forms and institutions of dominant bourgeois culture."

The fact that such strategies devolved inexorably into their own sort of market-friendly style just proves a point. On both sides, "traditional" and "conceptual," the perceived ill of the other is actually just the displaced face of the market itself, with its tendency to transmogrify and vulgarize everything. Which should provide a lesson for critics about the kind of promises they make for art: There are no formal or esthetic solutions to the political and economic dilemmas that art faces -- only political and economic solutions. Consequently, the only critical temperament that makes any real sense is an eclectic one that doesn’t build up one or the other side into the answer for problems that they both share.

BEN DAVIS is associate editor of Artnet Magazine

Jeff Koons' lost puppy by Feinin 2009

2009-11-28T17:52:00.000-08:00

Just a bag of hot air

Lost Puppy name Blue (uncoated) after Jeff Koons' Balloon Dog sculptures

According to Wikipedia, its entry relating to Jeff Koons states that one of his sculptures was auctioned off to the value of $25,000,000 dollars US at Christie's London in 2008. $25,000,000 versus 12 cents US. You decide, is the Art worth what it seems? Give the object no value, and you'll see right through it.

On a personal observation, Jeff Koons has earned every cent he had worked for although like my feinins of Damien Hirst,the devil raised his head. I lost a few bags in the process. "Money, how thou you lie so still"

"Among all the pieces that you have subjected to this dissection, I personally found that the Hirst spin art was least equipped to defend itself". Then what are the qualities necessary for an Art work to defend itself?

Mariko Mori' enlightenment capsule by Feinin 2009

2009-11-28T00:59:00.000-08:00

After "Tom Na H - iu" a sculptural work by Mariko Mori

Performance Art
Low technology
Enlightenment capsule by Feinin 2009

From the Journal of contemporary Art Mariko Mori explains her concepts, "My work is heading toward more public performance and fantasy. I am making an Enlightenment Capsule for the audience to meditate inside". ....So I did just that. Its all over space sister, Feinin has landed and laid his egg.

I'm in the bag and not behind it as one may think

Rachel Whiteread Feinin' Maid' Bed 2009

2009-11-27T09:28:00.000-08:00

How to make Art for Rachel Whiteread

Act 1 Place the used mattress against the Gallery wall

Act 2 Push it down and hold it with your foot as it slides off the wall

Act 3 Then kick it in place

And here it is Art

After Rachel Whiteread
Untitled (Double Amber Bed)
1991
Sponge foam synthetic material
Image available

Rachel Whiteread believes she is a sculptor, draughtsman and printmaker. She makes sculptures of the "spaces in" termed by Octavia Nicholson under which her art captures the unfamiliar spaces of the familiar life, a bath, sink, mattress or chair, transforming the object into the a public forum, for an example as part of the MOMA collection. The sculptures are like fossilized garbage found on the pavements of her city absence of human usage. Her practice copies Duchamp but she neglects that Marcel never made a cast of the object...Pittance to say his is far more relevancy to me.

"God decides and we obey" But further its like a chessboard and we souls are just pawns. The truth is life suffers by man's childish antics..God, Gods.. make no judgment until the human desire to be free is abandoned. Life remains in the hand of you, your thoughts make up this equation. I am not free.

Ghada Amer - Red Diagonales Feinins

2009-11-26T12:15:00.001-08:00

On the wall, Red Diagonales, dye, embroidery on paper after Ghada Amer courtesy of Feinin

Ghada Amer view from the Brooklyn Museum speaks about her career as Love Has No End, she is an artist who works in many facets as a painter, sculptor, illustrator, performer, garden designer, and installation artist. She describes herself as a painter and is internationally recognized for her abstract embroidered erotic drawings, her entire body of work is infused with ideological and aesthetic concerns....(namely shit). I'm not sure if she has the right to use the term embroidery...the threads looked glued to me.

Wiping your napkin during a heavy flow (threads optional)

After I produced this work which took me two more of the three minutes I wanted to spend on it, the matting and tangling of the threads coated with glue and red dye had me frustrated. I felt it dealt with a subject that was strictly female, or as if I had a heavy period and used the mucus as part of the work. I wondered as well how did she become known? And the answer I am sure is quite simple, she slept with a curator, give or take three times to seal the deal. Nothing wrong with that, you know we men, we'll screw any crevice.

Queen Elizabeth II Counter Four

2009-11-25T01:47:00.000-08:00

" Pumpkin, I am here with you, we gave away too much of the world we owned"

Queen Elizabeth II in the waiting room of Port of Spain's state of the art immigration building applying for her three day work permit

Speaker phone: Queen la....Elizabeth Two Counter 4
CPEP worker: Yuh Majesty, I see dat I born before we independent fete, I say to meh self but I is British...meh birt papers say so. Where to apply for meh Majesty passport ?

Ah see meh time ready to attend big meeting in de Savannah ice skating ring, I reach dem emigration early and de lady tell meh is wait till meh appointment reach and meh number call. Ah say daddy, what blimey timing, Sod and I so longed for a vacation in the Caribbean Isles and we are inconvenienced. Oh Mary II days on our ship...Oh daddy, the officer whispered, "May I say my name"...I think it was Harald, darn..sweet cheeks of his. I wanted to play, but my nickers slipped down from my thighs and I pulled them up before Harald could figure out why I was twitching.

"My pumpkin, my rose petal, we walked crossing the fields of Balmoral, I taught you both that love never ceases, you are Queen if only your child grew up".

Feinin as King George VI

Ah see meh eldest sitting wit dem natives, meh eh see why when she self once own dem all. I hear ah immigration officer call she name and mistake she for Queen Latifah. Ah say allyuh crude mistreating meh bright daughter...de younger sister too jealous hiding she nickers, calling she slim rod, oh Madgaret.

Next ting dem ask, who yuh fadder name? Meh pumpkin say, "Bloody King George VI, Albert Frederick Arthur George King of the United Kingdom and British Dominions and the first Head of the Commonwealth.

Dem officer look at meh Broach, "where yuh born?", I took off my Brit jewels and slammed it in front of the lad, "pardon my french, I am Her Reigning Queen, Liz to no one, you are just servants,...lets hurry, supper is at six".

Oh mommy, if only you could see how beautiful those boys are turning out to be without that witch who raised them spoiled. Harry is ridiculous, I'm counting on Charles, if Camilla, ran away with the dentist.

"Mister Prince Willy, dough let yuh banana fruit touch meh"

Meh Beautiful Grandson, Horse Grin Prince William borrowing and keeping meh favorite centre piece crown, look how he learning fast wit dem local celebrity native, Saucy Wow at de Commonwealth of Nations Meeting opening in de Chinee Ice Ring in Port of Spain. "Will boy show her your blue blood…come on, loose that bridle, give it all in the quarters…whap, again, whap, whap, whap… just a few more yards, whap, show her and the World that you are my King, King, King of the Commonwealth...Oh God Save the King. Stand ladies and gents, bow to him….whap,whap whap, whap, whap whap, whap, salute the Crown of England, Wales and the territories we once held, whap.”

Oh lawd Meh Royal Hind, ah ca take de flogging, I taking meh bible and going to say meh bible prayers, Jesus, mamee, pressure dis is madness, Eeeeric ah go repent.

The Crown

I encountered a strange omen over this crown which is made of from shards of glass, Christmas wrapping paper, mother of pearl buttons and cardboard. I could not understand my difficulty how it was to be displayed, and the power it possessed seems to be at its will. Blood at the head kept coming to mind. Then it came to me, what is missing was a rod which the shell of the crown hung.

To answer your question, I have never considered writing a play, perhaps its part of my blue blood. I had planned on using the Chinee ice ring before you asked, I had photographed it two weeks before. Any inanimate object can come to life once you put your heart into it. These works are just that. The Queens studies were complex, I had done many, some worked while others failed. These was faced with a parody which was not necessary. The more I tried, the further it went into the past, the pieces looked Elizabethan with the nuances that seemed regal. Forgoing this, here is the Queen at her best.

Gerhard Richter door handles by Feinin

2009-11-23T17:04:00.000-08:00

Remember art is about gimmick

After Gerhard Richter Kugel 1989 a 8 cm Ball of high-grade steel

I very much liked Gerhard Richter's blurred paintings but during these observations I question his skill.and also question his subject matter. He immortalized American socialites like Jacqueline Onassis or Patty Hearst but I wonder if he ever painted the victims of the Berlin wall or Ann Frank? Oddly enough, I paint quite similarly to his abstract work, back in those school days at the Ontario College of Art, Toronto 1989

Gerhard Richter photographed by Lothar Wolleh parodied by Feinin

The both examples you gave are parodies, although Francisco Bolero is himself poking fun at it. Did you notice his attire? If these portraits represent a social consciousness in art, then one needs to have compassion for the subject, and to the spirit in which it represents. Clinton Fein's photographic reenactments has no relevancy, I say this because they lack an incite. The work more or less has a sadistic feel to it, no doubt the people who were responsible for this leaked "Abu Ghraib" mishap were sexually gratified in the brutality. The lessons we think we instill onto others haunts us eventually. Every physical act remains imprinted in the mind for eternity. Saddam Hussein' ghost calls, "Measure me oh highest being, call my mother's grave in destitute we grieve"

I value the intent.

Cindy Sherman' Untitled #255

2009-11-21T17:09:00.000-08:00

Feinin's prosthetic body after Cindy Sherman' photograph, "Untitled #255"

For some time I struggled over this work, I was drawn to the orifice which was made from cardboard panels then sewn together. This is a cleaner version, the original gave me a good laugh. Yeh it was to have the likeliness of a prosthetic suit like in the nude life size sex doll ...I am assuming of Cindy Sherman's "Untitled #255"

Cindy Sherman explains ....Sherman places herself in the roles of B-movie actresses. Her photographs show her dressed up in wigs, hats, dresses, clothes unlike her own, playing the roles of characters. While many may mistake these photographs for self-portraits, these photographs only play with elements of self-portraiture and are really something quite different. In each of these photographs, Sherman plays a type -- not an actual person, but a self-fabricated fictional one. There is the archetypal housewife, the prostitute, the woman in distress, the woman in tears, the dancer, the actress, and the malleable, chameleon-like Sherman plays all of these characters.

For a work of art to be considered a portrait, the artist must have intent to portray a specific, actual person. This can be communicated through such techniques as naming a specific person in the title of the work or creating an image in which the physical likeness leads to an emotional individuality unique to a specific person. While these criteria are not the only ways of connoting a portrait, they are just two examples of how Sherman carefully communicates to the viewer that these works are not meant to depict Cindy Sherman the person. By titling each of the photographs "Untitled", as well as numbering them, Sherman depersonalizes the images.

Of cause there were problems with this shoot... I will not go into the detail only if you ask...hmm, but I love it. Remember I am using what I have and completing a work of art everyday. See the earlier Feinin of her in her later career

Star struck like Sherman's stills are composed to give a sense of importance intended as a visual caricature of Americana. If these Feinin self studies are termed conceptual portraits, they are to me by means of the detail. Everything means something in reference to the work, but I rather call them anthropological portraits. They are to demystify our conditioning over conceptual art. The more I can parody, the less I value.

If Cindy Sherman's portraits as she states are not of her persona, then whats the point? I rather have a still photo of the movie star she pretends to be. Artists should be careful who and what they portray. I found this out in the fenin studies that showed my melancholy. it was a depression I had to fight alone, you see it in the work. Art imitates life, one has to be mineful not to end up dead in a Hotel room strangled by a lover conceptualised in their mind and played out as a self portrait many years before.

Yes I understand what you mean, "Being Fucked Over" I rather liked the review by Kim Clune with the term, "Preening" and "life of a starlet", the first Feinin of her says it all. Remember, I am in character, there is no gender, I am just a inanimate sex doll waiting to be fucked.

Hypothetically, if by your window, you notice a man rolling in the garden with a strip of cardboard between his legs, what would you think? And there is something more,..he is naked. These are the issues I face with these studies as they are self portraits photographed by a timer. I have to get in position, I can not see what the camera sees, nor can I guarantee that the camera will focus correctly or actually fire the shot. Further to the complications of holding the piece together when the camera fails, I have to get up and do it over again. I really need proper equipment to execute these feinins. Did you notice the leaves that were tangled in the vagina, and how damaged the "box" was?

Proust on his deathbed by Man Ray - Feinin

2009-11-19T17:25:00.000-08:00

Proust on his deathbed by Man Ray - Feinin

In a question over the permanence of these studies, I thought if, where I rests, that God was at my side.

Feinin's second attempt of Damien Hirst's Spin painings - You feel you are king, well yes you are....forget Mother of God. The work shown was also destroyed.

"Did the spin art pieces burn well?" I wondered why there were so many distractions over this work. At first I thought it was a jinx...but there had to be more to it. The paintings in my mind looked perfect. I saw it in the process how the paint ran and where a string of paint had to be positioned to flow as with his paintings, at that moment, my mind clicked.

On both occasions, the paper tore away ripping them. I had a huge issue with the wind which came from all directions trying to flip it before it dried. And of cause they would not burn without the help of a fire accelerant....petrol.

My work will be secure if only I think of them.....Ah better start wit meh next piece, Mister Man Ray

Lawd dem school days - Claes Oldenburg

2009-11-19T07:05:00.001-08:00

Oldenburg Soft Drainpipe - Blue Feinin Version 2009

To give this installation weight, I filled the canopy with red sand, then tied it together...I think it is a better version of Claes Oldenburg's sculpture, but I felt it had to do with sex, and Oldenburg' desire for fucking.

This work is so beautiful that I have refused to take it down.

An appropriate question over art that is environmental, such as the Spiral Jetty by Oldenburg and Goldsworthy's biodegradable kinetic works using forms taken from nature, then expanding on it. Unfortunately, to be out there it seem,s your work has to be grand, the bigger the better syndrome with sponsors like Sony, IBM and so forth to build the device. The great thing I have learnt so far is not to place any value on anything. This frees me from it all. A few months ago, I photographed what I deemed public art, is this just as good?

Feinin - Cindy Sherman in her later career

2009-11-18T19:33:00.000-08:00

Cindy Sherman - Americana

I believe that if you are exceptional, and you have done something that has never been attempted that makes you famous.....Then its all becomes about you. Whether Mr. Hirst is termed as "daemon of genius or destruction? He has denigrated living things for the sake of vanity, and has mocked in his words..."God" . Never you mind...his life continues on a path of destruction, "The Golden Calf" will de-plode in its formaldehyde...

A study of illusion and reality, parody, humour and humanity

In my earlier self-portrait of Damien Hirst; I found myself surrounded by a triumph of good apposed to what I thought was profane. In the feinin, I felt like a circus clown, laughing at my own mortality, yet chocking with grief at the gall of being a piece of jewelry. It was as if I was facing God in the mirror, testing his will and his tolerance for stupidity. Charlatan, mindbogglingly, entertainer, coax, afraid, hat trick, sadness....

What's up? I am above you all, laughing, giggling at it all, my supreme fame and abundance, Cheero. Smile, sublime, fatherhood, counter-plane, bomb exploding off my chest, testing God's creatures, playing a little game with him, his brilliant, cutting edge son. - Feinin

His works may degrade...My writing will never die.

Oh God man - Damien Hirst

2009-11-17T17:16:00.000-08:00

Feinin - Spin paintings - Damien Hirst

Yuh tink it soft, Let meh cuss, I jinx all day wit this, is he and he love of money cause meh plenty pain. But I get him..It looking real eh. Ah make two.

I encountered many distractions over Damien Hirst’s Feinin. Many strange things happened while I was producing it. At the last stage as I was taking down the tent before the spin paintings were to be photographed, one of the spot lamps shattered.

I wonder what energy is behind these similar studies, It disrupted my concentration.. If only I knew the danger, God never intended man to be so vain. Both works have been destroyed.

You never know what other uses a spin painting could bring before I go shopping.

I drove to the grocer and asked the bag boy if I could take a picture of him pointing at the tyre....he said, "dat is small change'" and gave me back a dollar from the three I gave him

MissTracey Emin canopy mattress 2009

2009-11-16T12:09:00.000-08:00

Feinin- Tracey Emin' Tent

One of the most difficult compositions staged of British Artist, Tracey Emin reclining on a mattress with a canopy and with a Guinness bottle inserted into her vagina. I simply used a red ring over the bottle to look like the hood and outer lip from the vagina, and a sock the hide the penis and scrotum‎ from being noticed.

To answer your question, Miss Emin appears to be lost for ideas and she finds herself caught with the ideas of the past. The Guinness prop was used to represent the fact that drinking is one of her habits, represented with her installation, "Me Bed installation". The feinin plays on that premise, and other attributes to her neurotic behaviour. The paint brush is a quote from her sayings that she rather not paint...

All I can say is that from which references it is taken from. We all base our perceptions on what we see, and what we think in terms of the knowledge of the thing. Somethimes we are wrong, but most likely in the gut, we are right.

louise bourgeois Maman

2009-11-15T16:07:00.001-08:00

Louise tell meh she fed up wit de spider, I tell she but why, is you who does do it, but is I who do it better wit meh plum tree branch *....Miss lady, you eh see noting yet..Yuh eh see Who He Feel He mark up meh wall, I not cleaning now yuh write meh and tell meh is AHHHHHTTTT.

louise bourgeois' Spider

*The Plum branches cut used in this art work was necessary as the tree itself needed to be pruned

Christian Who He Feel He -The Holy Virgin Mary-2009

2009-11-14T10:58:00.000-08:00

Feinin – Chris Ofili, The Holy Virgin Mary, 1996

The concept of these feinin studies are to parody the works of artists. I use whatever props I have, and try to assert the least amount of energy producing them, but importantly as closely to resemble the original work. I have fooled readers thinking that I owned the piece. They are all self portraits photographed by a timer. Sometimes the camera does not fire when I pose, or things just fall off my body while I am being photographed. These are the challenges I face.

With Chris Offili, I had the opportunity to see his painting, "Iscariot Blue" which is about Parang. Mr. Offili as you may know is responsible for the infamous painting, "The Holy Virgin Mary" which was deemed sacrilegious. The parody is more about him, and the value we place on art, he also lives here in Trinidad.

What I have learned is not to take your work too seriously, whether some pieces are termed works of art, that's left to you and the History books. Now back to meh next Feinin, I see it already, ogood, is jinks, meh ca do dat, but wait .....dem know already.

Lady wit meh flower - Chris Ofilli

2009-11-13T13:00:00.000-08:00

A set of flowers used for his Feinin

As part of Chris Offili's feinin I wanted to use artificial flowers which I did not want to buy. I also purchased the red tights and top to give a carnival festive feel. I approached a variety shop in Port of Spain and the woman at the counter was kind enough to give me a bag full of damaged plastic flowers which I promised to return to her as a Christmas wreath in gratitude. I made a flower arrangement instead and presented them to her the following day. The clothes items where returned as they were too tight.

More demanding was trying to photograph Ofilli's posture as I observed him and his wife dance at Peter Doig's home some months ago.

Photo studies of Chris Ofilli's feinin. It should be noted that these stills were long exposures compounded by a camera that is notorious for miss-focusing. A large format digial camera may have worked to my benefit.

Christian Who He Feel He

2009-11-11T19:52:00.000-08:00

Christian Who He Feel He and He Wife in ah Christmas Parang Fete night sweat

Iscariot Blue - Chris Offili - Me see me self as he, say dem foreign

Man in Polyester Suit series 1

2009-11-09T17:19:00.001-08:00

Ahdela Toad - Meh know she well

2009-11-09T16:29:00.000-08:00

She beg meh to do she so I do she

Ah tell she dis morning is he, so he say to do he