Spencer Tweedy

Observations 10-2-18

  • Being moved by the simplicity and far-ahead-of-their-timeness of Brâncuși’s sculptures during my professor’s sculpture history lecture.
  • Thinking, as I’m sure a lot of other people have, that sculpture and painting and studio art should have a crediting system for helpers and assistants the way that recorded music does, but not being sure about how that would work or whether it would ruin some sanctity or freeness of those media. Artists should be able to present their work with whatever degree of mystery as they want, and I can see how a crediting system could impose a certain way of thinking about ownership (whose is this?), causality (who did this?), identity (what is this?), and whatever else on them. (It gets even more complicated with dynamic works, interactive works, performance works…) But on the other hand I feel like if recording musicians accept that they need to document others’ contributions, artists of other forms should, too.
  • Another sculpture class thought: wondering how works are affected by our using the imperial system. We round up or down so often in measuring and cutting materials. How would works (or the canon, ooh) be different if we used a metric guide instead, or none at all?
  • Googling polygon angles and re-learning about elementary math for a new sculpture assignment. Using my phone calculator for arithmetic.
  • The “wow! wow! wow!” sound our sink makes every time you turn it on.
  • The mind-melting, newly released footage of Lennon and Harrison recording “How Do You Sleep?” (with a comatose Klaus Voorman on bass). It sounds so fucking good.
    • Feeling relieved at John’s saying about the song, during an interview later, ”If I can’t have a fight with my best friend I don’t know who I can have a fight with.”