One thing visitors won’t be getting is lots of information on the walls. Each objet will be identified in situ – but there is only one substantive text panel, at the show’s start, while each of the exhibition’s seven sections will be prefaced only by a single quotation, such as “Art is never chaste” (for the grouping called Surreal Anxiety and Desire/1924-34).

It’s completely intentional, of course. Didactic panels bunch up viewers and tend to mediate, even “blind” their experience of the art, Baldassari said.

“What we need to do is go freely to the work. We have to have the courage to be nude in front of the works. An exhibition is not a text, is not a book. We don’t need any explanation at the first level of contact ... to respect it, to put people under its power. What is an exhibition but a machine to exhibit people to the work? We need to be in a direct relation, without any ‘facilities,’ no small stories, no narratives.”

the biggest fans of jamaican music were the original skinheads.
"For the first time, Jamaican music had found an international audience, whether those who created it liked it or not."
"it could quite easily co-exist with a kind of antipathy, a hatred for black people". "they're just like a pastime. pakis. just jump'em. it's not they colour, 'cause you know the jamaicans they a'ight. // lot of jamaican mates" rude boy meets hard mod: skinhead reggae, street-style (neo-nazism vs punks), paki-bashing.
racists.
1968-1972.
fuc'inel.

the story of trojan records 5 cd box set. soundtrack to 40+ years of summer.

By the way, would you convey my compliments to the purist who reads your proofs and tell him or her that I write in a sort of broken-down patois which is something like the way a Swiss waiter talks, and that when I split an infinitive, God damn it, I split it so it will stay split, and when I interrupt the velvety smoothness of my more or less literate syntax with a few sudden words of barroom vernacular, this is done with the eyes wide open and the mind relaxed but attentive. The method may not be perfect, but it is all I have. I think your proofreader is kindly attempting to steady me on my feet, but much as I appreciate the solicitude, I am really able to steer a fairly clear course, provided I get both sidewalks and the street between.

rice crispy square, the variations in.

soda and the cereal, bright like milk.

fidelity.

post 808s+heartbreak.

rashida jones.

black glove.

lego and the future of learning.

300, click clack pow.

17 minutes on board with sebastian loeb in sardinia, 2011.

here comes the pizza.

tillmans.

in its use there is the widest correct range of service.

where engineers and scientists are also working on robots and space elevators.

perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love. _rilke

on a speed strip for tactical reloads.

whattapair.

Praise this world, Rilke says, the jerk.

We’d stay up all night. Every angel’s

berserk. Hell, if you slit monkeys

for a living, you’d pray to me, too.

I’m not so forgiving. I’m rubber, you’re glue.



That elk is such a dick. He’s a space tree

making a ski and a little foam chiropractor.

I set the controls, I pioneer

the seeding of the ionosphere.

I translate the Bible into velociraptor.



In front of Best Buy, the Tibetans are released,

but where’s the whale on stilts that we were promised?

I fight the comets, lick the moon,

pave its lonely streets.

The sandhill cranes make brains look easy.



I go by many names: Buju Banton,

Camel Light, the New York Times.

Point being, rickshaws in Scranton.

I have few legs. I sleep on meat.

I’d eat your bra—point being—in a heartbeat.

ontario lacus, on titan.

how Saturn's rings, after they became tilted relative to Saturn's equatorial plane, would have transformed into a corrugated ring.

mercury in relief.

blonde motion.

crossover appeal.

4:50 the million dollar man goes out to eat.

delivery, cadence.

adam in the garden of eden.

lul.