Jung Inuit Kubrick The Shining Art Show

Conceptual Art Meets San Francisco Punk Photos

🎙️ Welcome to Henri de La Poste, an: 👩‍🎨 Art Book Library 🧑‍🎨 Artist Residency 👨‍🎨 Co-Working Artist Studio 👩🏻‍🎨 Digital Exhibition Archive & Digest 🧑🏻‍🎨 Ephemeral Project Space Since 2015, our Digital Archive has gathered scanned material from exhibitions we have visited. These scans are available through our Link Tree⁠⁠⁠⁠⁠⁠ , [https://linktr.ee/henridelaposte] so you can view the PDFs, and are also uploaded into the Google Notebook Learning Model [https://notebooklm.google.com/notebook/e1122312-ab70-4a86-aff6-78f20bd40ace], where the material can be discussed, annotated, and studied collectively. From these sources, the LM generates conversations with two AI hosts. We call these podcasts a “Deep Dive”: a chance to explore art, history, and criticism through active dialogue. Here, we discuss the photographic archive of the San Francisco punk scene, captured by Jim Jocoy, and the "Magic Object" contemporary art exhibition featuring works by diverse artists. The life and work of Jim Jocoy, whose photography provides an "intimate and revealing" look at the San Francisco punk scene from 1977 to 1980. * Background and Identity: Born in South Korea in 1952 as Edward Monfette (and Hyoung Su Lee), he was renamed Jim Jocoy at age six after his mother remarried. His family settled in Sunnyvale, California, in 1969. * The Punk Years: In 1977, Jocoy dropped out of UC Santa Cruz to focus on the club scene. He obsessively photographed performers and fans in locations ranging from Mabuhay Gardens to private bedrooms and bathrooms,. * Publication and Recognition: His photos were initially shared in zines like Widows and Orphans and Search and Destroy. Decades later, his work gained broader recognition through the book We’re Desperate (2002) and exhibitions like Order of Appearance (2017),. * Legacy: His work is noted for evoking a deep sense of connection, capturing "barely post-pubescent youth" and unknowingly foreshadowing the AIDS epidemic. After his years in the punk scene, he spent his career in the Therapy Department at UCSF. Curated by Rico Gatson at the 99¢ Plus gallery in 2015, this exhibition featured works rooted in historical references, Jungian psychology, and cinematic subtext. * Aaron Williams: Contributed the History Painting series, which uses CNC-routered laminate/Formica to recreate patterns from Stanley Kubrick’s The Shining,. These works explore the tension between Native American culture and European imperial powers. * Mary Kate Maher: Created sculptures like Spire using concrete, polymers, and aluminum, drawing inspiration from Inuit carved forms and coastlines. * Roxanne Jackson: Utilized porcelain and metallic vapor deposits in works like Chrome Cats to explore the "duality of beauty and beastly" through Jungian psychology. * Alex Lee Harris: Produced CAGED Ringtone, an instrument of aluminum, brass, and electronics that provided a "haunting soundtrack" for the gallery. * Rico Gatson: Displayed Panel Painting #1, which references African plank masks and Masai warrior shields through bold geometric designs,. There is a transition in how artistic spaces and histories are preserved: * From Underground to Archival: Jocoy’s work transitioned from Xerox color prints made in a photocopy shop to archival pigment prints in high-end galleries,. * Industrial Materiality: Artists in the "Magic Object" show utilized modern, manufactured materials (electronics, Formica, polymers) to evoke ancient or fictional histories.

Art Preservation Myth and Industrial Decay

🎙️ Welcome to Henri de La Poste, an: 👩‍🎨 Art Book Library 🧑‍🎨 Artist Residency 👨‍🎨 Co-Working Artist Studio 👩🏻‍🎨 Digital Exhibition Archive & Digest 🧑🏻‍🎨 Ephemeral Project Space Since 2015, our Digital Archive has gathered scanned material from exhibitions we have visited. These scans are available through our⁠⁠⁠⁠⁠⁠ Link Tree⁠⁠⁠⁠⁠⁠ [https://linktr.ee/henridelaposte] so you can view the PDFs, and are also uploaded into the ⁠⁠⁠⁠⁠⁠Google Notebook Learning Model⁠⁠⁠⁠⁠⁠ [https://notebooklm.google.com/notebook/e1122312-ab70-4a86-aff6-78f20bd40ace], where the material can be discussed, annotated, and studied collectively. From these sources, the LM generates conversations with two AI hosts. We call these podcasts a “Deep Dive”: a chance to explore art, history, and criticism through active dialogue. The collective topic of the sources and our conversation history is the documentation and conceptual exploration of contemporary art exhibitions, with a specific focus on themes of industrial decay, psychological duality, and cultural subcultures. A major focus of the current sources is the work of Colin Lyons, specifically his 2015 exhibition at CIRCA Art Actuel. Lyons adopts the persona of an "archaeologist of the future" to explore the fragility and impermanence of industry. Key elements include: * Chemical Archaeology: Lyons treats artifacts with acid to highlight or induce corrosion, creating an "aesthetic of illegibility" that confuses the object's actual age and purpose. * The Time Machine: He developed a conceptual "Time Machine" to alter objects, metaphorically deceiving the "cycle of use" assigned to them by both preserving them from and damaging them with corrosion. * Planned Obsolescence: His work critiques the modern business strategy of designed failure. For example, in his work Research into Industrial Remains Six Miles North of Kamloops, he used ferric chloride ink to print a three-meter-long brochure, ensuring its own "rapid destruction". The sources also detail a group exhibition curated by Rico Gatson at the 99¢ Plus gallery. The show explored "magical and evocative" sensibilities rooted in diverse historical and psychological references: * Thematic Influences: The artists drew from Jungian Psychology, traditional Inuit carving, and Stanley Kubrick’s The Shining. In essence, these topics examine how artists use physical objects—whether through the chemical destruction of industrial remains or the curation of "magical" totems—to navigate our relationship with time, memory, and cultural history. This collection of works is like a curated time capsule; some pieces are designed to preserve a fleeting moment (like Jocoy's photos), while others are engineered to decay before our eyes (like Lyons' brochures), forcing us to confront what we choose to save and what we allow to disappear.

Comparing Conceptual Art Guides and Inventory

🎙️ Welcome to Henri de La Poste, an: 👩‍🎨 Art Book Library 🧑‍🎨 Artist Residency 👨‍🎨 Co-Working Artist Studio 👩🏻‍🎨 Digital Exhibition Archive & Digest 🧑🏻‍🎨 Ephemeral Project Space Since 2015, our Digital Archive has gathered scanned material from exhibitions we have visited. These scans are available through our⁠⁠⁠⁠⁠ Link Tree⁠⁠⁠⁠⁠ [https://linktr.ee/henridelaposte] so you can view the PDFs, and are also uploaded into the ⁠⁠⁠⁠⁠Google Notebook Learning Model⁠⁠⁠⁠⁠ [https://notebooklm.google.com/notebook/e1122312-ab70-4a86-aff6-78f20bd40ace], where the material can be discussed, annotated, and studied collectively. From these sources, the LM generates conversations with two AI hosts. We call these podcasts a “Deep Dive”: a chance to explore art, history, and criticism through active dialogue. Curated by Rico Gatson, this exhibition was held at the 99¢ Plus gallery in Brooklyn from July 10 to August 23, 2015. The show featured five artists whose works were rooted in historical and evocative themes, including Jungian Psychology, traditional Inuit carving, and Stanley Kubrick’s film The Shining. * Rico Gatson: Contributed "Panel Painting #1" (2015), a wood panel piece using acrylic, spray paint, and glitter. The work alludes to traditional African plank masks and Massai warrior shields through bold geometric designs. * Roxanne Jackson: Her porcelain and ceramic sculptures, "Chrome Cats" (2013) and "Snake Eyes" (2014), utilize animal imagery to explore the "internal duality of beauty and beastly" as defined in Jungian psychology. * Mary Kate Maher: Inspired by Inuit carved forms and coastlines, she presented "Spire" (2015), a 73-inch tall concrete and plaster sculpture, and "White Out" (2015), a photograph on aluminum representing "nothingness". * Aaron Williams: Produced "History Painting I" and "History Painting II" (2015). These Formica panels feature patterns based on the carpet designs from The Shining, representing the intersection of Native American culture and European imperial power. * Alex Lee Harris: Created "CAGED Ringtone" (2015), an instrument inspired by the anatomy of a wind chime that provided a "haunting soundtrack" for the exhibition. This exhibition featured a collection of works primarily by Jack Dale Robertson and Kyle Dopgima Teh, along with several collaborative pieces. * Themes and Works: The collection included diverse titles such as "Blue 3," "03 Chevy Avalanche," "No more hunger, but at what cost?" and "Cross of Afrika". * Pricing: The prices for the pieces ranged significantly, from $500 (e.g., "Hello Sunshine!") to $5,000 (e.g., "Blue 3"and "No more hunger, but at what cost?"), while several works were listed as "Price Upon Request". * Gallery Layout: The floor plan illustrates the specific arrangement of the artworks within the gallery space. For example, "Santa Susana Field Laboratory 1" and "Rock Trap" were positioned along the left wall, while "Blue 3" and "Untitled" were located in the bottom-right corner. To understand these exhibitions, one might view them as curated landscapes, where "Magic Object" serves as a psychological map of historical and cinematic influences, and "Assemblage in California" acts as a physical directory of contemporary artifacts and their market value.

Jim Jocoy's Private San Francisco Punk Photos

🎙️ Welcome to Henri de La Poste, an: 👩‍🎨 Art Book Library 🧑‍🎨 Artist Residency 👨‍🎨 Co-Working Artist Studio 👩🏻‍🎨 Digital Exhibition Archive & Digest 🧑🏻‍🎨 Ephemeral Project Space Since 2015, our Digital Archive has gathered scanned material from exhibitions we have visited. These scans are available through our⁠⁠⁠⁠⁠ Link Tree⁠⁠⁠⁠⁠ [https://linktr.ee/henridelaposte] so you can view the PDFs, and are also uploaded into the ⁠⁠⁠⁠⁠Google Notebook Learning Model⁠⁠⁠⁠⁠ [https://notebooklm.google.com/notebook/e1122312-ab70-4a86-aff6-78f20bd40ace], where the material can be discussed, annotated, and studied collectively. From these sources, the LM generates conversations with two AI hosts. We call these podcasts a “Deep Dive”: a chance to explore art, history, and criticism through active dialogue. The exhibition "Jim Jocoy: Order of Appearance," which was held at the Casemore Kirkeby gallery in San Francisco from June 16 to July 29, 2017. The show featured a "revealing selection of images" documenting the San Francisco punk club scene between 1977 and 1980. This exhibition coincided with the launch of Jocoy's book of the same name, published by TBW Books. * Artist Background: Jim Jocoy was born in South Korea in 1952 and moved to California in 1969. He was a student at UC Santa Cruz in 1976 but dropped out in 1977 to focus entirely on documenting the burgeoning punk scene. * Obsessive Documentation: Jocoy photographed his subjects in intimate and gritty locations, including bedrooms, bathrooms, strip clubs, alleyways, and bars, as well as venues like Mabuhay Gardens. * Artistic Style and Context: His work is noted for its intimacy, capturing quiet moments of youth "diving full stop into the dark of night". The sources compare his style to the work of Nan Goldin, Katsumi Watanabe, and Karlheinz Weinberger. Notably, his photographs are described as unknowingly foreshadowing the AIDS epidemic that would later devastate these underground communities. * Historical Significance: For decades, Jocoy's work was rarely seen in public. His first major recognition came years later in 2002 when Thurston Moore (of Sonic Youth) and fashion designer Marc Jacobs collaborated to produce his first book, We’re Desperate. * The Subject Matter: The exhibition image, titled "Friends in a Gold Car, 1978," highlights the focus on the influential fashion and raw energy of the era. Despite the passage of 40 years, Jocoy remains in the Bay Area and maintains friendships with many of the people he photographed. * Location: 1275 Minnesota Street, #102, San Francisco, CA. * Events: The opening included a book signing, and a special "artist in conversation" event was scheduled for July 15, 2017. * Professional Background: Outside of his photography, Jocoy had a career working in the UCSF Therapy Department. To understand the collection, imagine it as a time capsule that was buried in the loud, chaotic dirt of a 1970s punk club and unearthed decades later to reveal the vulnerable, human faces behind the leather jackets and safety pins.

Jung Inuit Kubrick The Shining Art Show

🎙️ Welcome to Henri de La Poste, an: 👩‍🎨 Art Book Library 🧑‍🎨 Artist Residency 👨‍🎨 Co-Working Artist Studio 👩🏻‍🎨 Digital Exhibition Archive & Digest 🧑🏻‍🎨 Ephemeral Project Space Since 2015, our Digital Archive has gathered scanned material from exhibitions we have visited. These scans are available through our⁠⁠⁠⁠ Link Tree⁠⁠⁠⁠ [https://linktr.ee/henridelaposte] so you can view the PDFs, and are also uploaded into the ⁠⁠⁠⁠Google Notebook Learning Model⁠⁠⁠⁠ [https://notebooklm.google.com/notebook/e1122312-ab70-4a86-aff6-78f20bd40ace], where the material can be discussed, annotated, and studied collectively. From these sources, the LM generates conversations with two AI hosts. We call these podcasts a “Deep Dive”: a chance to explore art, history, and criticism through active dialogue. The exhibition "Magic Object," curated by Rico Gatson, was displayed at 99¢ Plus in Brooklyn, NY, from July 10 to August 23, 2015. The show featured works by five artists sharing a magical and evocative sensibility. These pieces draw on specific historical references and wide-ranging subjects, including Jungian psychology, traditional Inuit carving, and imagery inspired by Stanley Kubrick’s 1980 film The Shining. Key works exhibited include: * Rico Gatson’s "Panel Painting #1" (2015), inspired by traditional African plank masks. * Alex Lee Harris’s "CAGED Ringtone" (2015), a suspended instrument based on a wind chime that provided a mysterious soundtrack. * Roxanne Jackson’s porcelain sculptures, "Snake Eyes" (2014) and "Chrome Cats" (2013), which explore the internal duality of beauty and beastliness. * Mary Kate Maher’s "Spire" (2015), a freestanding sculpture resembling totems and cairns, is inspired by Inuit carved forms. * Aaron Williams’s "History Painting I" and "History Painting II" (2015), Formica panels carved with patterns based on designs from The Shining, which contrast Native American culture and European imperial powers.