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Because You'll Judge Me No Matter What

In the end, this will go above the couch, for the bargain price of $7.95 for a 16"x20" giclee poster print from Winkflash, and an on-sale $10 (buy one, get one for $0.01) black wood frame from Aaron Brothers. I dunno. I like it. This and the photograph of the Calder mobile at the National Gallery.

I have the hardest time picking out posters or prints from real artists. What kind of art you choose says a lot about you. In the end, using my own photography seems wayyyy egotistical and pretentious, but it sort of makes sense, because at least they're personal experiences. What connection do I have to some random picture of France, or some painting I've never seen in person? What's the point of getting a poster of a painting, when you can't have the texture? I love Rothko, for example, but have seen maybe only 3 Rothkos in my life, and it's all about the texture (nevermind my love for Pollock, which is really all about texture). The cleverness of Magritte is not mine, but his, and it feels weird to appropriate it, or the cryptic sensitivity of an Ed Ruscha. But I really loved the cherry blossoms in D.C., and these I walked under on the way to the Library of Congress. Some of my happiest memories are from whenever I visit The Best Friend, or that orange-colored day in June (seriously, it was hot, maybe there was an orange alert) when I met Amber.

It was either this or a Sugimoto nature print (not his wax figures, though they are awesome), which I am considering for the other wall. I am a big fan of Henri Cartier Bresson, but his prints are all expensive now that he's dead. Damn. I also like Margaret Bourke White and the fashion photography of Lillian Bassman.

I am wary of putting static strange people on my walls though. They look back at you. It is weird.

Full post as published by Law and Letters on January 30, 2008 (boomark / email).