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IDOL FALL 2012


PUBLISHED BY MANOR HOUSE QUARTERLY COPYRIGHT, 2012 ALL RIGHTS RESERVED

OTHER COPYRIGHTS OBSERVED INCLUDE PHIL STERN GALLERY/CPI

PRINTED IN THE UNITED STATES

THE SCANNING, UPLOADING AND DISTRIBUTION VIA THE INTERNET OR ANY OTHER MEANS WITHOUT THE WRITTEN PERMISSION OF MANOR HOUSE QUARTERLY (OR BY OTHER OBSERVED COPYRIGHTS, RESPECTIVELY) IS ILLEGAL AND PUNISHABLE BY LAW. PLEASE DO NOT PARTICIPATE IN OR ENCOURAGE PIRACY OF COPYRIGHTED MATERIALS. YOUR SUPPORT OF THE ARTISTS AND THEIR RIGHTS IS GREATLY APPRECIATED AND ENCOURAGED FOR THE GENERAL WELL BEING OF ALL PARTIES INVOLVED.


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6 PHIL STERN 8 RAE ARMANTROUT - ALEXANDER KHOKHLOV 10 KAREN WEISER - MORGAN MANDULEY 16 RYAN MURPHY - ELIAS SIDNEY BLOOD 18 TERRANCE HAYES - ROHAN GRAEFFLY 20 KATHRYN L. PRINGLE - MARISSA PARSONS 24 KELLI ANNE NOFTLE - IAN CRANE 26 THE TREE RING 30 EMILY JANE MOTZKUS - MARISSA PARSONS 34 PHIL STERN 42 PALOMA YOUNG 50 TERRANCE HAYES 60 KELSEY BROOKES 66 JOSEPH MASSEY & WENDY HELDMANN James Dean, 1955

Rooms. Keyhole.

from “Dear Pierre”. A Curious Feeling; Untitled; A Thing in a Thing in a Thing (Open Window).

Untitled. Respite #1.

The Deer. Nebel.

The Presentation. Untitled Works.

In my story, chips soaked to make mush paper; Try to decipher. Ritual.

Brushbloom

Adverbial Conjugation, Labial Geometries & A line by George Kalamaras. Untitled.

Retrospective: Selected Works

Costume Design: Selected Works

Instructions for a Séance with Vladimirs

Serotonin; Happiness and Spiritual States: Selected Works

Microclimate(s). Lovesong.


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A Curious Feeling, Morgan Manduley Oil, ink, gouache on paper, 20 x 16 in. 2012 10

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from “Dear Pierre” KAREN WEISER

Our mirrors were covered. There were strangers in our house all day long. I don’t Our mirrors were covered. There were strangers in our house all day long. I don ur mirrors were covered. There were strangers in our house all day long. I don’t ur mirrors were covered. There were strangers in our house all day long. I don’t ur mirrors were covered. There were strangers in our house all day long. I don’t ur mirrors were covered. There were strangers in our house all day long. I don’t

o o

Pier

angel

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angel

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o Pierre,

out

of Pierre, but now strangely

now

angel

res t led led

th e

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res t

and

res t

formed, and

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familiar o

outline of Pierre, but now strangely filled with features transformed, and unfamiliar to

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UNTITLED RYAN MURPHY

You believe you chose this. For one’s heart’s respite too. You are all lovely And distant And let’s keep it That way. I cannot go over This again (Or is it through). And the lampshade Casts a pattern Of January leaves. Still without snow, That which is past Will pass. The wind Belligerent. That the past Has a will to pass— Throwing a pattern Of January. Which is a darkness In the pattern of light. I will make this small fort With my fingers Which have gone numb. Make with your hands The semaphore ‘farewell’. It is not the sound, It’s what the sound drowns out.

RESPITE #1

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ELIAS SIDNEY BLOOD


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THE PRESENTATION BY KATHRYN L. PRINGLE PHOTOGRAPHY: MARISSA PARSONS

We are here to share an investment opportunity with you… Outside light was blocked by the conference room windows’ vertical blinds. The blinds, which were white, suggested that the windows ran along the entire wall opposite the only door through which participants and presenters could access the room. Each slat of the vertical blinds was haloed by golden light giving the impression of a truly beautiful morning happening outside the conference room walls. Although no introductions had been made, there was a general assumption that presenters were present somewhere in the room or just beyond. A line of flitting dust motes, illuminated by the projector, extended from a hole in the wall across from a large white screen. Welcome to the offices of Standard Life Investments by F.F. Hoser & Company. We here at SLI are seriously interested in your life. Your life means something to us. Appearing behind the words flashing on the screen were images the company believed appropriately portrayed life. The first image was of a newborn baby with wisps of black hair wrapped in a Soft As Can Be blue blanket. The blanket’s tag was conveniently placed in the exact center of the image’s frame. It read, in small font that one would normally not read thinking the words were simply telling the owner how to launder the blanket so as not to ruin its Soft As Can Be-ness: THIS IS ONLY THE BEGINNING. We all want your little bundle of joy to have every opportunity in life. Here at SLI by F.F. Hoser & Company, we strive to give you the biggest and best returns for your investment, so your little one will never have to worry. The baby with dark wispy hair and the Soft As Can Be Blanket has turned its head a little, opened its eyes, and giggled. The lights to the conference room, which had been only partially off for the multimedia presentation, were turned all the way off. The only light in the room came from the projector and what was presumed to be the sun, outside, sneaking in around the vertical blinds. The people in the conference room did not allow any outward sign of an emotional response to register upon their faces. They held their heads straight, eyes focused upon the images and words projected on the screen in front of them, despite the fact that they were all sitting around a conference room table in largely uncomfortable positions. It was almost as if each person in the room could not bring themselves to acknowledge the fact that they had yet to purchase life insurance for themselves or their families. As if they felt such deep shame about having been so lax in the area of family-crisis management and preparation that they knew, had they made eye contact with another person in that room and in that same emotional state, it would be robbing them of what little dignity they had left. And so, forty-three heads sat rigidly fixed atop forty-three bodies, some of which were

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The Tree Ring is a chamber-influenced band work-

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ing under the direction of songwriter and composer Joel P West. Their new album Brushbloom was inspired by the native landscapes of San Diego County and features guest musicians from the chamber group Camarada. It was recorded in a living room over the month of August and released on October 30th, following a debut perforMANOR HOUSE QUARTERLY mance of the songs at Birch North Park Theatre.


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PALOMA YOUNG

PHIL STERN

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JOSEPH MASSEY & WENDY HELDMANN

TERRANCE HAYES

KELSEY BROOKES

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P H I L On Warfront of Tunisia February 1943

© Phil Stern Gallery/Cpi

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S T E R N Andy Warhol 1986

Š Phil Stern Gallery/Cpi

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P A L O MA Y O U N G

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KELSEY BROOKES A SCIENTIST-PAINTER CONSIDERS THE MOLECULES OF WELL-BEING

Psilocybin, 2012 Acrylic on canvas 72 x 60 in.

BY KELLY BENNETT, VOICE OF SAN DIEGO

Kelsey Brookes traded in his life in the microbiological world – chasing West Nile viruses and testing blood transfusions for HIV – for art. The scientific concepts fascinated him while he worked in labs at the Centers for Disease Control in Colorado, and at Gen-Probe in San Diego. But he was mostly performing grunt work. He’d draw on test tube sealing cards while he waited for processes to finish, and his friends in the lab would collect them. He faced two options, he said: Go to graduate school or find something else he loved to do. “I imagined myself as an old scientist, you know, 50 years old, and I imagined myself as an old artist,” Brookes said. “I guess I decided I’d rather be the artist.” But the 34-year-old painter can’t help but keep exploring how and why things work. Brookes’ latest projects take the simple molecular line diagrams you remember from high school – the ones scientists use to relate a molecule in a simple, visual way – and corresponds them to what those molecules do to our visual perception. It layers the outcome of the molecule, or at least, how 60

Brookes perceives the outcome, on top of the diagram itself. Take serotonin, below. Each of those bursts represents an atom in the serotonin molecule. Some of Brookes’ work caught the Red Hot Chili Peppers’ attention this year: A series of nine 7-inch records featuring Brookes’ artwork. You can see his new work in a solo exhibition, “Serotonin; Happiness and Spiritual States” at Quint Contemporary Art in La Jolla on view November 10 – December 29, 2012. I visited Brookes’ second-floor studio in North Park in October for a conversation about molecules, hallucinating and his pursuit of well-being. How do you choose your color for this work?

It’s unlimited. Anytime I can find a color that I haven’t made yet, I will mix and make it. I’m limited by the pigments I can see in the human visual spectrum. I’ll be walking down the street and see a flower and take a photo of it. And then I just take its components apart and reassemble them.

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MICROCLIMATE(S) POEM: JOSEPH MASSEY

Ecstasy evolves slowly within a closed horizon...

Pem Rehm

LOVESONG PAINTINGS: WENDY HELDMANN IMAGES COURTESY OF THE ARTIST AND MARINE CONTEMPORARY

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Ruud van Empel, World #7, 2005. ©Ruud van Empel 2005; Courtesy Stux Gallery, New York.

OCT 13, 2012 - FEB 3, 2013 M USEUM OF PHOTOGRAPHIC ARTS

1649 EL PRADO | SAN DIEGO, CA 92101 | 619.238.7559 | WWW.MOPA.ORG


thelitpub.com


PHIL STERN WWII: In Honor of our Veterans Los Angeles, California November 11, 2012-January 30, 2013 PhilSternGallery.com

Stern’s time in the Army during WWII influenced his photographic style for the rest of his life–gritty and honest with nowhere for either subject or viewer to hide. Phil believes his army career was what put him in good stead with the Alpha males of Hollywood. Wayne, Bogart, Sinatra... they all saw him as a man’s man and put far more trust in him than other photographers. Featuring rare images from Stern’s time as a WWII combat photographer documenting campaigns in North Africa to the invasion of Sicily. 601 South Los Angeles St Los Angeles, CA 90014

AKINA COX & ARIANE VIELMETTER Another Self Venice, California October 20-November 24, 2013 MarineContemporary.com

This exhibition, which developed out of a letter from Cox to Vielmetter, includes a series of new drawings, sculpture and video works that explore the relationship between the two artists, as well as their interests in the association between realism and fiction, the self and Cox’s haunting video “Burning Witch”, 2012 (showing the slow demise of a sculpture that loosely resembles the female form being burned at the stake). Both Cox and Vielmetter are interested in what gets sidelined, destroyed or marginalized when history focuses on a specific idea of progress and relevance. This charged work seems both deeply personal and relevant in the context of their overall practice. It is a metaphorical and a literal hymn to loss, persecution and faith.

Structures, Poetry, Humans WES BRUCE. Encinitas, California October 25-December 29, 2012 LuxArtInstitute.org Most people today live life in connection with a cast of different structures. From a home, hospital, classroom, workplace, crawlspace, fort, tent, place of worship, prison cell, make-shift shelter, etcetera. We interact with these structures in tangible ways, but also in ways that can’t be seen or touched. We create and recall memories, meaning, purpose, thoughts, fears, and daydreams in and around them. We love, mourn, meditate, sing, suffer, sleep, speak, argue, wonder, and grieve in connection to these structures. We saturate them with invisible breathes of thought and expression as the animate and inanimate blend. These structures act as minor characters in many of our stories, and exist as living metaphors, becoming mysterious keepers of the ineffable. Relationships and poetic connections are formed between us, ranging the full spectrum of emotion, experience, and human condition.

© Manny Farber 1995. Photo by Pablo Mason

The Very Large Array: San Diego/ Tijuana Artists in the MCA Collection San Diego, California Novemeber 29, 2012 - June 14, 2013

Featuring more than eighty artists and representing five decades of collecting, this expansive group show of Museum acquisitions highlights many of the region’s most beloved and accomplished artists. Presented in the spacious Farrell Gallery of the Jacobs Building, many of the two-dimensional works will be displayed in a dense, salon-style hanging covering the walls. A separate white cube space designed for the exhibition occupies the center of the room, presenting focused selections of works inside the cube, which will change seasonally. Visit www.mcasd.org for more information and a full list of artists featured in the show.


MHQ STAFF DANE CARDIEL Founding Editor

DANIEL HEFFERNAN Designer

JAMES MEETZE Poetry Editor

FEATURED ARTISTS PHIL STERN - Los Angeles, California

KELSEY BROOKES - San Diego, California

Retrospective: Selected Works

Serotonin; Happiness and Spiritual States

TERRANCE HAYES -

Pittsburgh, Pennsylvania Instructions for a Séance with Vladamirs

JOSEPH MASSEY - Arcata, California

PALOMA YOUNG - Brooklyn, New York

WENDY HELDMANN - Eugene, Oregon

Microclimate(s) Lovesong

Costume Design: Selected Works

CONTRIBUTING ARTISTS KELSEY BROOKES - San Diego, California

ROHAN GRAEFFLY -

LSD [Cover Art]

Houhrigny, Belgium

Nebel

RAE ARMANTROUT - San Diego, California

KRISTINA MICOTTI - San Diego, California

Rooms

Instructions for a Séance with Vladamirs [Illustration]

MORGAN MANDULEY - Chicago, Illinois

A Curious Feeling; Untitled; A Thing in a Thing in a Thing (Open Window)

KATHRYN L. PRINGLE - Oakland, California

KELLI ANNE NOFTLE - Los Angeles, California

DANE CARDIEL - San Diego, California

In my story, chips soaked to make mush paper; Try to decipher

The Presentation

Phil Stern and the Human Element ALEXANDER KHOKHLOV - Moscow, Russia

THE TREE RING - San Diego, California

Keyhole

Brushbloom

EMILY JANE MOTZKUS - Denver, Colorado

MARISSA PARSONS - San Diego, California

The Presentation; Adverbial Conjugation, Labial Geometries & A line by George Kalamaras [Photography]

Adverbial Conjugation, Labial Geometries & a line by George Kalamaras ELIAS SIDNEY BLOOD - San Diego, California

KELLY BENNETT - San Diego, California

Respite #1

A Scientist-Painter Considers the Molecules of WellBeings

RYAN MURPHY - Millbrook, New York

KAREN WEISER - New York, New York

TERRANCE HAYES - Pittsburgh, Pennsylvania

from “Dear Pierre” IAN CRANE - New York, New York

Ritual

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Untitled The Deer AMY SMITH - San Diego, California

Interview: Paloma Young

MANOR HOUSE QUARTERLY


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Issue 05: IDOL [Sample]