Jessie Fisher
November 25, 2007 by Chris
Posted in Painting | Tagged Art, Jessie Fisher, Kansas City, Painting | 8 Comments
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MW Capacity 
I think this is the metal-est painting yet posted to the blog.
or,
“The time we let Matthew Barney decorate the apartment.”
Ha!
P.S. I just wanted to thank Modern Art Notes for adding us to their blogroll. Thanks also to ’bout What I Sees for pointing them our way.
P.P.S. Somebody needs to give me like 10 dork points for posting this on the last day of hunting season. Fight the power!
Comte de Lautréamont: “The chance meeting on a dissecting table of a sewing machine and an umbrella.”
Andre Breton: “Beauty must be convulsive or not at all.”
This is a such an uncomfortable image. I feels like this could be about The Sublime, or a reminder of that Consumption has two sides, the Consumer or the Consumed, but then–like Matthew Barney–there is this absurd, slightly sci-fi or Heavy Metal aspect added to the equation. I’m not sure if it tastes great together or not. Is it a fight? The Sublime vs. Pop Psychology? Or do they get it on, and spawn some new mutant emotion I’ve felt but never named before?
Is what I’m saying here totally wank-off? I’m having a hard time getting out what I mean.
One more:
Jeffrey Eugenides from Middlesex: ‘Emotions, in my experience aren’t covered by single words. I don’t believe in “sadness,” “joy,” or “regret.” … I’d like to have at my disposal complicated hybrid emotions, Germanic traincar constructions like, say, “the happiness that attends disaster.” Or: “the disappointment of sleeping with one’s fantasy.” … I’d like to have a word for “the sadness inspired by failing restaurants” as well as for “the excitement of getting a room with a minibar.” I’ve never had the right words to describe my life, and now that I’ve entered my story, I need them more than ever.’
Right on with that Middlesex quote. I’ve felt like that for years and years. Not only with emotions, but that my decision-making process is almost always at some level intuitive, for basically the same reason. That context (often a multi-layered, Venn diagramesque context jumble) is inescapably attached to whatever the ‘pure’ thing is. That’s where the fun of this kind of image is: it flusters the structures by which things are made familiar or alien, taboo or not taboo.
TCO (total cute overload) + Hibiscus and Ribbons + Thanksgiving (time to consume) + the twins from The Shining + Martha Stewart Living = this painting (and that’s a “good thing”)