from Chalk Mine Hollow (x), 2017
17 x 8 x 5.3 cm
Steel tool head
How are these readymades different than a shovel leaning on a wall, a specific tool signifying a specific labor under a specific circumstance? Duchamp's shovel was apparently random in its selection and, as luck would have it, its use value is determined by chance, which is to say when it snows. The snow shovel's singular purpose is to clear away the ground and free it of snow, a liminal and temporary precipitate if you will. The head of a hammer, on the other hand, has many uses, most meant for impact. So, singularity versus versatility as well as common ground amongst common, mundane activities.
A downward stroke. A point of impact. Charles Ray's comment in Sculpture After Sculpture at Moderna Museet about Ancient Greek sculpture and how the tool strikes the surface as THE condition of Art in any era; the techniques by which tasks are accomplished with specific tools at specific material and temporal points. So, these tool heads (iron-age conjuring, steel-inflicted). No handle, which is also to suggest no body. Nobody. And also no user. Therefore, currently, how the seemingly immaterial has material impact through audio, video et al.
The overall confusion here, for me, seems to be between the aesthetics of the tools themselves and the results of their tasks, certainly sculptural works in all instances both art (hyrdocal chunks and hammer heads) and life (pounding of all kinds).
working edges, 2017
Programmed image sequence
A digital representation of similar, worked surfaces.
to hazard functions, events, 2017
Steel, aluminum, tarp
Industrial remnants under blue tarp (sky reference and/or shanty town workshop roof?).
Zarouhie Abdalian and Joseph Rosenzweig
threnody for the millions killed by silicosis, 2017
In/Of the head (face, ear). The intermittent sharp drive of metal on metal (presumably a hammer of some kind) that pierces the inner ear vulnerable to high frequency. Head to head.
Cf. Tim Sullivan "Lawns of Dawn" @ VACANCY