Monday, December 31, 2007


An essay by A. Gargett on my works created while in New York...

_ A. Gargett

“I look at you and think of the evening I first met you, and you’re not that person anymore. I mean, the elements are the same, but you’re different. Look at me right now.” Christy lifted her long arms right up in the air, still holding the dripping spoon, asking me to take in all of her. “I will never be this person again. When we walkout of here today – when tomorrow morning comes – I will be somebody else, not exactly the same as I am right now. Maybe that’s all dying is.” Ethan Hawke – Ash Wednesday

Quirky, yes. Offbeat, certainly; but more than that, with its mixture of media and its oblique take on the very act of being an artwork, the paintings of Kristen Alvanson imply that their creator’s vision is wrested from the world rather than being at home within it. In an era when so much art strives for the ready-made statement – in reality provoked by the times but seeking nonetheless to be provocative of them – Alvanson’s work remains carefully stated. The working is always shown; an art of passion in which the terror of – and desire for – abandonment, is expressed with consummate cool.

Alvanson’s art is an art of presences and resonances, acts and allusions. Perhaps it is viable to start with memory. With memories that are positioned before our eyes. What here has been remembered? How does the painting work to remember? It is not that these paintings simply turn around the interaction of memory, histories and representation, it is more accurately, that these themes present what comes to be framed within the paintings as their own apposite topos; and within that topos, their presence is intricate and complex. At work within the field of the painting they source the paintings with their work. What this means is that the paintings draw on and develop the resources that inhere in memory, history and representation. The specificity of their work, however, is connected to what occurs when these elements are themselves put to work. In this, their supposed determinations – the already given particularity of memory, history and representation – no longer control, and even though these elements need to be understood as encompassing, and enacting, the material presence of tradition, what is enacted takes the form of an active questioning rather than a painterly or interpretative “fait accompli”. It is that their movement into work is traversed by a questioning of memory, history and representation. This questioning comes to be at work in the frame and thereby forms an integral part of the work’s work. This questioning is no mere idle speculation; it is rather a questioning that, once acknowledged, forms a resolute part of the present.
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Wednesday, December 05, 2007

dESIRE for Sale

dESIRE #005000
As part of the dESIRE Project I am both capturing and selling my dESIRES. dESIRES are sold in units (1 unit equals 100 consecutive desires). Individual units are recorded in the following way: dESIRE 000001-000100, dESIRE 000101-000200, dESIRE 002201-002300 or dESIRE 005401-005500, for example.

For each unit the purchaser is buying 100 of my intangible dESIRES as well as the 100 color photographic representations of these dESIRES. The photographic representations will be included on one CD-Rom Disk. Each unit is unique and includes original intangible desires and original color photographic representations, therefore, the unit will not be duplicated or sold as copies.
Current Market Value of 1 Unit of dESIRE = USD $100. Order Now because the price of a Unit of dESIRE is about to increase. 

For more information and to order check the desire section of my website:
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