Visual Art Oct 1, 2009 at 4:00 am

Leo Saul Berk and the Obscenity of Data

While Jeff Koons watches (by Leo Berk). Courtesy Lawrimore Project

Comments

1
It doesn't look like a dick. It looks like a poo.
2
NO FNARF IT OBVI IZ SOMETING FROM BIOLOGY OR FROM TRAVELS ABROAD. THOSE IZ ONLY THINGS U QUALIFIED TO TALK BOUT.
3
@1. Whatever it is, it has an ergonomic handle.
4
Dear Jen Graves: I was with you. I was SOOO with you. You pulled me blindly through this review and kept drawing tenuous but interesting connections and dropping fascinating cultural anecdotes but I WAS STILL WITH YOU. Fascinated and suddenly intrigued by this gigantic yellow block/turd/orifice/penis/whateverthefuck. And it felt good. And then you wrote this series of sentences: "The significance of the machine is its precision, in direct contradiction to the value of the information conveyed. Berk's solid, exacting model sculptures facilitate beautifully the desire to project oneself into unknown spaces for the purposes of discovery. But the discovery instead is about the limits of projection and the elaborate ways we ignore those limits. There is so much desire requited in architectural models, but famously little knowledge gained, and Berk's stylish, dazzling colors and finishes are like cocktails that reveal exaggerated truths and sustain pleasure at the same time. This is how political fictions are mixed and swallowed." This is not the New Yorker where totally meaningless, abstruse, pompous bullshit passes as intellectualism. This is The Stranger. The obscenity of data? Excuse me? WHAT THE F%*K ARE YOU TALKING ABOUT!? Unless this paragraph was the result of a simple typesetting error that erroneously transposed the paragraph you actually wrote with a personal from the !!? section of Lustlab, you owe me an apology for raping my brain.
5
"This true-to-life orange grid, which casts a crisp raspberry shadow grid on the gallery floor from light passing through the transparent acrylic"

It also cast a beautiful rose reflection on the ceiling.

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