WHAT IS THE PLAUSIBLE DENIABILITY PROJECT™?

The Plausible Deniability Project™

I can't tell you how many times I've been asked about the Plausible Deniability Project™ (PDP™). 

"How you join?" (You don't. You have to be nominated, fully vetted, debated, and voted in by a two-thirds majority).

"What exactly is it?" (If you have to ask, you won't understand).

"Who are the members?" (Members!? What? You think it's rock band or a mime troop!

"Well then, so what the heck is the deal?"

Well now we're getting somewhere. I've listed below the names of the core group of anarchist/artists who are the lifeblood of PDP™. They (I mean we) have been getting a great deal of publicity, especially in Los Angeles. 

Below are the names with links to some recent interviews.

Knock yourself out

David Schoffman  1

David Schoffman  2

Timmy Black  1

Timmy Black  2

 

Dahlia Danton

Boris Lemon

Leonora Diwas

 Micah Carpentier

 Spark Boon

 Sophia Lagrimar

 Currado Malaspina

 

 

 

 

 

LOVING BEATRICE

I've always had a soft spot for the French artist Currado Malaspina. His work is so unapologetically self-indulgent that one can hardly find fault with his conceptual solipsism.

He has apparently fallen in love with Dante - or more specifically, with Beatrice Portinari. His latest project, the illumination of the Commedia in three lushly ornamented artist books, is truly a tour-de-force. Though I can appreciate his brave commitment to the easily accessible Inferno and the more difficult Puragtorio, his treatment of Paradiso is almost creepy in its obsessions.

Malaspina's Beatrice is no longer Dante's conduit to the divine. She is more of a living, sweaty seductress who has sternly lured the poet into her heavenly domain only to ravish and reward him for his decades long devotion.

 

Medievalists would no doubt take issue with this interpretation but Currado has never been inhibited by his ignorance.

LOS ANGELES

I rarely visit Los Angeles but when I do, I'm always struck by the anarchy of its urban aesthetic. I'm aware of the clichés, reinforced by Hollywood, of vapidity, self-indulgence and flaccid individualism, but I see little evidence of that. Instead I'm awed by its unremitting diversity. Nowhere in the United States is there so much savage, asynchronous untethered activity.

I find myself walking down streets punished with incandescent sunlight, and stopping to sketch the lengthening shadows of the ubiquitous palms. 

 

DRAWING ON THIN BROWN SHEETS OF PACKING PAPER

Every time I ordered something from some art supply store or second-hand bookshop or hardware emporium or haberdashery, it always arrived with an excess of brown butcher paper crumpled in the corners of the cardboard boxes. Cheap fragile musty paper crammed along the hinges and stuffed inside like a Thanksgiving turkey. 

I was loathe to throw it out so I saved them. I folded each tattered sheet, smoothing them the best I could and folded them along their perforated seams.

Twelve months of ordering things online. Twelve months of crumpled brown butcher paper.

I must have accumulated hundreds of these wasteful shards of cheap smooth crappy paper.

I suppose I should stop ordering so many things online.

Now it seems like the time is right to draw on them.

For some reason I find myself drawing images of my former professor and mentor David Schoffman. I never actually saw him shirtless.

 

THE IMPORTANCE OF ACTING EARNEST

Mitchell Inoya is a New York artist that deserves more exposure. 

Lean Back, Handmade paint on parchment, Mitchell Inoya, 2012

He represents the type of artist that is all too common these days. He is both a microcosm and a fun-house reflection of the twisted cult of calculated insincerity.

He's been on the scene, albeit on the margins, for over two decades and if you haven't yet heard of him it's not entirely his fault. He is a tireless self-promoter and a constant presence on social media.

I recently stumbled upon an old episode of Timmy Black's bizarre podcast, The Lives of Contemporary Artists where Mitch featured prominently. 

Listen and lament.

CAMERA SHY

Komal Gilboa

Komal Gilboa prefers not to be photographed. The Sri Lankan artist is known for her lyrical abstractions and believes her work should be judged on their own merits. By all accounts, Komal is quite attractive and her reticence in front of the camera has only intensified the myths surrounding her great beauty.



Komal Gilboa, Sense of Guardare, 2017


As the featured artists in Timmy Black's podcast, "Timmy Black Presents: The Lives of Contemporary Artists" Gilboa now will receive the exposure she truly merits.

Maybe now she'll let someone take her picture.

Technology & Art: Strange Bedwetters

This is an important document!!! 

Please review with the proper degree of scrutiny.

The balance of Western Civilization may be at stake!