Do we have a contemporary art thread?

'Cause I've been postin' and laughin' so long
That even my momma thinks that my mind is gone

Postby scurrydog » Sun Mar 20, 2016 3:51 pm

can we talk about david hammons in this thread?


I love david hammons.

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http://images.mnuchingallery.com/www_mnuchingallery_com/e205f478.jpg

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love you guys!
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Postby famnexdo » Sun Mar 20, 2016 4:22 pm

Tha best. Was just at that opening...
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Postby gravey » Sun Mar 20, 2016 6:42 pm

Hammons is amazing.

It's funny that this was mentioned because I just came across the work of Wardell Milan, who reminds me of Hammons quite frequently (well his body prints anyway):

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Postby Tetradyne » Sun Mar 20, 2016 7:59 pm

Eric Yahnker

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Postby famnexdo » Sun Mar 20, 2016 9:41 pm

Wardell! Super nice guy :]

and Yahnker has a good sense of humor but I always felt like his work was a bad rip of Karl Haendel (whose drawings were in the last whitney biennial)
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Postby famnexdo » Sun Mar 20, 2016 9:47 pm

lol
was gonna post this in the shia thread, but figured this was a better/funnier thread to dump it...

https://vimeo.com/156781909
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Postby Phil » Sun Mar 20, 2016 9:50 pm

carrot wrote:Image


Goddamn.

Also, famnexdo, I saw you post about it in the New York thread, but how was the Akerman tribute? Was sad to miss it.
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Postby famnexdo » Sun Mar 20, 2016 9:59 pm

:cry: Agh, I was totally planning on going, especially w speakers like Mekas, Bujalski, and Mangolte but after posting and assuming it was that night I looked it up and apparently it had already begun at 10am that day for some reason?? such a weird time...
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Postby Phil » Sun Mar 20, 2016 10:14 pm

Ugh yeah by the time I realized how early it'd started it was like 11:30 and then the L was a disaster.

I'm sure there will be plenty of good remembrances sprinkled in as introductions during the BAM series, at least.
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Postby gravey » Mon Mar 21, 2016 4:23 pm

Anyone see Taryn Simon's new work at Gagosian? I was a little underwhelmed when I first saw the press release, but after more reading I find the work to be pretty compelling. Granted, this is all from digital impression, so take it with a grain of salt. Technically the photographs seem like they excel and I'd love to see the frames in person, at least. Bummed I won't be able to see it, but maaaaaaybe it'll come to the west coast at some point. Either way, I can see the work functioning in a book format.

Image
Memorandum of Understanding between the Royal Government of Cambodia and the
Government of Australia Relating to the Settlement of Refugees in Cambodia. Ministry of
Interior, Phnom Penh, Cambodia, September 26, 2014


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Agreement Establishing the International Islamic Trade
Finance Corporation
Al-Bayan Palace, Kuwait City, Kuwait, May 30, 2006


I think it leaves this weekend.
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Postby walt whitman » Mon Mar 21, 2016 5:15 pm

Simon's "Paperwork and the Will of Capital," 2015 work was spectacular when I saw it at the Venice Biennale this past summer, it consisted of books and large photographs enframed in vitrines in a gallery room next to Harun Farocki's Labour in a Single Shot multi-screen projections. But the work doesn't translate at all in reproduced form without the lengthy captions etc.

Anyhow, some 'shots:
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Several display cases showed sheets of papers with pressed flowers, besides a photo of a bouquet with these very same flowers and an explanation of the international meeting which was decorated by these plants. The choice of the treaties and governmental agreements is based on the 44 countries that participated at the conference of Bretton Woods in 1944. This summit leads to the foundation of the International Monetary Fund (IMF) and the World Bank. Afterwards there were other international reunions with resulting contracts, always decorated with flowers. In general these treaties witness the will of powerful men and the institutions they represent, to influence the financial order.

For the reconstruction of the bouquets Simon consulted the archives and ordered the corresponding flowers from the Aalsmeer Flower Auction in the Netherlands. It is the world’s biggest trading location for flowers. The huge range of different species made it possible to rearrange the “impossible bouquets”. The artist has chosen this term, because often they were composed of flowers which are not growing at the same time and in different regions of the world. Moreover the Aalsmeer Flower Auction stands for the globalised capitalist market. Additionally the “impossible bouquets” refer to the Dutch still life paintings, developed in the 17th century due to the country’s economic boom and the improvement of modern capitalism.

The flower arrangements – on the first view innocent witnesses – are changing their role to tools of political meaning: they are “coopted as forms of propaganda in the interest of political and economic gain.” (https://espionart.wordpress.com/2015/06 ... f-capital/)
“Short film, Long film, It’s ALL film!” - Walt Whitman
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Postby viachicago » Mon Mar 21, 2016 5:23 pm

olafur eliasson

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Postby bazooka » Mon Mar 21, 2016 5:27 pm

rly love this piece of writing from hammons a friend showed me several years ago

From An Interview with David Hammons:

1. I CAN'T STAND ART ACTUALLY. I'VE NEVER, EVER LIKED ART, EVER. I NEVER TOOK IT IN SCHOOL.

2. WHEN I WAS IN CALIFORNIA, ARTISTS WOULD WORK FOR YEARS AND NEVER HAVE A SHOW. SO SHOWING HAS NEVER BEEN THAT IMPORTANT TO ME. WE USED TO CUSS PEOPLE OUT: PEOPLE WHO BOUGHT OUR WORK, DEALERS, ETC., BECAUSE THAT PART OF BEING AN ARTIST WAS ALWAYS A JOKE TO US.

WHEN I CAME TO NEW YORK, I DIDN'T SEE ANY OF THAT. EVERYBODY WAS JUST GROVELING AND TOMMING, ANYTHING TO BE IN THE ROOM WITH SOMEBODY WITH SOME MONEY. THERE WERE NO BAD GUYS HERE; SO I SAID, "LET ME BE A BAD GUY," OR ATTEMPT TO BE A BAD GUY, OR PLAY WITH THE BAD AREAS AND SEE WHAT HAPPENS.

3. I WAS TRYING TO FIGURE OUT WHY BLACK PEOPLE WERE CALLED SPADES, AS OPPOSED TO CLUBS. BECAUSE I REMEMBER BEING CALLED A SPADE ONCE, AND I DIDN'T KNOW WHAT IT MEANT; NIGGER I KNEW BUT SPADE I STILL DON'T. SO I TOOK THE SHAPE, AND STARTED PAINTING IT.

4. I JUST LOVE THE HOUSES IN THE SOUTH, THE WAY THEY BUILT THEM. THAT NEGRITUDE ARCHITECTURE. I REALLY LOVE TO WATCH THE WAY BLACK PEOPLE MAKE THINGS, HOUSES OR MAGAZINE STANDS IN HARLEM, FOR INSTANCE. JUST THE WAY WE USE CARPENTRY. NOTHING FITS, BUT EVERYTHING WORKS. THE DOOR CLOSES, IT KEEPS THINGS FROM COMING THROUGH. BUT IT DOESN'T HAVE THAT NEATNESS ABOUT IT, THE WAY WHITE PEOPLE PUT THINGS TOGETHER; EVERYTHING IS A THIRTY-SECOND OF AN INCH OFF.

5. THAT'S WHY I LIKE DOING STUFF BETTER ON THE STREET, BECAUSE THE ART BECOMES JUST ONE OF THE OBJECTS THAT'S IN THE PATH OF YOUR EVERYDAY EXISTENCE. IT'S WHAT YOU MOVE THROUGH, AND IT DOESN'T HAVE ANY SENIORITY OVER ANYTHING ELSE.

THOSE PIECES WERE ALL ABOUT MAKING SURE THAT THE BLACK VIEWER HAD A REFLECTION OF HIMSELF IN THE WORK. WHITE VIEWERS HAVE TO LOOK AT SOMEONE ELSE'S CULTURE IN THOSE PIECES AND SEE VERY LITTLE OF THEMSELVES IN IT.

6. ANYONE WHO DECIDES TO BE AN ARTIST SHOULD REALIZE THAT IT'S A POVERTY TRIP. TO GO INTO THIS PROFESSION IS LIKE GOING INTO THE MONASTERY OR SOMETHING; IT'S A VOW OF POVERTY I ALWAYS THOUGHT. TO BE AN ARTIST AND NOT EVEN TO DEAL WITH THAT POVERTY THING, THAT'S A WASTE OF TIME; OR TO BE AROUND PEOPLE COMPLAINING ABOUT THAT.

MY KEY IS TO TAKE AS MUCH MONEY HOME AS POSSIBLE. ABANDON ANY ART FORM THAT COSTS TOO MUCH. INSIST THAT IT'S AS CHEAP AS POSSIBLE IS NUMBER ONE AND ALSO THAT IT'S AESTHETICALLY CORRECT. AFTER THAT ANYTHING GOES. AND THAT KEEPS EVERYTHING INTERESTING FOR ME.

7. I DON'T KNOW WHAT MY WORK IS. I HAVE TO WAIT TO HEAR THAT FROM SOMEONE.

I WOULD LIKE TO BURN THE PIECE. I THINK THAT WOULD BE NICE VISUALLY. VIDEOTAPE THE BURNING OF IT. AND SHOOT SOME SLIDES. THE SLIDES WOULD THEN BE A PIECE IN ITSELF. I'M GETTING INTO THAT NOW: THE SLIDES ARE THE ART PIECES AND THE ART PIECES DON'T EXIST.

8. IF YOU KNOW WHO YOU ARE THEN IT'S EASY TO MAKE ART. MOST PEOPLE ARE REALLY CONCERNED ABOUT THEIR IMAGE. ARTISTS HAVE ALLOWED THEMSELVES TO BE BOXED IN BY SAYING "YES" ALL THE TIME BECAUSE THEY WANT TO BE SEEN, AND THEY SHOULD BE SAYING "NO." I DO MY STREET ART MAINLY TO KEEP ROOTED IN THAT "WHO I AM." BECAUSE THE ONLY THING THAT'S REALLY GOING ON IS IN THE STREET; THAT'S WHERE SOMETHING IS REALLY HAPPENING. IT ISN'T HAPPENING IN THESE GALLERIES.

9. DOING THINGS IN THE STREET IS MORE POWERFUL THAN ART I THINK. BECAUSE ART HAS GOTTEN SO....I DON'T KNOW WHAT THE FUCK ART IS ABOUT NOW. IT DOESN'T DO ANYTHING. LIKE MALCOLM X SAID, IT'S LIKE NOVOCAINE. IT USED TO WAKE YOU UP BUT NOW IT PUTS YOU TO SLEEP. I THINK THAT ART NOW IS PUTTING PEOPLE TO SLEEP. THERE'S SO MUCH OF IT AROUND IN THIS TOWN THAT IT DOESN'T MEAN ANYTHING. THAT'S WHY THE ARTIST HAS TO BE VERY CAREFUL WHAT HE SHOWS AND WHEN HE SHOWS NOW. BECAUSE THE PEOPLE AREN'T REALLY LOOKING AT ART, THEY'RE LOOKING AT EACH OTHER AND EACH OTHER'S CLOTHES AND EACH OTHER'S HAIRCUTS.

10. THE ART AUDIENCE IS THE WORST AUDIENCE IN THE WORLD. IT'S OVERLY EDUCATED, IT'S CONSERVATIVE, IT'S OUT TO CRITICIZE NOT TO UNDERSTAND, AND IT NEVER HAS ANY FUN. WHY SHOULD I SPEND MY TIME PLAYING TO THAT AUDIENCE?

DAVID HAMMONS 1986
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Postby wlad » Mon Mar 21, 2016 6:29 pm

can we post about video art in here or am i not allowed
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Postby wlad » Mon Mar 21, 2016 6:30 pm

also i'm appalled that i'm not a famous artist by now. i don't even want money
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Postby wlad » Mon Mar 21, 2016 6:34 pm

bazooka wrote:rly love this piece of writing from hammons a friend showed me several years ago

From An Interview with David Hammons:

1. I CAN'T STAND ART ACTUALLY. I'VE NEVER, EVER LIKED ART, EVER. I NEVER TOOK IT IN SCHOOL.

2. WHEN I WAS IN CALIFORNIA, ARTISTS WOULD WORK FOR YEARS AND NEVER HAVE A SHOW. SO SHOWING HAS NEVER BEEN THAT IMPORTANT TO ME. WE USED TO CUSS PEOPLE OUT: PEOPLE WHO BOUGHT OUR WORK, DEALERS, ETC., BECAUSE THAT PART OF BEING AN ARTIST WAS ALWAYS A JOKE TO US.

WHEN I CAME TO NEW YORK, I DIDN'T SEE ANY OF THAT. EVERYBODY WAS JUST GROVELING AND TOMMING, ANYTHING TO BE IN THE ROOM WITH SOMEBODY WITH SOME MONEY. THERE WERE NO BAD GUYS HERE; SO I SAID, "LET ME BE A BAD GUY," OR ATTEMPT TO BE A BAD GUY, OR PLAY WITH THE BAD AREAS AND SEE WHAT HAPPENS.

3. I WAS TRYING TO FIGURE OUT WHY BLACK PEOPLE WERE CALLED SPADES, AS OPPOSED TO CLUBS. BECAUSE I REMEMBER BEING CALLED A SPADE ONCE, AND I DIDN'T KNOW WHAT IT MEANT; NIGGER I KNEW BUT SPADE I STILL DON'T. SO I TOOK THE SHAPE, AND STARTED PAINTING IT.

4. I JUST LOVE THE HOUSES IN THE SOUTH, THE WAY THEY BUILT THEM. THAT NEGRITUDE ARCHITECTURE. I REALLY LOVE TO WATCH THE WAY BLACK PEOPLE MAKE THINGS, HOUSES OR MAGAZINE STANDS IN HARLEM, FOR INSTANCE. JUST THE WAY WE USE CARPENTRY. NOTHING FITS, BUT EVERYTHING WORKS. THE DOOR CLOSES, IT KEEPS THINGS FROM COMING THROUGH. BUT IT DOESN'T HAVE THAT NEATNESS ABOUT IT, THE WAY WHITE PEOPLE PUT THINGS TOGETHER; EVERYTHING IS A THIRTY-SECOND OF AN INCH OFF.

5. THAT'S WHY I LIKE DOING STUFF BETTER ON THE STREET, BECAUSE THE ART BECOMES JUST ONE OF THE OBJECTS THAT'S IN THE PATH OF YOUR EVERYDAY EXISTENCE. IT'S WHAT YOU MOVE THROUGH, AND IT DOESN'T HAVE ANY SENIORITY OVER ANYTHING ELSE.

THOSE PIECES WERE ALL ABOUT MAKING SURE THAT THE BLACK VIEWER HAD A REFLECTION OF HIMSELF IN THE WORK. WHITE VIEWERS HAVE TO LOOK AT SOMEONE ELSE'S CULTURE IN THOSE PIECES AND SEE VERY LITTLE OF THEMSELVES IN IT.

6. ANYONE WHO DECIDES TO BE AN ARTIST SHOULD REALIZE THAT IT'S A POVERTY TRIP. TO GO INTO THIS PROFESSION IS LIKE GOING INTO THE MONASTERY OR SOMETHING; IT'S A VOW OF POVERTY I ALWAYS THOUGHT. TO BE AN ARTIST AND NOT EVEN TO DEAL WITH THAT POVERTY THING, THAT'S A WASTE OF TIME; OR TO BE AROUND PEOPLE COMPLAINING ABOUT THAT.

MY KEY IS TO TAKE AS MUCH MONEY HOME AS POSSIBLE. ABANDON ANY ART FORM THAT COSTS TOO MUCH. INSIST THAT IT'S AS CHEAP AS POSSIBLE IS NUMBER ONE AND ALSO THAT IT'S AESTHETICALLY CORRECT. AFTER THAT ANYTHING GOES. AND THAT KEEPS EVERYTHING INTERESTING FOR ME.

7. I DON'T KNOW WHAT MY WORK IS. I HAVE TO WAIT TO HEAR THAT FROM SOMEONE.

I WOULD LIKE TO BURN THE PIECE. I THINK THAT WOULD BE NICE VISUALLY. VIDEOTAPE THE BURNING OF IT. AND SHOOT SOME SLIDES. THE SLIDES WOULD THEN BE A PIECE IN ITSELF. I'M GETTING INTO THAT NOW: THE SLIDES ARE THE ART PIECES AND THE ART PIECES DON'T EXIST.

8. IF YOU KNOW WHO YOU ARE THEN IT'S EASY TO MAKE ART. MOST PEOPLE ARE REALLY CONCERNED ABOUT THEIR IMAGE. ARTISTS HAVE ALLOWED THEMSELVES TO BE BOXED IN BY SAYING "YES" ALL THE TIME BECAUSE THEY WANT TO BE SEEN, AND THEY SHOULD BE SAYING "NO." I DO MY STREET ART MAINLY TO KEEP ROOTED IN THAT "WHO I AM." BECAUSE THE ONLY THING THAT'S REALLY GOING ON IS IN THE STREET; THAT'S WHERE SOMETHING IS REALLY HAPPENING. IT ISN'T HAPPENING IN THESE GALLERIES.

9. DOING THINGS IN THE STREET IS MORE POWERFUL THAN ART I THINK. BECAUSE ART HAS GOTTEN SO....I DON'T KNOW WHAT THE FUCK ART IS ABOUT NOW. IT DOESN'T DO ANYTHING. LIKE MALCOLM X SAID, IT'S LIKE NOVOCAINE. IT USED TO WAKE YOU UP BUT NOW IT PUTS YOU TO SLEEP. I THINK THAT ART NOW IS PUTTING PEOPLE TO SLEEP. THERE'S SO MUCH OF IT AROUND IN THIS TOWN THAT IT DOESN'T MEAN ANYTHING. THAT'S WHY THE ARTIST HAS TO BE VERY CAREFUL WHAT HE SHOWS AND WHEN HE SHOWS NOW. BECAUSE THE PEOPLE AREN'T REALLY LOOKING AT ART, THEY'RE LOOKING AT EACH OTHER AND EACH OTHER'S CLOTHES AND EACH OTHER'S HAIRCUTS.

10. THE ART AUDIENCE IS THE WORST AUDIENCE IN THE WORLD. IT'S OVERLY EDUCATED, IT'S CONSERVATIVE, IT'S OUT TO CRITICIZE NOT TO UNDERSTAND, AND IT NEVER HAS ANY FUN. WHY SHOULD I SPEND MY TIME PLAYING TO THAT AUDIENCE?

DAVID HAMMONS 1986

this is so fcking good wow
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Postby galactagogue » Mon Mar 21, 2016 6:41 pm

yea i appreciate a lot of that sentiment, esp 10.
Bob511 wrote:It's important to remember, though, that California has more psychologists than any other state.
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Postby gravey » Mon Mar 21, 2016 7:21 pm

walt: jealous! I didn't know it was at Venice... I live under a rock. I really would like to see the work as a huge book, existing somewhere in the realm of grey literature. Not to suggest that I think its current format is inappropriate or anything, I just have some weird kind of art book fetish.

wlad: post some video art! I'm so out of the loop that when it comes to that medium


And it really can't be said enough, but Hammons is awesome.
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Postby scurrydog » Mon Mar 21, 2016 7:36 pm

love me some video art.
love you guys!
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Postby abs » Mon Mar 21, 2016 7:42 pm

carrot wrote:some great stuff in here!

some of my current favorites:


(so basically everything that was at Whitney's Flatlands... so bummed I can't see it)


I went to highschool/am friends with a gal in that show right now... I love her stuff. so cool to see her blowing up

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Image

Image

Jamian Juliano Villani
☽ ☾ ● ◯ ● ☽ ☾
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Postby galactagogue » Mon Mar 21, 2016 8:39 pm

nice abs !

funny because that reminds me of a friend of a friend who is also pretty dope and does a similar style. His name is Chris Jehly

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Image
Bob511 wrote:It's important to remember, though, that California has more psychologists than any other state.
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Postby galactagogue » Mon Mar 21, 2016 8:40 pm

this cartoony appropriation style is definitely a thing these days, but i'm a sucker for it when it's well done.
Bob511 wrote:It's important to remember, though, that California has more psychologists than any other state.
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Postby Parnelio » Mon Mar 21, 2016 8:44 pm

Come Gather Round Me, Parnellites
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Postby wlad » Mon Mar 21, 2016 10:23 pm

this is something recent that i really enjoyed
https://vimeo.com/126326753
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Postby wlad » Mon Mar 21, 2016 10:24 pm

does vimeo embed not work for some reason
hm
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Postby wlad » Mon Mar 21, 2016 10:25 pm

Ah the video is embed disabled
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Postby famnexdo » Mon Mar 21, 2016 10:26 pm

shana moulton or gtfo
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Postby wlad » Mon Mar 21, 2016 10:32 pm

g-ing tfo
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Postby famnexdo » Mon Mar 21, 2016 10:43 pm

jk wlad, nice vid

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Postby famnexdo » Mon Mar 21, 2016 10:43 pm

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