Extended dissent is no long goodbye
"There is tension near the boundaries, in the overlaps. And that is why they are together, or the art is together. The tension tells itself. By leaning into that tense dance, we may get closest to the stand, to the apart. Close to anger, close to rebellion, close to fights worth fighting and the values they are fought for. Not causes, not morals. But for the only way each sees what is known. "
Facebook Invite... LINK
Thursday, January 31, 2013
Tuesday, January 29, 2013
Sunday, January 27, 2013
Friday, January 25, 2013
Thursday, January 24, 2013
Feast of Burden Trailer (OFFICIAL) - Series Preview - MOCAtv - YouTube
Feast of Burden Trailer (OFFICIAL) - Series Preview - MOCAtv - YouTube
<iframe width="560" height="315" src="http://www.youtube.com/embed/nOx3irROKlQ" frameborder="0" allowfullscreen></iframe>
<iframe width="560" height="315" src="http://www.youtube.com/embed/nOx3irROKlQ" frameborder="0" allowfullscreen></iframe>
MoMA | Behind the Scenes: Wolfgang Laib
MoMA | Behind the Scenes: Wolfgang Laib
CLICK THE LINK BELOW TO REACH THE MOMA PAGE FOR OTHER VIDEOS
http://www.moma.org/explore/multimedia/videos/253/1216http://www.moma.org/explore/multimedia/videos/253/1216
CLICK ON VIDEO TO BEGIN VIEWING......
<iframe src="http://www.moma.org/videos/embed/253/1216" width="480" height="360" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
CLICK THE LINK BELOW TO REACH THE MOMA PAGE FOR OTHER VIDEOS
http://www.moma.org/explore/multimedia/videos/253/1216http://www.moma.org/explore/multimedia/videos/253/1216
CLICK ON VIDEO TO BEGIN VIEWING......
<iframe src="http://www.moma.org/videos/embed/253/1216" width="480" height="360" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Tuesday, January 22, 2013
Packer Schopf Gallery
Packer Schopf Gallery
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Version:1.0 StartHTML:0000000175 EndHTML:0000003629 StartFragment:0000001720 EndFragment:0000003593 SourceURL:file:///Users/other/Desktop/Digital%20word%20Palette...doc
About the Artist:
Chau combines common mediums and common means to create delicate vignettes of fleeting memory, gesture and form, resulting in works that combine egalitarian sensibility and minimalist restraint. Her work touches on the value of storytelling and myth and its ability to connect us to each other through cultural and humanistic similarities. Chau's current work drifts into new territory by exploring the periphery of the narrative, moments forgotten and faded, or too brief to retain.
A Vietnam native, Diem Chau and her family came to America as refugees in 1986. Chau is a BFA graduate from Cornish College of the Arts and has received an Artist Trust GAP Grant and a PONCHO Artist-in-Residence Award. Her work has been exhibited in New York, Chicago, Miami, Seattle and Los Angeles. Her most recent public success is a U.S. Cellular commercial featuring her carved crayons melting backwards.
Zodiac set of 12 carved crayons
Dimentions variable
$4000.00
Packer Schopf Gallery
942 W. Lake St. Chicago, Il 60607
Found on http://www.packergallery.com/chau/
All of Proust on audiobook? Time to go to bed early - Telegraph
 |
| Marcel Proust | photo taken from linked article |
"The benefit of an audiobook is that you can listen to it in the car or out walking: a couple of hours a day and you’ll do the whole of Proust in three months. But the pace of the prose is too measured to be easily accommodated to fast-paced living, and I suspect much will wash over readers who aren’t able to concentrate fully. Listen in the bath or better still as Proust wrote the novel, propped up in bed in the middle of the night." read more here | Time to go to bed early - Telegraph
Monday, January 21, 2013
Sunday, January 20, 2013
Saturday, January 19, 2013
Friday, January 18, 2013
Thursday, January 17, 2013
Manifesto - OBEY GIANT
Manifesto - OBEY GIANT
The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one’s environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities. Read More Here | Manifesto - OBEY GIANT
The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one’s environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities. Read More Here | Manifesto - OBEY GIANT
Wednesday, January 16, 2013
Tuesday, January 15, 2013
Monday, January 14, 2013
Sunday, January 13, 2013
Global Art Favorites Vol. 2
Global Art Favorites Vol. 2
there are some good ones here and lots of possible new art connections.... worth reviewing...
there are some good ones here and lots of possible new art connections.... worth reviewing...
Saturday, January 12, 2013
Friday, January 11, 2013
Woman's Building History: Waitresses (Otis College)
http://youtu.be/xEn1djs4lI8
Uploaded on Jun 14, 2010
This performance art group created
work that humorously addressed the issue of women and work. In the late
1970s, they performed all over Los Angeles in restaurants, public sites,
and the DooDah Parade in Pasadena. The Waitresses interviewed are: Anne
Gauldin, Denise Yarfitz, Jerri Allyn, Leslie Belt.
This video was commissioned by Otis College of Art and Design for the exhibition "Doin' It in Public: Feminism and Art at the Woman's Building" (1973-1991) in the Ben Maltz Gallery, October 1 January 28, 2012 and is part of an ongoing series of oral histories about the Woman's Building partially funded by the Getty Foundation.
The exhibition is part of a "Pacific Standard Time: Art in L.A.1945-1980," an unprecedented collaboration of more than fifty cultural institutions across Southern California, which are coming together to tell the story of the birth of the LA art scene. Initiated through grants from the Getty Foundation, Pacific Standard Time will take place for six months beginning October 2011.
http://www.otis.edu/public_programs/ben_maltz_gallery/womansbuilding.html
This video was commissioned by Otis College of Art and Design for the exhibition "Doin' It in Public: Feminism and Art at the Woman's Building" (1973-1991) in the Ben Maltz Gallery, October 1 January 28, 2012 and is part of an ongoing series of oral histories about the Woman's Building partially funded by the Getty Foundation.
The exhibition is part of a "Pacific Standard Time: Art in L.A.1945-1980," an unprecedented collaboration of more than fifty cultural institutions across Southern California, which are coming together to tell the story of the birth of the LA art scene. Initiated through grants from the Getty Foundation, Pacific Standard Time will take place for six months beginning October 2011.
http://www.otis.edu/public_programs/ben_maltz_gallery/womansbuilding.html
Contemporary Perspectives Lecture Series: Sandy Skoglund - YouTube
Contemporary Perspectives Lecture Series: Sandy Skoglund - YouTube
Uploaded on Mar 30, 2010
Installation artist and photographer Sandy Skoglund is widely recognized for her large-format color photographs of people and animal inhabiting surrealistic and elaborately constructed environments. She discusses her evolution from painter to photographer and her "second awakening" as a young artist in New York. She shares images of her work since the late '70s and talks about the complex, intensive photographic process involved in creating her challenging room-size sculptural installations.
Hosted by College of Fine Arts School of Visual Arts on October 16, 2006.
Hosted by College of Fine Arts School of Visual Arts on October 16, 2006.
Marina Abramović | Art21
Marina Abramović | Art21
Marina Abramović was born in Belgrade, Yugoslavia in 1946. A pioneer of performance as a visual art form, Abramović has used her body as both subject and medium of her performances to test her physical, mental, and emotional limits—often pushing beyond them and even risking her life—in a quest for heightened consciousness, transcendence, and self-transformation. Characterized by endurance and pain—and by repetitive behavior, actions of long duration, and intense public interactions and energy dialogues—her work has engaged, fascinated, and sometimes repelled live audiences. The universal themes of life and death are recurring motifs, often enhanced by the use of symbolic visual elements or props such as crystals, bones, knives, tables, and pentagrams. While the sources of some works lie in her personal history (the circumstances of her childhood and family life under Communist rule in the former Yugoslavia), others lie in more recent and contemporary events, such as the wars in her homeland and other parts of the world. Marina Abramović attended the Academy of Fine Arts in Belgrade (1965–70) and the Academy of Fine Arts in Zagreb, Yugoslavia (1970–72). She received an honorary doctorate from the Art Institute of Chicago (2004).... watch video here Art21
Marina Abramović was born in Belgrade, Yugoslavia in 1946. A pioneer of performance as a visual art form, Abramović has used her body as both subject and medium of her performances to test her physical, mental, and emotional limits—often pushing beyond them and even risking her life—in a quest for heightened consciousness, transcendence, and self-transformation. Characterized by endurance and pain—and by repetitive behavior, actions of long duration, and intense public interactions and energy dialogues—her work has engaged, fascinated, and sometimes repelled live audiences. The universal themes of life and death are recurring motifs, often enhanced by the use of symbolic visual elements or props such as crystals, bones, knives, tables, and pentagrams. While the sources of some works lie in her personal history (the circumstances of her childhood and family life under Communist rule in the former Yugoslavia), others lie in more recent and contemporary events, such as the wars in her homeland and other parts of the world. Marina Abramović attended the Academy of Fine Arts in Belgrade (1965–70) and the Academy of Fine Arts in Zagreb, Yugoslavia (1970–72). She received an honorary doctorate from the Art Institute of Chicago (2004).... watch video here Art21
Romance | Art21
Romance | Art21
What role do intuition, emotion, fantasy, and escapism play in contemporary art? The "Art in the Twenty-First Century" documentary “Romance” explores these questions in the work of the artists Pierre Huyghe, Judy Pfaff, Lari Pittman, and Laurie Simmons.
What role do intuition, emotion, fantasy, and escapism play in contemporary art? The "Art in the Twenty-First Century" documentary “Romance” explores these questions in the work of the artists Pierre Huyghe, Judy Pfaff, Lari Pittman, and Laurie Simmons.
Thursday, January 10, 2013
Wednesday, January 9, 2013
Tuesday, January 8, 2013
Monday, January 7, 2013
Socially engaged art at UCSD provides food for thought in La Jolla | La Jolla Light
Socially engaged art at UCSD provides food for thought in La Jolla | La Jolla Light
By Will Bowen
“I went from being an artist who makes things to being an artist who makes things happen.” — Jeremy Deller
Broaden the spectrum of your art appreciation with a visit to the latest exhibit at the University Art Gallery (UAG) at UC San Diego. There, you will have the unparalleled opportunity to view and contemplate some of the best and most significant examples of “socially-engaged” art that has been produced throughout the world since 1991, in a show called, “Living as Form (The Nomadic Version).”
The show was curated by Art History Ph.D. students Sascha Crasnow, Elizabeth Miller, Ph.D. candidate Lara Bullock and curatorial fellow Michelle Hyun. Hyun defines socially engaged art as, “Art that is made from the social mediation of social relations. It’s closer to real-life experience than regular art and often has a protest or politic aspect to it.” Continue Reading Here | La Jolla Light
By Will Bowen
“I went from being an artist who makes things to being an artist who makes things happen.” — Jeremy Deller
Broaden the spectrum of your art appreciation with a visit to the latest exhibit at the University Art Gallery (UAG) at UC San Diego. There, you will have the unparalleled opportunity to view and contemplate some of the best and most significant examples of “socially-engaged” art that has been produced throughout the world since 1991, in a show called, “Living as Form (The Nomadic Version).”
‘The City’ by Chemi Rosado Sijo
The Shifting Aura of Contemporary Art | Art21 Blog
The Shifting Aura of Contemporary Art | Art21 Blog
As a research artist and digital media Ph.D student, I am constantly challenged to reflect critically upon the nature of the various forms which are emerging in contemporary artistic practices. Is there a thread that connects the work of William Kentridge and Mel Chin or Tim Hawkinson and Ann Hamilton, for example? We were given two final texts to read and discuss in my seminar class this week: curator Nicholas Bourriaud’s Relational Aesthetics and art critic Claire Bishop’s Antagonism and Relational Aesthetics (pdf). It was also announced that electronics artist Rafael Lozano-Hemmer, who was scheduled to lecture at the High Museum of Art, and his gallerist would be visiting our class prior to his museum lecture. Excited by this prospect, I delved into the assigned texts hoping to find an idea that resonated with my own interests. I think I might have found a connection but not in the way I had initially hoped for in the readings. Continue Reading Here | Art21 Blog
As a research artist and digital media Ph.D student, I am constantly challenged to reflect critically upon the nature of the various forms which are emerging in contemporary artistic practices. Is there a thread that connects the work of William Kentridge and Mel Chin or Tim Hawkinson and Ann Hamilton, for example? We were given two final texts to read and discuss in my seminar class this week: curator Nicholas Bourriaud’s Relational Aesthetics and art critic Claire Bishop’s Antagonism and Relational Aesthetics (pdf). It was also announced that electronics artist Rafael Lozano-Hemmer, who was scheduled to lecture at the High Museum of Art, and his gallerist would be visiting our class prior to his museum lecture. Excited by this prospect, I delved into the assigned texts hoping to find an idea that resonated with my own interests. I think I might have found a connection but not in the way I had initially hoped for in the readings. Continue Reading Here | Art21 Blog
Living as Form | The MIT Press
Living as Form | The MIT Press
For Buying Options, Start Here
Hardcover | $39.95 Trade | £27.95 | ISBN: 9780262017343 | 280 pp. | 8 x 11 in | 250 color illus., 50 b&w illus.| February 2012
Overview
Over the past twenty years, an abundance of art forms have emerged that use aesthetics to affect social dynamics. These works are often produced by collectives or come out of a community context; they emphasize participation, dialogue, and action, and appear in situations ranging from theater to activism to urban planning to visual art to health care. Engaged with the texture of living, these art works often blur the line between art and life. This book offers the first global portrait of a complex and exciting mode of cultural production—one that has virtually redefined contemporary art practice.
Socially Engaged Art is a Mess Worth Making | SpontaneousInterventions
Socially Engaged Art is a Mess Worth Making
"This is the kind of artwork that makes cynics roll their eyes, because they feel that it limits what is often described as “the autonomy of art.” Referencing the pioneering beliefs of skeptics such as Theodor Adorno, they often voice a concern that this kind of work is neither good politics nor good art. Such critiques should be expected, for socially engaged artwork certainly does defy one of art’s most longstanding principles: uselessness." Read Full Article Here | SpontaneousIntervention
"This is the kind of artwork that makes cynics roll their eyes, because they feel that it limits what is often described as “the autonomy of art.” Referencing the pioneering beliefs of skeptics such as Theodor Adorno, they often voice a concern that this kind of work is neither good politics nor good art. Such critiques should be expected, for socially engaged artwork certainly does defy one of art’s most longstanding principles: uselessness." Read Full Article Here | SpontaneousIntervention
MoMA | Meta-Monumental Garage Sale
MoMA | Meta-Monumental Garage Sale
"For her first solo exhibition at The Museum of Modern Art, New York–based artist Martha Rosler presents her work Meta-Monumental Garage Sale, a large-scale version of the classic American garage sale, in which Museum visitors can browse and buy second-hand goods organized, displayed, and sold by the artist. The installation fills MoMA’s Marron Atrium with strange and everyday objects donated by the artist, MoMA staff, and the general public, creating a lively space for exchange between Rosler and her customers as they haggle over prices. If customers agree, they may be photographed with their purchases. The project also includes a newspaper and an active website.
Martha Rosler is widely regarded as one of the most influential artists of her generation, one whose artistic practice, teaching, and writing continue to influence succeeding generations. Rosler makes “art about the commonplace, art that illuminates social life,” examining the everyday by means of photography, performance, video, and installation."
Sunday, January 6, 2013
Alison Knowles, Salad as Performance Art : The New Yorker
Knowles premiered “Make a Salad” in 1962, as a leading member of the Fluxus artist group, founded in downtown New York. The idea was to connect high art with daily life. (In another project, 1969’s “Identical Lunch,” she recreated the circumstances of her habitual midday meal: “a tunafish sandwich on wheat toast, with lettuce and butter, no mayo, and a cup of soup or a glass of buttermilk.”) But the giant salad performance may be her best loved. “Everybody can enter into it by eating it,” explained Knowles, who has presented the piece at least a dozen times. Now it was being revived to celebrate Earth Day.
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