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HIGH FRUCTOSE ART THAT CHALLENGES
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LATEST ART BLOGS
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ART AND TEXT
Art and Text by Nadine Monem
The use of written language has been one of the most defining developments in visual art of the twentieth century. Art and Text is a unique and timely survey of this most contemporary and relevant artistic tool.The use of text can be seen in some of the most avant-garde artwork of the twentieth century; René Magritte and dadaist artists used it to describe anti-art and anti-aesthetic sentiment. The work of some of the most famous conceptual artists of the 1960s began to use written language as an artwork in itself. Artists such as John Baldessari, Lawrence Weiner and Bruce Nauman, who are still today some of the world’s most respected artists, helped push the boundaries of what constitutes art at the time and it has continued to develop since that period. The expansive Art & Language group of artists and theorists, including Joseph Kosuth, also reconsidered the possibilities of ‘linguistic art.’
Contemporary artists continue to use this medium and expand its possibilities, which range from being a most direct and immediate means of artistic expression (Tracey Emin, Cy Twombly), to an effective socio-political artistic mechanism (BANK, Jean-Michel Basquiat, Jenny Holzer).
H.R. FRICKER: Place of Places.com
H. R. Fricker, is a exceptional artist, originally known for his Fluxus, Mail Art work, but he has done a variety of artwork in his career. Fricker has pushed an approach influenced by early Conceptual Art into a personal and poetic "Contextual Art" far more intriguing than most Neo-Conceptual Art. Matthias Kuhn, himself a remarkable artist and curator-cum-art-project-organizer (as I find him to be, even if he was rather faint-hearted and worried about his “connections“ in the face of my newspaper article on local curatorial malpractice), has written a post about Fricker’s newest internet-based project. I translated it and am presenting here.
The internationally renowned Swiss artists H.R. Fricker has launched a new undertaking in his website “placeofplaces.com,” ...
MATERIALITY
The Brooklyn Rail is a wonderful website of “Critical Perspectives on Arts Politics and Culture.” Sharkforum readers should check it out. One recent article in the “Art Seen” section I found very enjoyable: “Call it Merde” by artist and art critic James Kalm. He has his own youtube page with videos of art criticism.
A few excerpts to tantalize you:
"As the new art season opens, led by the charge of the market bulls, we’re confronted once again with the latest, the hottest, the chic-est. For this somewhat jaded spectator, who’s experienced our culture’s willing desensitization via a plethora of evermore “shocking” gestures, I find myself wondering about its relationship to that most base of all materials: shit, crap, doodoo, poop. ..."
PASSION/ART
Quite often, the most prolific artists are those who find an intriguing focus early in their careers and then stick with it for the long haul. When an atist becomes utterly immersed in an area of personal fascination, several important things happen: (a) work becomes play and writing is transformed into a natural expression of intellectual excitement; (b) with rather surprising rapidity, experience and cumulative contributions to the niche elevate the scholar to the status of expert; and (c) one’s publication record bears the trademarks of a genuine scholar capable of sustaining an enduring line of programmatic research.
Because it is important to make/write about what compels you and to commit to this topic for the long term, marriage—or any monogamous partnership—offers an apt metaphor for process.
During the courtship phase, often during graduate school or very early in your career, consider those questions and topics that hold the power to stir, excite, delight, and intrigue, you—ward against mere infatuations. Remember, you are looking for the real thing, love. Substitutes are mere fancies and fads. When novelty and energy decline, will the topic you have carefully chosen be enough to sustain you? Have you found a creative/ intellectual quest you just might be happy enough to “grow old” within fact, Robert Sternberg’s (1986) Triangular Theory of Love offers an interesting extension of the marriage metaphor. He hypothesized three critical vectors in any love relationship: (a) intimacy—do you feel connected and bonded to the person (or in our case, the topic) and is there a genuine desire to pursue it at all costs? (b) passion—does the topic generate sincere attraction and drive, continuing to foment excitement even after the honeymoon phase? (c) decision/ commitment—can you make a short-term commitment “to honor and love” this research niche and a long-term commitment to maintain that love as best you can? While it is true that an arranged marriage can work—witness the scores of art students who simply adopt an advisor’s research niche in order to expedite a good grade (wrong) or dissertation only to find themselves continuing the focus throughout a successful career—it is preferable to find a niche that tugs at your heart.
STRATEGIES
Critical practice that builds upon the mapping of the creative moment of thinking differently implies an awareness of the mechanisms of methodology and the interaction of different planes of practice. What different kinds of engagement and encounters can thus arise from the possibilities and limitations of multi-directional models of curating/presenting the art works that situate themselves at the edge of spaces of production? The hereby emerging new "models of production" call for an expanded notion of what creative practice is or could be. Certainly, this is to realise that one of the potentialities of art -- understood as an activity of creatively interacting with the world -- lies in exploring the complexities surrounding the "production of subject." Furthermore, as critical practice today faces the fundamentally political question of "where are the dissenting/creative subjects of today? And
how are they being produced?" O'Sullivan
Open Space - Zentrum Kunstprojekte aims to create the most vital
facilities for art concerned with contributing a model strategy for
cross-border and inter-regional projects on the basis of improving new
approach.
facilities for art concerned with contributing a model strategy for
cross-border and inter-regional projects on the basis of improving new
approach.
Other links
Where is your resistance? i.e. your resistant operating system inside the art world?
At what point?
What is your position.. drawn from your own practice?
How do you position yourself as ‘… '?
How do you work with/against capitalist structures?
READINGS FROM REALITY HUNGER a manifesto by DAVID SHIELDS
3
...'An artistic movement, albeit an organic and-as-yet unstated one, is forming. What are its key components? A deliberate unartiness: “raw” material, seemingly unprocessed, unfiltered, uncensored, and unprofessional... Randomness, openness to accident and serendipity, spontaneity; artistic risk, emotional urgency and intensity, reader/viewer participation; an overly literal tone, as if a reporter were viewing a strange culture; plasticity of form, pointillism; criticism as autobiography; self-reflexivity, self-ethnography, anthropological autobiography; a blurring (to the point of invisibility) of any distinction between fiction and nonfiction: the lure and blur of the real...'
TOOLS
Imagination
Creativity
Thinking Thinking Thinking
Artists tools
Audacity- free sound recording software
Google search engine
Wikipedia encyclopedia
mr site - cheap easy to build your own artists web site
Creativity
Thinking Thinking Thinking
Artist Journal - Notebooks
Talking Talking Talking
Looking Looking Looking
Artists tools
Audacity- free sound recording software
Google search engine
Wikipedia encyclopedia
mr site - cheap easy to build your own artists web site
Blogg's and Tumblrs
Mindmaps
Delicious book marks
VAS virtual artists gallery space
Cmaps - good for mind mapping
Mindmaps
Delicious book marks
VAS virtual artists gallery space
Cmaps - good for mind mapping
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