Archive for the ‘art as criticism’ Category
hat tip to somebody for "i'm twelve" logo
One of the GIFs in this Stage/Agathe André collaboration from the Mutations project made me think of a Monet cathedral. Stage found a Monet and I put it up next to the GIF. Amirite? as they say. Their collaborative GIF had nothing to do with Monet, it's just one of those random intriguing linkages.
Wading into the shallows of media coverage of a recent Shia LaBeouf performance art piece, Kenneth Goldsmith makes a clever pastiche of the cliched writing in an authorless, Kathy Acker-style mock-review for Rhizome.org, with links back to the original sentences Goldsmith cobbled together. Can airheaded writing about airheaded work be redeemed as "surf art"? Probably not. Will this earnest reply to "Kenneth" refocus our values? Probably not:
Your report gives few details about this performance so I had to resort to USA Today:
The exhibit is a collaborative project between LaBeouf, Finnish performance artist Nastja Säde Rönkkö and British artist Luke Turner, according to a press release sent to Time.
It took place at The Cohen Gallery, which USA informs us is "is across the street from BuzzFeed's L.A. offices," adding parenthetically, "Probably just a coincidence, right?"
Like you, the Daily Beast's Andrew Romano was oddly moved by the whole spectacle. "I actually felt something real. Something strange and complex. Something like sympathy. ..."
This is probably more of a USA Today-type story, and USA Today-type performance art, but it's always interesting to see what you're interested in.
Personally I'd like more sociology on how porous the gallery world and the film biz are in LA. I got messages yesterday that Parker Ito had sold a painting at auction for $93,000 USD, which is pretty good for a n00b, and one of the reasons for the high price tag is that film director Harmony Korine is a collector of his art. Maybe as a cross-NY-LA correspondent and assiduous documenter of the avant garde through ubuweb, WFMU, etc, you can help us understand the interrelationship of art and pure promo hype in the tinseltown art scene.
I confess when I wrote the above I just skimmed the Goldsmith and thought, instead of "this isn't worth your time," that he had simply lost his mind. This will teach me not to skim and troll (or at least, mouse-over), but would still like to see the convo diverted to more new-media-relevant topics, such as the role of LA collectors in market-making for YIBA (or YIBI) art.
A real product! I don't think they call it the pad potty. But this is probably the best non-art use for an iPad.
Am pretty well out of painting crit these days (life moves on except in this stodgy realm) but people keep posting links to NYC's equivalent of the medieval stonecutter's guild and its bible of sacred words. One of these is "breakthrough" and John Yau abuses hell out of it in this Hyperallergic review (or Hyperallergenic, as Salon once mistyped it).
Stephen Westfall has been making and exhibiting crisp, polished geometric-style paintings for three decades now. He bounces back and forth between iconic centralized images that could almost be corporate logos and more "allover" patterns where the eye is kept moving around a field. His most recent show contained both types, as likely will his next one, and the one after that. So it's spurious and ahistorical for Yau to take one of the "field" ones in a single show and pronounce it a breakthrough, with full late Greenberg orotundity.
If Westfall had a creative breakthrough it was when he went from whatever he was doing to the styles of paintings he's doing now, which was probably the mid-'80s.
Another kind of breakthrough would be if he left this groove and started doing something performative, or with computers. Or smartphone art.
Give it a rest, John Yau. Please don't ever write that "breakthrough" review again.
Twitter screenshot (if that's not obvious).
Remembering the tragedy of Pearl Harbor with SpaghettiOs apparently isn't a joke. Fortunately aFriendlyB is on it.
Have been tweeting for 5.5 years now and am starting to dread what appears in my timeline -- of a promoted, commercial nature. It is amusing to surf around the legions of twitterers with joke names who don't take it seriously on any level, however. Trivial, maybe, but not toxically trivial on the order of a pasta toroid hoisting an American flag.
The US Chamber of Commerce, normally not known for spreading global warming awareness, shows the predicted water level in Chicago by the year 2050 in the twitter post below. "Mark Twain," according to Wikipedia, refers to "the cry for a measured river depth of two fathoms."
But seriously, Twitter doesn't quite have this "inline image" thing down yet. It auto-crops images appended to tweets rather than shrinking them, resulting in unintentional droll humor such as the removal of the Mark Twain quote in the above example.
The article's thesis is "entrepreneurs are the new labor" and while we needn't shed a tear for the fallen strivers who will never be the bad bosses of tomorrow, it helps to have a diagram.
Re: the New Museum's plunge into incubation madness, one might ask: where does an art museum fit in this scheme? And do artists count as "true hustlers"? OK, let's not go there.