Thursday, December 23, 2010

Put your hands to the constellations
They way you look should be a sin, you my sensation--

Smokey Robinson lightly tweaked, chiming like churchbells.
Wednesday, December 22, 2010
"Like leaks in a house where the pipes froze" -- Bruce Sterling on Assange, Wikileaks, democratic culture's slow decline, & etc.

"The cables that Assange leaked have, to date, generally revealed rather eloquent, linguistically gifted American functionaries with a keen sensitivity to the feelings of aliens. So it’s no wonder they were of dwindling relevance and their political masters paid no attention to their counsels. You don’t have to be a citizen of this wracked and threadbare superpower — (you might, for instance, be from New Zealand) — in order to sense the pervasive melancholy of an empire in decline. There’s a House of Usher feeling there. Too many prematurely buried bodies."
Tuesday, December 21, 2010

Sturtevant:  "I am not an Appropriationist by token of intention and meaning. I do not make copies. I am talking about the power and the autonomy of the original and the force and pervasiveness of art."

Metropolitan (17), 2010

Michael Turner:  "Feyrer’s project, like Gleeson and Moore’s, began as a node of social exchange, where you could take in a performance, contribute (to) one, or buy things. In visiting these sites, I was struck by the number of younger artists I met who did not directly participate in state-supported artist-run culture. Indeed, not only were these young men and women indifferent to artist-run centres (seeing them as remnants of an older generation, an older agenda, with no room for their futures), many had never even heard of them."
Tony Judt: "Incremental improvements upon unsatisfactory circumstances are the best that we can hope for, and probably all we should seek."

Alex Prager, Crowd #1 (Stan Douglas), 2010

"Crowd # 1 (Stan Douglas), one in a series of pictures shot for the November 2010 issue of W magazine, makes its debut here. It draws on Stan Douglas’s Hastings Park, 16 July 1955 (2008), among other sources, but Prager has enlisted a new cast of characters, dressed in 1970s outfits (which she selected), and shot the scene in her own signature style."

Misunderstandings (A Theory of Photography)

"'Repetition,' not copying, or appropriation, or anything else."

"'Originally most of her artistic peers supported her work,' reported curator Christian Leigh. 'The climate began to shift when, in April 1967, she repeated The Store of Claes Oldenburg a few blocks from his own. By the mid-70s, what had at first been laughed at and appreciated for all the wrong reasons...quickly turned to anger, rage, mistrust, and misunderstanding on a collective scale.' The feeling seems to have been mutual. Sturtevant's withdrawal from the art world soon followed."

John Baldessari, Wrong, 1966-8

"Baldessari’s violation of [a] rule is less a gesture of rebellion or artistic independence—who cares if someone takes an 'incorrect' snapshot?—than an inquiry into the nature and authority of artistic rule-making. There is nothing particularly 'good' or 'bad' about Baldessari’s picture. It is the construct he chose for the purpose at hand, and as such it has as much validity as it needs to have to fulfill the purpose at hand. As with many conceptual art pieces, the artwork itself is a commentary on some aspect of art or art theory, in this case on conventional notions of what constitutes a 'good' or 'correct' work of art. The title Wrong is intended to be ironic: a basic tenet of modern art and the revolutionary avant-garde movements in which modernism was born is that there are no inviolable rules or universal standards when it comes to making, conceiving, or judging art. What is 'wrong' in one context may be perfectly serviceable in another."

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