‘YEKPARE’ (monolithic) from nerdworking on Vimeo.
Sunday, June 27, 2010
Wednesday, May 12, 2010
Saturday, May 8, 2010
Monday, May 3, 2010
Art & Globalism
The interconnectedness of globalistic society is constantly being challenged by those who champion local culture and fear the effects of global homogenization. Yet, as evidenced in this chapter of Art & Today, local flavors of art and culture are being given new platforms on the internet on which they can connect, protest, grow, let alone survive. All of humanity is getting acclimated to this new technology. More and more people are online every day, the global village has grown into a online society full of pockets of ancient and emerging culture ripe for exploration by the curious mind. This is the line we're being fed as members of a first world technologically advanced society.
As a member of that society I'm in favor of globalism, yet even after composing the previous paragraph, I have doubts about its true existence. There is so much unexplored territory on our planet. Despite what Google Earth or Bing might show you, there are new species being discovered every day in the depths of our planet's oceans.
What do we really know about our planet?
How does mankind benefit from believing the planet is globalized?
What does that vague word even really mean?
Sharing information is contagious and benefits the mission of the globalized society, so why are we legislating against it using copyright law?
When will Earth reach its maximum capacity for humans?
How does art's role in globalism help us understand the world around us?
Art & Spirituality
Spirituality and art can be contentious issue because of the partisan nature of religion and how that can limit the creative interpretation of what it is that we do not know. Change, like death and taxes, is part of life. Why does religion resist it so? Is it because we use religion to explain the inexplicable, and if those explanations change, we feel we must shift our understanding of the world in relation to that? One correlation between art and spirituality is the feeling of the encounter of a great work of art and how that relates to the feeling of blind faith in a higher power. The way that has been expressed over time tells us about the intensity of religious zeal felt by different cultures throughout history, yet the pursuit of art for its own sake has occurred in only the last century. Why did it take us so long to make art without divine inspiration?
Sunday, April 25, 2010
Art & Narrative
Pictures tell stories, they have for a long, long time. With Post Modern thought, the story no longer had to be sequential or logical. The allegorical became conceptual. Artists began creating their own mythologies and basing their works on these self-imagined worlds. The same has been true of great literature since the time of Homer. So what has changed now that the narrative is back in action, reborn from the ashes of modernism in the 21st century? Do we focus on the macro view of human existence like Matthew Ritchie or do we get micro about it and focus on the re-telling of a specific bank robbery like Pierre Hyughe? Which is more relevant and does that matter?
Art & Representation
We look at the world and make art to represent it, but to what end? At once it is a way to index the world around us, to interpret it and internalize it. But does this representation have a value? We say that it enriches our view of the world to see alternate representations of it created by others. This process allows us to idealize our reality and elevate it from the banal or the everyday. Will representation go out of style? It seems that during the Abstract Expressionist movement that it did. However, one could argue that those paintings were representations of the post-war mindset translated onto canvas. Now we rely more and more in icons and logos to represent our beliefs and affiliations. Team logos, religious icons, corporate slogans and even online avatars have become our representative stand-ins in the real and virtual communities we inhabit. What is the overall effect of this branding we're doing to ourselves? Is there something that can't be branded?
Art Review Criteria
A review of an art exhibition should be at once informative and also somewhat vague. It should explain what is on display, but require the reader to become a viewer at the venue of the show. The main theme of the show should be communicated with limited descriptions of works that catch the writer's eye. In reading reviews in the Washington Post, the NY Times and even the Los Angeles Literary Journal, I discovered most of the reviewers comments were affected by who was paying them to write. Ideally this is not the case. However, in our economic system, the personal opinion of the art reviewer does not hold too much sway. So, to break it down a successful art review should be:
unbiased
informative
enticing
descriptive
opinionated
unbiased
informative
enticing
descriptive
opinionated
Art & Identity
If our identities are ultimately hybrid, then is our American ideology of continual self-reinvention valid? At some point in a person's life, parts of their identity become fixed. At some point we have to choose who we are and stand up for that choice. Or do we? In the background of this conversation about identity and art is the everpresent spectre of existentialist thought, throwing doubt and confusion into the mix. What's the point of claiming an identity if you have no control over how long you get to live? Or how you'll be remembered? I think that's another important part of identity. How long does it last? How long will stories be told about each one of us? When does identity end?
Art & the Body
Why wasn't this section of the book titled Art and Sex and Pornography? Or Art and Hedonsim? The human body seems an endless source of inspiration for works of art. Especially as social mores change and evolve over time. Yet how do we tell the difference between effective and ineffective art that uses the body? Do artists who use it for content rely on it's ubiquity and common appeal alone, or are they bringing something new to the dialogue about how we perceive ourselves and how others perceive us? Does art that uses the body draw from our fascination with ourselves and our lack of true understanding of our (humanity's) role in the grand scheme of things?
Monday, April 19, 2010
Art & Deformation
The power evoked from a work using deformation is different from any other method of artistic conveyance. It catches you often out of the corner of your eye and pulls you in like a fish on a line. It does leave me wondering, though. Where is the line between fine art and art therapy for some of these works? Does an artist have to be a little bit crazy to work this way? Even if it is important for the viewer to be reminded of they physical self, must it be done with deformation? How is this way of working contributing to artistic discourse? Does its power or draw for the viewer end with the visceral reaction?
Thursday, April 8, 2010
HFS Architecture!!
Seed Cathedral for the UK Shanghai Pavilion by Heatherwick studio
text by Marcia Argyriades for Yatzer
text by Marcia Argyriades for Yatzer
Organizers of the 2010 World Expo, as well as construction workers are busily working towards being fully organized for the planned opening of the 2010 World Expo in Shanghai, China on May 1, 2010. The specific event is planned to be the largest World Expo in history ever since it began in 1851 with the Great Exhibition at London's Crystal Palace. The theme of the Expo is "Better City, Better Life", and is scheduled to run until October 31, 2010. For the past few months, large construction and renovation projects have dominated much of Shanghai, in preparation for becoming the World's stage on May 1st. Up to 800,000 visitors are expected each day - a total of 70 million visitors in all visiting exhibitions from nearly 200 participants around the world.
Wednesday, April 7, 2010
Monday, March 22, 2010
Martin Puryear
"Plenty's Boast"
1994-1995
Red cedar and pine, 68 x 83 x 118 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Purchase: The Renee C. Crowell Trust
Courtesy Courtesy McKee Gallery, New York
"Plenty's Boast"
1994-1995
Red cedar and pine, 68 x 83 x 118 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Purchase: The Renee C. Crowell Trust
Courtesy Courtesy McKee Gallery, New York
Thursday, March 18, 2010
Monday, March 8, 2010
Radicant-Treatise on Navigation
So, how do we move around in a world in the midst of emerging radicantity? At first Bourriaud would seem to advise us to seek shelter from the rain of cultural images surrounding us in our consumer society. To paraphrase, he calls our cultural production a precipitation which erodes the natural contours of human society. This rain disturbs the system of relations that produces it as a work. If these abundant products and ideas are ours to play with are we constantly tripping over our own toys?
I relate to the idea of aleatory materialism. In our globalized culture, the curious-minded artist is constantly being exposed to a random assortment of images and ideas while researching an idea using the internet. In experiencing this personally, I find it helpful to set limits on what I'm willing to explore so that I can find what I want more quickly. However, most every time I get sidetracked and end up reading something fascinating about some amazing thing someone else has done in the world. Balancing those two types of experiences is the new way of generating ideas. Each of us does it differently by allowing our minds to block or absorb specific bits of information.
This inevitably leads to taking a found image or idea and adapting it for our purposes. In a sense we've always been doing this. Where it becomes interesting is in Duchamp's interpretation of the readymade malentendu. There is something beautiful in the interpretive error that happens between explanation and understanding. This leads me to think about how mass media spins news events to boost ratings, or how a student mis-interpreting an assignment accidentally comes up with something brilliant. At the root of this misinterpretation is the theory of the clinamen. Being unable to predict the precise trajectory of an atom away from a collision with another atom has been interpreted as the basis for understanding or explaining the existence of what we understand as free will. Maybe this phenomenon is what guides us in our online research, how long we linger on a particular webpage, when and where we will click next..
At the end of the essay titled Interform, pp 158, Bourriaud makes what feels like the main point of The Radicant:
"Artists who are working today with an intuitive idea of culture as a toolbox know that art has neither an origin nor a metaphysical desitnation, and that the work they exhibit is never a creation but an instance of post production. Like the materialist philosopher whose portrait Althusser sketches in his works on aleatory materialism, they know neither where the train is coming from nor where it is going, and they don't care: they get on."
At the end of Global Art or Art of Capitalism, pp. 166, he makes another salient point:
"The quality of an artist's work depends on the richness of his or her relations with the world, and these are determined by the economic structure that more or less powerfully shapes them-even if, fortunately, every artist theoretically has the means to evade or escape that structure."
Thursday, March 4, 2010
Monday, March 1, 2010
Radicant Aesthetics
M. Bourriaud writes that our contemporary life experience is more ephemeral than that of our ancestors. We experience the world in a more vicarious way, allowing the identities of those around us and our own to shift and become displaced. The signs that surround us and guide us through our lives are no longer as stable as they were once perceived to be. Is this because of what Daniel Pink referred to as the "Information Age?" Collectively do we understand the world differently or better than we did before the popularization of the Internet? The current Tino Seghal show at the Guggenheim strikes at the heart of this issue by requiring personal interaction with strangers who guide the viewers physically and mentally through the space, discussing notions of progress. These forced interactions are creating a new shared contemporary dialogue about interpersonal relations, progress and technology. Are we losing our ability to communicate with one another directly, in person? Will body language and facial expressions be lost to emoticons? Have these entities been stolen from us by new technology or are we surrendering them freely for the sake of what we think is progress?
Presocratic philosophy
Link to definition of presocratic philosophy referred to in The Radicant, pp91 by Nicolas Bourriaud.
http://plato.stanford.edu/entries/presocratics/
http://plato.stanford.edu/entries/presocratics/
Sunday, February 28, 2010
Chad Curtis's Topology
Bourriaud's writing about the topology of space and time in relation to art reminded me of Chad's work.
Thursday, February 25, 2010
Monday, February 22, 2010
Barcode Benjaminz!
I've been messin around with barcodes lately. These are for Mel Chin's Fundred project down in New Orleans. All the corners say $100, the eagle says "free," Ben Franklin is "Ben," and the White House is "White."
My take on Post Production
Ready-mades can be confusing. Until recently, I had only glossed over the work of Marcel Duchamp. After having studied his work and thinking here and there, I find myself contemplating the notion that choice validates a work of art. Choosing an object and changing its context, viewing it anew outside of the role it was born into, requires the viewer to make a conceptual leap with the artist. This is something I've been trying to get my head around in my recent work. I come from a background in graphic design, woodworking and functional ceramics. I am expert at none of these pursuits, but feel compelled to continue using them as tools to communicate a message. In "Supplemental" last semester, I cast different shaped supplement bottles in porcelain and combined them to make a set of three different pairs of dumbbells placed on a dumbbell rack from a sports store. I used the rack as a readymade object to stage the fragile dumbbells which communicates how we depend on supplements not only for dietary reasons, but also agriculturally and conceptually. In a way, I was making a work in the spirit of Post Production by re-working a symbol of an industry producing supplements and changing it to comment on that industry. I also participated in the dialogue started by Duchamp by using the dumbbell rack as somewhat of a reference to his "winerack."
The Radicant, Nicolas Bourriaud
For M. Bourriaud, art is an optical tool for looking at the world(pp.8). He agrees with Francis Fukuyama that history can no longer be the supreme measure of 20th century art and challenges the obsession with maintaining diversity in a globalized society. He favors a global society integrated in what he terms "Altermodernity," an effort to put a label on what he thinks is happening in contemporary art today. To him globalization is causing an overall homogenization of world cultures. Through the internet, which he calls "the priveliged medium of [the] proliferation of information, the material symbol of [the] atomization of knowledge into multiple specialized and independent niches."-pp. 20, the creative playing field is being leveled allowing people from a wide range of socio-economic backgrounds access to the same information.
The following is a excerpt from a paper I wrote for Contemporary Issues in Clay, Fall 09:
"A seldom discussed common thread in conversations regarding the concept of a Radicant and radicantity is that of trespassing. Trespassing is defined as “to intrude into another person’s property,” but also as "to go beyond.” (Wikipedia). This second definition aligns with the thinking of Nicolas Bourriaud in his most recent book The Radicant, in which he writes about artists moving freely between cultures creating a new shared world lexicon. This theoretical artistic Esperanto, so to speak, allows artists to revert to mankind’s early nomadic tendencies and meld cultures in ways previously thought taboo. With this in mind we can recognize the impact of the world’s current transition away from a provincial world population with large city centers toward a globalized economy. The rise of the internet has provided a democratic platform for communication and expression provided one has computer and telecommunications access. This adolescent growing online community acts as a blank wall for the graffiti artist within us all, allowing us to place any work we wish before a massive audience. This global dialogue that leaves lines of influence in its wake connecting distant cultures has expanded the role of the artist and the role of artwork into new territory, emphasizing the wonderment of art-making and romanticizing its habit of trespassing new boundaries not yet explored. These boundaries are often social constructs that are rooted in the histories of various, seemingly unrelated media. However, this new way of thinking and seeing acts as a tabula rasa which allows us to trespass these boundaries and simultaneously forge connections between different eras of our history and cross-pollinate ideas between contemporary cultures while transcending, or simply accepting, previously limiting stereotypes. It may sound idealistic and utopian, but there it is."
After taking another look at the text, even with only a couple of months between readings, I feel differently about what Bourriaud is saying. He defines Altermodernity as a new way to conceptualize cultural identity. Now I'm not so sure we need a new definition. Cultural identities may shift and change over time, new ones may emerge and affect or eradicate others, but re-conceptualizing it altogether seems like a real long-shot. It almost flies in the face of his assertion in the beginning of Post Production when he says that "the artistic question is no longer "What can we make that is new?" but "how can we make do with what we have?'" Why throw our conception of cultural identity out the window when it helps us define who we are in the present day. My point is that we don't have the choice to start all over with a tabula rasa. My point is that we can't just go severing our roots according to some post-modern conceptual persona. We need to make do with the roots we have and celebrate our cultural identities and the ways they change. We need to live in our own time and use the past as a tool instead of dropping it like a bad habit.
Baule fetish figures
Bourriaud refers to these figures as symbols in an argument he makes against modernist universalism. He calls them "Authorless, the product of an obscure tribe, mere kindling for the furnace of progress," They exist outside of Thomas McEvilley's model of a single ahistorical line of history which excludes "nature and the undeveloped world around it"-pp19, The Radicant
Saturday, February 20, 2010
Friday, February 19, 2010
Tuesday, February 16, 2010
Sunday, February 14, 2010
Post Production, Nicolas Bourriaud, 2002
Reasoning out creative licensing seems murky at best when considering the artistic field as "a storehouse of images and ideas to be used as tools...stockpiles of data to manipulate and present." Does anybody really own anything they make? We're all influenced by what we encounter in our lives, so how can we claim ownership over any creation?
pp.18 Semionauts: those who produce original pathways through signs. How is a pathway original if it's based on existing signs? Of course, my answer to this question is that making new connections between existing entities(which communicate through symbolism, i.e. signs) is what artists have done an will always do. One of the artist's roles in society is to uncover existing truths or issues by comparing things from different realms and responding to that comparison. But how do we make new signs? Are these connections new signs?
I like that Bourriaud brings up challenging passive culture. Coming from the rural South, this is a big issue for me. Passive media-based (television/pop movies/pop music) culture overshadows creative culture in my hometown. Every other conversation overheard in the supermarket or even at gallery openings revolves (in my opinion) around living vicariously through the athletes and characters in the mass media ingested on a daily basis. Some of this passive culture is changing and more and more people are using blogs and other ways of intercommunication as a means of response.
Now I see this passive culture as an entity with which to interact. Sports and pop culture are significant cultural entities worthy of consideration and response.
Now I see this passive culture as an entity with which to interact. Sports and pop culture are significant cultural entities worthy of consideration and response.
One of the main threads among all these issues so far is summarized in Dominique Gonzalez-Forester's quote on pp. 19:
"Even if it is illusory and utopian, what matters is introducing a sort of equality, assuming the same capacities, the possibility of and equal relationship, between me - at the origins of an arrangement, a system - and others, allowing them to organize their own story in response to what they have just seen, with their own references."
"the act of choosing is enough to establish the artistic process, just as the act of fabricating, painting or sculpting does: to give a new idea to an object is already production"pp.25
"to create is to insert an object into a new scenario, to consider it a character in a narrative"pp.25
If this is where post production was in 2002, where are we now? How does the ongoing global financial crisis and the US's continued occupation of Iraq and Afghanistan fit into the realm of the post-producer? One interesting comparison could be between the 1st decade of the 20th century and that of the 21st. Where are we headed? Will the US take the same historical and economic path Western Europe(specifically France, England and Spain) took? Where is the new frontier? Bourriaud would say the new frontier is between cultures, in the intermingling of visitors with the indigenous. The visitors being Radicants of a new global culture making heterotemporal, heterospatial connections as they explore new cultures and return to their own.
If this is where post production was in 2002, where are we now? How does the ongoing global financial crisis and the US's continued occupation of Iraq and Afghanistan fit into the realm of the post-producer? One interesting comparison could be between the 1st decade of the 20th century and that of the 21st. Where are we headed? Will the US take the same historical and economic path Western Europe(specifically France, England and Spain) took? Where is the new frontier? Bourriaud would say the new frontier is between cultures, in the intermingling of visitors with the indigenous. The visitors being Radicants of a new global culture making heterotemporal, heterospatial connections as they explore new cultures and return to their own.
Walter Benjamin's A Work of Art in the Age of Mechanical Reproduction, 1936
"...that which withers in the age of mechanical reproduction is the aura of a work of art."
Benjamin talks about the impact of mechanical reproduction on art, artists, and film, in particular. He fixates on the idea that works of art had an "aura" that traveled with them and spoke of the time in which they were made, when art was less available before the advent of industry. This aura withers with the dissemination of mechanically reproduced objects so much so that perhaps it does not even still exist. The aura has transformed into something new and different since Benjamin's time. Perhaps a better word for it would be the artist's energy or persona, or even their style. Whatever it's called, it's what remains after a work has been exhibited and discussed in the public realm of today.
Film, in particular has had a massive impact on the viewer's perception of art. Since film and it's forbear, photography, emerged as methods of mechanically reproduced art, the viewer has had different issues to consider when contemplating a work. Is it a limited edition? Where else have these been exhibited? What kind of camera was used? How long will this film be running? Can I get a copy to own personally? All these questions address issues surrounding these media. They can be endlessly reproduced, if the artist/producers choose to do so. They can continue to be shown indefinitely because of their reproducibility and the nature of the venue in which they are usually shown(gallery, cinema). There are a variety of methods with which to produce photos or movies, so the making process becomes part of the viewer's consideration. Films can be shown over and over again, days or generations apart, depending on the willingness of the artists/producers and the demand of the viewers. Today we can find/download a copy of nearly everything we see, especially the newest works in video and digital photography which puts the viewer into the mindset of the collector and therefore, to a certain degree, the role of expert. Connoisseurship is big now because there is so much more being produced and reproduced. Culling through the massive amounts of media from the 20th and 21st centuries is many people's favorite hobby. So in a nutshell, film and photography has challenged notions of authenticity, enabled mass criticism and opened the imaginations of the masses while stretching the aura of an individual work into transleusency.
All of this brings me to a point about how mechanical reproduction has freed art from its dependence on ritual and the occult. It used to be that if you wanted to see a great work of art, you had to know a collector or a high priest, go into their art storage and view their works of staggering virtuosity that they kept out of the public's eye. This "cult of art" has been overthrown by advent of mechanical reproduction and its celebrated penchant for exhibition. This freed art from the traditional confines of its perception, so that the individuality of a work of art has been substituted by a cultural pleurality.
New processes today have once again reinforced Benjamin's message. Rapid prototyping methods such as 3d printing, laser cutting, 3d scanning, cloning(!) and many other means of digital fabrication take the hand of artist further and further away from the end result. Publishing, exhibiting and curating online is more popular than ever. Where this is taking us, there is no way to know. Perhaps in another 10 years, artists with the skills and means will be digitally producing works in their studios and the notion of the aura of the individual work of art will have withered completely. For some reason, that feels a little sad, yet liberating.
Benjamin talks about the impact of mechanical reproduction on art, artists, and film, in particular. He fixates on the idea that works of art had an "aura" that traveled with them and spoke of the time in which they were made, when art was less available before the advent of industry. This aura withers with the dissemination of mechanically reproduced objects so much so that perhaps it does not even still exist. The aura has transformed into something new and different since Benjamin's time. Perhaps a better word for it would be the artist's energy or persona, or even their style. Whatever it's called, it's what remains after a work has been exhibited and discussed in the public realm of today.
Film, in particular has had a massive impact on the viewer's perception of art. Since film and it's forbear, photography, emerged as methods of mechanically reproduced art, the viewer has had different issues to consider when contemplating a work. Is it a limited edition? Where else have these been exhibited? What kind of camera was used? How long will this film be running? Can I get a copy to own personally? All these questions address issues surrounding these media. They can be endlessly reproduced, if the artist/producers choose to do so. They can continue to be shown indefinitely because of their reproducibility and the nature of the venue in which they are usually shown(gallery, cinema). There are a variety of methods with which to produce photos or movies, so the making process becomes part of the viewer's consideration. Films can be shown over and over again, days or generations apart, depending on the willingness of the artists/producers and the demand of the viewers. Today we can find/download a copy of nearly everything we see, especially the newest works in video and digital photography which puts the viewer into the mindset of the collector and therefore, to a certain degree, the role of expert. Connoisseurship is big now because there is so much more being produced and reproduced. Culling through the massive amounts of media from the 20th and 21st centuries is many people's favorite hobby. So in a nutshell, film and photography has challenged notions of authenticity, enabled mass criticism and opened the imaginations of the masses while stretching the aura of an individual work into transleusency.
All of this brings me to a point about how mechanical reproduction has freed art from its dependence on ritual and the occult. It used to be that if you wanted to see a great work of art, you had to know a collector or a high priest, go into their art storage and view their works of staggering virtuosity that they kept out of the public's eye. This "cult of art" has been overthrown by advent of mechanical reproduction and its celebrated penchant for exhibition. This freed art from the traditional confines of its perception, so that the individuality of a work of art has been substituted by a cultural pleurality.
New processes today have once again reinforced Benjamin's message. Rapid prototyping methods such as 3d printing, laser cutting, 3d scanning, cloning(!) and many other means of digital fabrication take the hand of artist further and further away from the end result. Publishing, exhibiting and curating online is more popular than ever. Where this is taking us, there is no way to know. Perhaps in another 10 years, artists with the skills and means will be digitally producing works in their studios and the notion of the aura of the individual work of art will have withered completely. For some reason, that feels a little sad, yet liberating.
Saturday, February 13, 2010
Thursday, February 11, 2010
Wednesday, February 10, 2010
Speaking of Graffiti in the Gallery...
http://www.highsnobiety.com/news/2010/02/09/keith-harings-1985-mural-for-somacc-sf-deitch-projects-nyc/
Saturday, February 6, 2010
Hirst "End of an Era"
http://flavorwire.com/68334/damien-hirst-starring-in-treasures-from-the-wreck-of-the-unbelievable
Monday, February 1, 2010
Modernism
Modernism
There is great debate over when Modernism actually started. Most say it started in the late 19th century with the Industrialization of most of the Western world. Some go as far back as the 14th century and call Michelangelo a Modernist because he worked with imagery from daily life. Others put its beginning as late as the end of WWII. I think it came out of the Machine Age putting its beginning around 1900-1910. The Machine age changed the way we worked like no other time in history. It created mass unemployment for unskilled laborers and oodles more leisure time skilled laborers to perfect the craft of running and improving their machines. This expanded the leisure class to include those who could adapt to new technologies to mass produce commodities. This group of add-ons to the leisure class included many artists and creative thinkers, giving them more time on their hands to exercise their creative abilities.
Modernism ended with the oil crisis of the 1970’s(Bourriaud). With the Western world’s primary source of energy unsure for the first time since the Great Depression and the threat of the un-seating of Western culture’s leading place in the world, artists and writers began feeling disaffected and irrelevant. They now decided to turn their focus to the absurdity of life and our economic existence. Looking to consumerism and rejecting commodification of art and pop culture.
Two main artist critics of Modernism are Clement Greenberg and Irving Sandler. Greenberg was a fan of naming eras and isms, while Irving Sandler wrote for Art in America and maybe even Art News and spent his time hanging out with the Ab/Ex crowd in New York City. This crowd included heavy hitters like De Kooning, Kline, Krasner and Rothko. Greenberg is most well known for popularizing the work of Jackson Pollock whose drip paintings reference leaves falling to the residual energy of a massive explosion(a major Modernist theme). Modernism sought purity and universality, abstraction and form.
There is great debate over when Modernism actually started. Most say it started in the late 19th century with the Industrialization of most of the Western world. Some go as far back as the 14th century and call Michelangelo a Modernist because he worked with imagery from daily life. Others put its beginning as late as the end of WWII. I think it came out of the Machine Age putting its beginning around 1900-1910. The Machine age changed the way we worked like no other time in history. It created mass unemployment for unskilled laborers and oodles more leisure time skilled laborers to perfect the craft of running and improving their machines. This expanded the leisure class to include those who could adapt to new technologies to mass produce commodities. This group of add-ons to the leisure class included many artists and creative thinkers, giving them more time on their hands to exercise their creative abilities.
Modernism ended with the oil crisis of the 1970’s(Bourriaud). With the Western world’s primary source of energy unsure for the first time since the Great Depression and the threat of the un-seating of Western culture’s leading place in the world, artists and writers began feeling disaffected and irrelevant. They now decided to turn their focus to the absurdity of life and our economic existence. Looking to consumerism and rejecting commodification of art and pop culture.
Two main artist critics of Modernism are Clement Greenberg and Irving Sandler. Greenberg was a fan of naming eras and isms, while Irving Sandler wrote for Art in America and maybe even Art News and spent his time hanging out with the Ab/Ex crowd in New York City. This crowd included heavy hitters like De Kooning, Kline, Krasner and Rothko. Greenberg is most well known for popularizing the work of Jackson Pollock whose drip paintings reference leaves falling to the residual energy of a massive explosion(a major Modernist theme). Modernism sought purity and universality, abstraction and form.
Post-Modernism
Post-Modernism
Post Modernism began with the end of Modernism, some say even before it ended, in the late 1970’s. Artists were disillusioned with the role of Western society with the Oil Crisis of the time and began focusing on commodification and consumer culture for inspiration. They pushed the boundaries of Modernist limits of traditional painting and sculpture using body art, performance and deconstruction to express their disenchantment with the utopian ideals of the Modernist era.
Post-Modernism ended very recently. There are still many artists making work in this vein because the dialog around it is unclear enough to cause a large amount of confusion about what post-modernism is in the first place. Umberto Eco, Gilles Deleuze, Michel Foucault, and Jean-Francois Lyotard are just a few of the most well-known critics of Modernism. They have critiqued and philosophized on the works of artists like Jeff Koons, John Cage, John Fekner, and Christo and Jean-Claude. The aesthetic character of Post Modern art can be just about anything that makes a statement about how we got where we are today. For example, John Fekner’s installation on the Pulaski Bridge from Queens to Brooklyn in New York City displays the words “Wheels over Indian Trails” pointing out the scope of human advancement over time and leading the viewer to question just how life got to be the way it is. Other themes in Post Modernism are the re-working or questioning of Modernist works, aimlessness, artifice, absurdity, humor, abjectivitiy and a rejection of anything Greenburgian.
Post Modernism began with the end of Modernism, some say even before it ended, in the late 1970’s. Artists were disillusioned with the role of Western society with the Oil Crisis of the time and began focusing on commodification and consumer culture for inspiration. They pushed the boundaries of Modernist limits of traditional painting and sculpture using body art, performance and deconstruction to express their disenchantment with the utopian ideals of the Modernist era.
Post-Modernism ended very recently. There are still many artists making work in this vein because the dialog around it is unclear enough to cause a large amount of confusion about what post-modernism is in the first place. Umberto Eco, Gilles Deleuze, Michel Foucault, and Jean-Francois Lyotard are just a few of the most well-known critics of Modernism. They have critiqued and philosophized on the works of artists like Jeff Koons, John Cage, John Fekner, and Christo and Jean-Claude. The aesthetic character of Post Modern art can be just about anything that makes a statement about how we got where we are today. For example, John Fekner’s installation on the Pulaski Bridge from Queens to Brooklyn in New York City displays the words “Wheels over Indian Trails” pointing out the scope of human advancement over time and leading the viewer to question just how life got to be the way it is. Other themes in Post Modernism are the re-working or questioning of Modernist works, aimlessness, artifice, absurdity, humor, abjectivitiy and a rejection of anything Greenburgian.
Art of Today
The art of this time is defined by multi-culturalism, globalization and the Information Age. Newly made work is often pluralistic drawing influence from multiple places and eras to create something new that talks about where it came from. Mashups and remixes express this sentiment directly in music and video. It started in the early 90’s with the Persian Gulf War showing the might of the American Military and re-asserting Western power in a display of technological mastery beyond the capabilities of any other nation at the time.
A couple of the main critics of our current era are Nicolas Bourriaud, curator at the Tate, and David Cohen of the online magazine Art Critical. Artists of our time include Gabriel Orozco, Yinka Shonibare, Zhang Huan, and Urs Fischer. The aesthetic character of the art of our time is that of trespassing cultural boundaries in an effort to understand them better. With the advent of mobile texting and email, social constructs of decorum have gone out the window. I think I'll call it the Post-it movement.
A couple of the main critics of our current era are Nicolas Bourriaud, curator at the Tate, and David Cohen of the online magazine Art Critical. Artists of our time include Gabriel Orozco, Yinka Shonibare, Zhang Huan, and Urs Fischer. The aesthetic character of the art of our time is that of trespassing cultural boundaries in an effort to understand them better. With the advent of mobile texting and email, social constructs of decorum have gone out the window. I think I'll call it the Post-it movement.
Sunday, January 31, 2010
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