A user's guide to artspeak
'Anyone know what "transversal" means?' … tiptoeing through the IAE minefield. Photograph: Emmanuel Dunand/AFP/Getty Images http://www.theguardian.com/artanddesign/2013/jan/27/users-guide-international-art-english
67 (no wait, 68 Tips for Art Critics)
http://zaksmith.tumblr.com/post/65978524988/67-no-wait-68-tips-for-art-critics
"Science Related Topics"
KARINA SMIGLA-BOBINSKI
Trevor Paglen's project :: In Billions of Years, Aliens Will Find These Photos in a Dead Satellite
http://www.wired.com/rawfile/2012/10/the-last-pictures/
http://www.wired.com/rawfile/2012/10/the-last-pictures/
DAVID BYRNE RESPONDS TO THE COLOR PINK
I find this article by Kean Slate "Does Plastic Art Last Forever?" very interesting. As art continues to evolve the issue of archiving and documenting becomes more and more relevant and pressing. Contemporary artists are not necessarily concerning themselves with creating manageable work. When talking with Ingrid Schaffner earlier this semester (swoon) she explained the complications of curating the Rhodes exhibition. Since no one had ever done a Rhodes retrospective before the ICA was tasked with archiving many of his works. As the curatorial team struggled with selecting the works, installing, and documenting the instillations for future institutions the interns were simultaneously taking an inventory of the mess of garbage that was delivered to the galleries. Schaffner expressed her delight when she saw her intern unwrap a bubble wrapped package which contained bubble wrap and a note that said: the bubble wrap inside this bubble wrap IS art!!! This kind of attitude is absolutely hilarious to me. It seems some what hypercritical that an artist who is using such run of the mill materials would take such caution to save specific pieces of trash and have them installed in such a careful way. I think the ready made method is better: own the idea and direct the institution to recreate the piece. Although I am guilty of wanting to control my ridiculous installations as well and in some cases it is not appropriate to not have the artists hand involved. In some ways I think this struggle in the Rhodes show could be the artwork in itself. Forcing the uptight system to be displaced in its practice while dealing with contemporary work. In other ways I think it is just the cycle of art and the nature of the beast. [Broke artist works to fight the system. System accepts artist. Artist becomes successful and lives dream. Artist is now a hypocrite, and part of the system.] Schaffner also talked about the cheekiness she sensed in what Jason left behind and the various hurdles of this taking on For Rhodes. I think its rather beautiful that curators, museums, and collectors are not forced to take on huge ridiculous seemingly impossible commitments in order to have contemporary art. I am honestly completely excited to see how this unfolds more as contemporary archiving continues. The problem solving is now the worlds task, not just the task of the artist.
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