I’ve found these sites online, which I believe, will help me with archiving -not just my 1,000 invisible things, but with archiving my work in general.
Check them out:
Powerful, easy-to-use tools to manage your artwork.
The presentation included a basic introduction on the concepts of the online John Latham Archive and a performance/presentation of Mitya.
Archive Journal focuses on the use and theory of archives and special collections in higher education.
More from Archive Journal:
NOT ARCHIVE RELATED, BUT RELEVANT TO SOCIALLY ENGAGED ART PROJECTS…
How the Art World Caught Archive Fever
Recommended by Jean Marie.
5 Questions for Contemporary Practice With Gregory Sholette
Artist, scholar, organizer, and professor, Gregory Sholette embodies multiple ways that artists can interrogate history, politics, and public discourse. Through his initial work with the group REPOhistory (1989-2000) (as in, “repossessing history”), he, along with other art groups and individuals of the 80s and early 90s, effectively drew attention to the artist as a social and political actor. Sholette’s collaborations with REPOhistory also presented art works as vehicles for addressing submerged socio-political histories, such as in the group’s Lower Manhattan Sign Project (1992-1993), in which they posted signs around Manhattan offering information about “the unknown or forgotten history of Manhattan below Chambers Street.” Sholette has also been an active participant in PAD/D (Political Art Documentation and Distribution [1980-1986]), an organization devoted to the publication and distribution of documents regarding the intersection of aesthetic politics and activism. Most recently Sholette has founded an archive for futures that “never happened” (The Imaginary Archive, 2010-present), and has been involved with The Institute for Wishful Thinking, an organization that attempts to harness the “untapped” potential of artists by soliciting proposals for projects which might effect governmental and social change.
I stumbled across this film on YouTube – very poor quality file, I could barely read the subtitles, but I was moved by it nevertheless. I have experienced the phenomena of color and it’s power to transform. It is not surprising to me that a colorless, depressing hellhole of a city could be transformed with paint – bringing air and lightback into the lives of it’s inhabitants and a sense of joy and new life to the formerly dull streets of the city. Meraviglioso!
Frequently, as I ponder each potential invisible thing that I might add to my archive of 1,000 invisible things, I ask if the thing is measurable in some way – for example, happiness. Can you measure happiness?
How about conversation – Can you measure it?
Other than the basic, “Can you see it?” question, additional questions I ask are:
Can you touch it? Is it something you can pull out and define by it’s edges? Does it have edges?
Is it an organ? The mind – could one surgically remove it from the body? What about the g-spot? I can locate mine, certainly, but could it be removed surgically? As an organ donor, could I donate my g-spot?
If it’s kind of visible, as in a relationship, can you definitively describe how it looks? – in the same way you could describe what a monkey wrench looks like? In other words, will one relationship always look like any other relationship? Is it as definable as the way a monkey wrench will always look like a monkey wrench? Or the way a hammer will almost always look like a hammer?
And how about when we use metaphor? They’re helpful for illustrating a point, but you can’t really see a metaphor – we’re only able to visualize it in our mind’s eye – and your vision will certainly be different from mine…
There are loads of other questions I use. This is just a quick overview. Today, I entered into Google the phrase “Measuring the Invisible”. The search produced some pretty fascinating results which you can see here.
And this is the kind of thing I geek out on:
A popular woodworking magazine published a letter a few months ago from a guy whose doctor said he could no longer use his woodworking machinery because of his pacemaker. If that was me, I don’t know if I’d take that advice sitting down — I’d probably try to measure the fields with a meter like this one from AlphaLab to see if there actually was a danger or if I could shield the machinery somehow.
Made in the USA, AlphaLab’s TriField meter measures magnetic, electric, and radio/microwave field strength continuously on its analog meter. The device is sensitive to electric and magnetic fields regardless of orientation because it uses three mutually perpendicular coils in AlphaLab’s unique network configuration. The included 9V battery lasts for about ten hours of continuous use.
Look to pay about $130 for the meter.
The survey materializes by drawing electromagnetic activity as water, where lines are engraved into the glass surface and appear when they are illuminated. The electromagnetic data gathered is processed in order to create meaning from it creating a sectional survey of the hallucinatory state that is produced when the body makes direct contact with electromagnetic activity.
Some quotes from the investigation which I found interesting and appropriate to my project:
2. The environment and its inhabitants interact through energy transfers.
11. Between bodies and electromagnetism immeasurable space is produced within measurable space.
12. Moving through the range of charged electromagnetic frequencies, one’s cognitive faculties are disturbed and the physical conditions of the place transform
19. The architect adjusts the atmospheric charges to induce hallucinations and enhance perceptual cognition.
20. In some sectors the architect creates gardens with different species of stimulating frequency waves. In other areas the city may have to regulate the flows
24. Matter, body, and electromagnetic frequencies band together and form an interdependent environment hovering between the visible and invisible.
Find more here: SOTIRIOS KOTOULAS: Emission Architecture (updated) | LEBBEUS WOODS.
I was really hoping to see the Carollee Schneeman shows at PPOW and Galerie Lelong, but sadly, they both ended on 12.03.16. Rats! I just missed it. What a drag!
GREY ART GALLERY / NYU @ 100 WASHINGTON SQ. EAST (Btw. Waverly & Washington)
(Tu/Th/Fr 10 – 6 | We 11-8 | Sa 11-5 | Suggested $3)
GUGGENHEIM MUSEUM @ 1071 5TH AVE.
(Wed 10-5 | Closed Thu | $18/Student)
PIPILOTTI RIST (Top 2-3 floors again!)
NEW MUSEUM @ 235 BOWERY ST.
(Wed 11-6 | Thu 11 – 9 | $12/Student)
DECOLONIZE THIS PLACE
ARTISTS SPACE @ 55 WALKER ST.
(Wed 12-6 | Thu 12-6 | FREE)
DAVID ZWIRNER GALLERY @ 537 W 20TH ST.
(Tue – Sat 10 – 6 | FREE)
PACE GALLERY @ 520 WEST 25TH ST.
(Tues – Sat 10 – 6)
Must see the Rothko show at Pace – up through January 7, 2017.
Hyperallergic review here.
From the TATE website:
Cosima von Bonin is one of the most influential and prolific artists working in Germany today. Making painting, sculpture, installations, textiles, performances and films, her art is not limited to a single medium or genre. Von Bonin’s approach is often collaborative; she has organised numerous events with fellow artists, musicians and theorists, stretching the definition of an artist by assuming the role of curator, critic, DJ and producer.
Von Bonin has an acute awareness of social and artistic relations and has explored them in a number of her collaborations. When given a solo exhibition at Galerie Christian Nagel, Cologne in 1992, she invited the artist Ingeborg Gabriel to exhibit her work instead. Similarly, at the entrance to her recent solo exhibition at the Kunstverein Braunschweig, rather than give her own work pride of place, von Bonin installed a large work by New York-based artist Nils Norman to greet visitors. Von Bonin also used the exhibition’s catalogue as a vehicle to promote her peers by commissioning Norman, Josephine Pride and Kai Althoff to contribute texts. By taking an active curatorial role in such events, von Bonin both exposes and subverts the mechanisms of the art world.
An important strand of von Bonin’s practice is her use of textiles as exemplified by International Wool Exchange 2003 and Crude Cuisine (Loop #1) 2003, both included in the exhibition. The source of these textile ‘paintings’ was a photograph of Prince Charles and Camilla Parker-Bowles published in BUNTE, the German equivalent of Hello! magazine. Von Bonin has partially hidden both figures, reducing them to silhouette using collage and embroidery. Alluding to the work of Blinky Palermo, Sigmar Polke and Rosemarie Trockel, von Bonin plays with the thematic shift of such images by creating a complex web of references to high art, popular culture, craft, and domesticity whilst challenging bourgeois constructions of femininity.
Cosima von Bonin was born in Mombasa, Kenya in 1962 and was awarded the Scholarship of the Günther-Peill-Stiftung, Düuren from 1998 – 2000. Her work has been shown in many group exhibitions including Fusion Cuisine, Deste Foundation, Centre for Contemporary Art, Athens (2002), Out of Space, Kölnischer Kunstverein, Cologne (2000) and oLdNEWtOWn, Casey Kaplan, New York (1999). Her recent solo exhibitions include Galerie Heinrich Ehrhardt, Madrid (2004), Friedrich Petzel Gallery, New York (2003) and the Kunstverein Hamburg (2001).
After seeing Kai Althoff’s huge installation at MoMA last month, I’ve been left wondering “Who is Kai Althoff? And what is he all about?” Unfortunately (or fortunately?) I didn’t have a shred of context about his work prior to seeing the show, except that Jean Marie suggested I go see the show, since he (like me?) is prolific and varies widely in what he creates/produces – and here is an interesting way of bringing it together in an exhibition – that is to say, arranging a massive amount of varied objects, paintings, detritus in a space without having everything be presented in a more formal/precious way – there weren’t even wall tags for the works in the exhibit, but a sort of photocopy list/diagram of works that you could carry around as you wondered through the show.
So, as a result, with so little information, I knew not if he was a contemporary artist or an artist of from the 2nd world war. I guessed from all that I saw that he had at least lived through the war, and that I somehow had never heard of him in all my art history studies over the years…
But now, with a bit of time on my hands (and an even greater curiosity about how I could have missed hearing about an artist with such apparent importance that MoMA committed a huge space for him to dump a huge amount of art/debris/artifacts/etc. in) I’m digging in to learn more…
First, I discovered he is basically the same age as me:
Kai Althoff is a German visual artist and musician, born February 1966 in Cologne Germany. Wikipedia
Then, from the MoMA site:
“Within an environment envisioned by the artist upon seeing the gallery allotted to him, he arranges work stemming from his early youth to the very present, in a manner of a child being handed toys, new and old: some are cherished and idolized, some are semi-precious in rank, some are abandoned and neglected in slumber of increasing hate generating towards them. Some are loved to the utmost, so much he’d want to hold onto them until the very last moment before death, and beyond.
“The work being treated as such will be comprised of fragments of former larger scale environments, drawings, paintings, objects found and fabricated. In ‘and then leave me to the common swifts’, nothing is an attempt of recreating the original composition of when these works were displayed each for its first time. Instead the artist gives in to whatever his innate forces originating in his emotions command him to do upon the encounter with this work, his very own, for the most part. The result is further also constrained by time or its lack, and the pressure created by complex sociological processes, which sometimes leads the artist to surrender to a fatalism otherwise strongly fought.”
And… here’s something about his music which I’ll definitely have to check out soon…
Album: Es liebt Dich und Deine Korperlichkeit ein Ausgeflippter
Label: Blue Chopsticks
Review date: Apr. 2, 2002
I’m interested in understanding more about this condition… one of my former professors, Barbara Oakley has published a book on it. I’ve tried to order it through the C/W MARS library system, but it doesn’t seem to be available through that route…
Anyway, from the Amazon page:
The benefits of altruism and empathy are obvious. These qualities are so highly regarded and embedded in both secular and religious societies that it seems almost heretical to suggest they can cause harm. Like most good things, however, altruism can be distorted or taken to an unhealthy extreme. Pathological Altruism presents a number of new, thought-provoking theses that explore a range of hurtful effects of altruism and empathy.
Pathologies of empathy, for example, may trigger depression as well as the burnout seen in healthcare professionals. The selflessness of patients with eating abnormalities forms an important aspect of those disorders. Hyperempathy – an excess of concern for what others think and how they feel – helps explain popular but poorly defined concepts such as codependency. In fact, pathological altruism, in the form of an unhealthy focus on others to the detriment of one’s own needs, may underpin some personality disorders.
Pathologies of altruism and empathy not only underlie health issues, but also a disparate slew of humankind’s most troubled features, including genocide, suicide bombing, self-righteous political partisanship, and ineffective philanthropic and social programs that ultimately worsen the situations they are meant to aid. Pathological Altruism is a groundbreaking new book – the first to explore the negative aspects of altruism and empathy, seemingly uniformly positive traits. The contributing authors provide a scientific, social, and cultural foundation for the subject of pathological altruism, creating a new field of inquiry. Each author’s approach points to one disturbing truth: what we value so much, the altruistic “good” side of human nature, can also have a dark side that we ignore at our peril.
There’s a lengthy review by Jared Taylor, American Renaissance, July 6, 2012 available here.
Plus there’s a pretty thorough article here.