Month: December 2016
Valuable Archiving Resources
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:
Artists’ Studio Archives
Practical strategies for artists, archivists, librarians, and museum curators to collect and preserve artists’ archives.
Archive As Event
The presentation included a basic introduction on the concepts of the online John Latham Archive and a performance/presentation of Mitya.
Archive Journal
Archive Journal focuses on the use and theory of archives and special collections in higher education.
More from Archive Journal:
Art, Work, and Archives: Performativity and the Techniques of Production
Radical Archives
NOT ARCHIVE RELATED, BUT RELEVANT TO SOCIALLY ENGAGED ART PROJECTS…
Creative Time Rethinks the Artist Residency for the Global Art World
ARCHIVE FEVER
How the Art World Caught Archive Fever
… Of course, the archive is hardly a new theme in contemporary art. The art historian Hal Foster‘s 2004 essay “The Archival Impulse” defined archival art as a genre that “make[s] historical information, often lost or displaced, physically present. To this end [archival artists] elaborate on the found image, object, and favor the installation format.” Whether this happens in the form of projects dealing with real archival material or artworks in which artists use the archive as a theme (sometimes even inventing material), the idea of the archive continues to be an undeniable force and organizing structure in exhibitions today. Here we break down the basics of this complicated yet intensely contemporary genre, which easily elides from the hyper-researched to the totally surreal….
http://www.artspace.com/magazine/art_101/art_market/the_art_worlds_love_affair_with_archives-51976
The Atlas Group – video document
Visions of Light: The Art of Cinematography
Recommended by Jean Marie.
https://www.youtube.com/watch?v=3IisUlACrqM
Gregory Sholette on Contemporary Practice
5 Questions for Contemporary Practice With Gregory Sholette
Action Figure encased. Photo courtesy 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.
Dammi i colori. Anri Sala.
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!
Measuring the Invisible
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.
And this:
Measuring Invisible Fields: Electromagentism
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.
Must-See Exhibitions: NYC – 12.06.16
AAAAARGH!
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!
CHARLOTTE MOOREMAN
GREY ART GALLERY / NYU @ 100 WASHINGTON SQ. EAST (Btw. Waverly & Washington)
(Tu/Th/Fr 10 – 6 | We 11-8 | Sa 11-5 | Suggested $3)
Until 12.10.2016
AGNES MARTIN
GUGGENHEIM MUSEUM @ 1071 5TH AVE.
(Wed 10-5 | Closed Thu | $18/Student)
Until 01.11.2017
PIPILOTTI RIST (Top 2-3 floors again!)
NEW MUSEUM @ 235 BOWERY ST.
(Wed 11-6 | Thu 11 – 9 | $12/Student)
Until 01.15.2017
DECOLONIZE THIS PLACE
ARTISTS SPACE @ 55 WALKER ST.
(Wed 12-6 | Thu 12-6 | FREE)
Until 12.17.2016
JOSEF ALBERS
DAVID ZWIRNER GALLERY @ 537 W 20TH ST.
(Tue – Sat 10 – 6 | FREE)
Until 12.17.2016
MARK ROTHKO
PACE GALLERY @ 520 WEST 25TH ST.
(Tues – Sat 10 – 6)
Until 01.07.2017
CAROLEE SCHNEEMANN
FURTHER EVIDENCE – EXHIBIT A @ P.P.O.W. @ 535 WEST 22ND ST. (Wed + Thu 10-6)
FURTHER EVIDENCE – EXHIBIT B @ GALERIE LELONG @ 528 WEST 26TH ST.
Until 12.03.2016
Mark Rothko: Dark Palette @ Pace
Must see the Rothko show at Pace – up through January 7, 2017.
Hyperallergic review here.
Art from Cologne, Cosima von Bonin
From the TATE website:
Rhinegold: Art from Cologne, Cosima von Bonin
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).