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Re: (capital) A – R – T

Postby rublev » Tue Nov 11, 2014 8:56 am

...so the turner prize this year... :???:
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Re: (capital) A – R – T

Postby rublev » Tue Nov 11, 2014 3:51 pm

@heckawheel ok here i will expand

JAMES RICHARDS

i found the second viewing of this film much more enjoyable than the first. when i arrived there was a DJ playing music loudly one room away, and since the video was right at the entrance it was quite noisy, as well as busy with the door opening and closing quite frequently. this meant the whole experience felt really disjointed and frustrating. so much that i almost left. i found the photos of the sandpapered out explicit images a bit uncontroversial and trying, and the erotic video pieces with the flowers a bit derivative / nonsense. the sound in the film was fantastic, and although there was some competition from outside, there were parts that really made an impact on me. the sounds involving water and movement were incredible and i really wanted to hear it properly so i went back for a second viewing at the end which i'm very glad i did. the sandpapered images made a bit more sense and i liked it - it was interesting how you almost couldn't look away - you were made to look at these images that essentially weren't there. i think i read about richards saying the film was about the act of looking. so with these you're urged to search and stare into something quite limited. i also loved the scene with entwined arms rolling over the floor - no head or body etc, but just these arms. but the highlight for me was the last few minutes with the budgie - this very much felt like the crescendo of the piece. both the audio and visual parts became more intense, louder, more aggressive, disorientating, out of control, even beautiful. the images came up in quick succession like slides, and you had a continuous clicking along with a build up of noise, and finally really bass heavy thuds near the end. the music reminded of pete swanson (ex yellow swans) who makes this mash of beautiful noise under layers of other noise and often with 160bpm percussion running through it. for me this was the most affecting piece in the whole prize and for that i think richards deserves to win - it was the only thing that really made me feel something.

TRIS VONNA MICHELL

before i went to the exhibition from the reading i'd done this guy sounded proper mental, all fast talking, talking about his past and childhood, where he grew up... are the stories real or part of an imagination, a trick even. i was prepared to interested but i was completely underwhelmed by the whole thing. it felt predicable, disconnected and strangely impersonal considering it was meant to be a story about himself. the narration felt forced and the video and slides an after thought. the whole thing was also a bit frustrating and honestly by the end i hated him. if he was there i would have given him a scrunched up nose face before slowly backing out of the room, making sure he saw me, like i was washing off residue on my hand from a bin bag or eating something out of date by mistake

CIARA PHILIPS

if von michel was bad but frustrating, philips made me feel nothing at all. i almost walked through without stopping. i don't want to take anything away from the process of what happened ('social activism', 'grass roots movements' etc) with her work but it almost felt like she'd forgotten to take her art for the show with her. it was incredibly banal and lifeless. okay, nice colours, that's all you got? the spoken word piece in the booth… like, c'mon. you shouldn't get nominated let alone shortlisted for this kind of work. at least in the photos it made the coloured screen prints (floor to ceiling) look kinda cool and fun, but in person it felt like a substandard degree show. a bit embarrassing.

DUNCAN CAMPBELL

overall i thought his film (it for others) was pretty good if not a little self indulgent at just under an hour long. i'm quite interested in frankfurt school / horkheimer etc - and this is pretty much the crux of the film. the ownership of images and the narratives that come from it. but here campbell seems to make the film almost impossible to follow in an effort to make sure we knew it was an 'art film', something that was worthy of being shown in the turner. and i kinda hated it for that. but the film was much more subtle that i was anticipating, and different to the impression i initially had from reading about the piece. less a 'scathing attack' on the british museum and more a critique on western museum practices in general - if anything, a much wider concept and argument about the appropriation of african art and how institutions give their invented story to a historical object now outside its original surroundings. i thought the final IRA piece, about how images from the troubles were used for political and emotional purposes, and how we can't always trust images, was also excellent. i liked the ballet piece, even if it seemed drawn out. the piece involving soup cans tested my patience. and i think that was characteristic of the entire piece. it was on that line between being interesting in a challenging way, and being deliberately evasive. i wouldn't say i enjoyed it, and i definitely didn't have a eureka moment like during the richards film. but it was an intelligent and challenging film, and for it to be a nominee when you consider what else has been lately, i applaud.

but the use of the film in this way comes with baggage. french artist chris marker's film statues also die was about the colonisation of africa and the commercialisation of its art and campbell openly shows that he sees his film as a response to it, but it almost comes across as a riff on a classical piece of political cinema. the ballet was choreographed by michael clark, the images archival for the IRA and some of the african sections of the film. i suppose it feels like taking cues from someone else's creativity. it feels a bit secondhand. other peoples photographs, films, dance, ideas.

more generally i am a little concerned if this is the best of what british contemporary art has to offer. all a bit timid and sterile. i don't want to be shocked i want to be moved. if it were up to me i'd probably just give the prize to howard hodgkin again

Image
slides from the second room for richards

Image
crappy walls from phillips

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the board outside where you could comment. in fact i think the board should win
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Re: (capital) A – R – T

Postby Iliam » Thu Nov 13, 2014 7:41 pm

@heckawheel

I'm not sure how much you already know about art, or what you've already been exposed to, or how interested you actually are in learning more BUT if you do want to learn more about modern and contemporary art then some good, even great, things to look at are:

The Shock of the New by Robert Hughes.

In my young youth this tv series made me think about art seriously for the first time. Instead of doing my homework or thinking about what snack to have next or studying for my exam or trying to get megaupload to work, I'd watch this 80s incarnation of Robert Hughes explain and analyse the movements and cycles of modern art to me. I marvelled that these magical 1980s images and the engaged analysis of the past had been made accessible to me through the combined powers of steve jobs, whoever the youtube creators are, and some unknown, blessed individual who had transferred the original (home made? lovingly preserved ?) tapes of the show into a binary code of ones and zeros and then uploaded them to our society's collective repository of visual culture, youtube.

The show charts the birth of modern art/ avant garde movement at the turn of the century, watches its growing confidence, its establishment-isation and ends with at the contemporaneous artists of the 80's. It's organized 'thematically' (and only loosely chronologically) which lets Hughes tie together a lot of disparate ideas in art history with ease and with his unique, erudite flourishes. A lot of the ideas, artists and approaches to art that come from modernism are still relevant and hashtag influencer(ing) today. The best thing about knowing this kind of stuff is that when you see some contemporary art, you can understand where its 'coming from' (art) historically and then you get to roll your eyes because, of course, its been fucking done before by Duchamp or Bruce Nauman and doesn't anyone realise that(!!)? Abstract, conceptual, performance, pop and many other modernist movements in art are still being lovingly flogged to death by contemporary artists and art students in western, 'first world' countries. I can’t recommend Shock of the New enough really. I love ’im.

Ways of Seeing by John Berger.

I haven't watched the series but I have read the book based on the series (which I'd recommend). It's a great introduction not even introduction just good thing for ways of thinking about art. They still show this series in a lot of 'intro to art' -type classes. From memory, he discusses how reproduction and (pre-internet) technology have changed our relationship with art, feminist perspectives of art history and some other interesting things which I've temporarily forgotten. Despite a lot of changes in the way that art is approached and thought about inside and outside the academy, John Berger is still pretty well regarded, even 30 years after this first aired. Highly recommended.

Grayson Perry's BBC Reith Lectures.

Grayson Perry presented last year's Reith lecture series. Unlike Hughes and Berger, both of whom were writers, Grayson Perry is an artist and so has a different perspective of art and art history. He won the Turner Prize in 2003, and is art famous for his ceramic works, printmaking, and tapestry as well as for cross-dressing. In the lectures, he attempts to tackle what is art?, why do we make art?, what is 'up' with the art world today? and how can we judge art in the (seeming) absence of all standards? It's the most light-hearted as well as the most contemporary of the stuff here. Perry's a good speaker and obviously knows what he is talking about. The lectures are written (I think) for a general-not-necessarily-art-knowledgeable-though-art-interested audience in mind (i.e. you [hopefully]). All the Reith lectures are available in podcast form, so you can listen to it on ur train 2 london-town, and by the time you get to the Turner prize exhibition you'll be well up on (and critical of) the contemporary art ideologies.

And, after all that, if you're still wanting plusmore knowledge, NY Magazine/ Vulture's art critic and modern-day-robert-hughes, Jerry Saltz did a Reddit AMA where
Image

Nothing is going to replace actually going and seeing the art. then standing in front of it for long enough to feel something (or nothing), and then thinking hard about why and how it makes you feel (or not feel) that way BUT the above .mp3 files should give you some mind-thoughts to entertain as you look into the (literal) hall of mirrors that is contemporary art and/or give you something vaguely impressive to say to any potential romance-partners wandering around those alienating gallery spaces.





And, now that you're finally 'in the know', it's time to laugh at the in-the-know art jokes!
Spoiler:
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Re: (capital) A – R – T

Postby rublev » Fri Nov 14, 2014 6:01 pm

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Re: (capital) A – R – T

Postby Iliam » Wed Nov 19, 2014 5:32 pm



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Re: (capital) A – R – T

Postby rublev » Fri Nov 28, 2014 5:15 pm

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Re: (capital) A – R – T

Postby klonopin » Mon Dec 08, 2014 4:10 pm

So i'm cataloging part of my boss's personal book collection and he has some ridiculous number (like 50 or something) of Lawrence Weiner books which are just incredible to flip through. One of them has a full (probably?) transcription of his 1969 "Notes On & About Art", and although parts of it are pretty ubiquitous (even aphoristic) in "contemporary art discourse" I don't think the piece is frequently read or published as a whole (i think its also in the Phaidon book edited by Buchloch, but i haven't seen it). Anyway its a beautiful text but full of contradictions and ambiguities. I can't stop thinking about it so i typed it out below and maybe other people can help me parse it or just enjoy it themselves. (I think this version was translated to spanish and then back to english because elsewhere i've seen "capabilities" written as "possibilities" but i don't think originality is really at issue here. there were also boxes around some paragraphs that i can't reproduce with my keyboard.)

Spoiler:
NOTES ON & ABOUT ART

ART IS NOT A METAPHOR UPON THE RELATIONSHIPS OF HUMAN
BEINGS TO OBJECTS & OBJECTS TO OBJECTS IN RELATION TO
HUMAN BEINGS BUT A REPRESENTATION OF AN EMPIRICAL
EXISTING FACT
IT DOES NOT TELL THE POTENTIAL & CAPABILITIES OF AN
OBJECT (MATERIAL) BUT PRESENTS A REALITY CONCERNING
THAT RELATIONSHIP

IF AND WHEN A PRESENTATIONAL SITUATION CANNOT
ACCOMMODATE BY VIRTUE OF SELF-PROTECTION (CONFLICT
OF BASE IDEOLOGIES) A WORK OF ART
IT (THE WORK OF ART) THEN MUST ERECT A STRUCTURE
CAPABLE OF SUPPORTING ITSELF (THE WORK OF ART)
BUT WHATSOEVER SUPPORT IS FOUND CAPABLE BECOMES IN
EFFECT LEGITIMIZED
PERHAPS THE DIALECTIC CONCLUDES AS THE SYSTEM OF
SUPPORT CHANGES

1. THE ARTIST MAY CONSTRUCT THE WORK
2. THE WORK MAY BE FABRICATED
3. THE WORK NEED NOT BE BUILT
EACH BEING EQUAL AND CONSISTENT
WITH THE INTENT OF THE ARTIST
THE DECISION AS TO CONDITION RESTS WITH
THE RECEIVER UPON THE OCCASION OF
RECIEVERSHIP

THE PURPOSE & MANNER OF CONSTRUCTION OFFERS
NOT HOW IT SHOULD WERE IT TO BE BUILT BUT
HOW IT COULD WERE IT TO BE BUILT

THE OBVIOUS CHANGE IN THE RELATIONSHIP OF ART TO A CULTURE
IS PERHAPS THAT THE EXPLANATION (NOT NEEDED JUSTIFICATION)
OF THE EXISTENCE OF ART HAS BEEN ALLIED TO THE CONCEPT OF
PRODUCTION
THIS READING WHILE OBVIATING SOME FORM OF SOCIAL UNEASE IS
NOT IN FACT THE CASE

ART IS IN RELATION TO ITS SOCIETY A SERVICE INDUSTRY

A REASONABLE ASSUMPTION SEEMS TO BE THAT PROLONGED
NEGOTIOATIONS WITH A NON-ACCOMMODATING STRUCTURE IS
NOT THE ROLE AND OR USE OF EITHER THE ART OR THE
ARTIST

THE WORK IS ABOUT INFORMAL OBJECTS
NEITHER THE WORK NOR THE PRESENTATION HAVE A FORM
UNTIL THE NEED PRESENTS ITSELF

THE ARTIST'S REALITY IS NO DIFFERENT FROM ANY OTHER
REALITY
IT IS THE CONTENT THAT GIVES THE PRECEPTION AND
OBSERVATIONS OF AN ARTIST (WITHIN THE PRESENTATION ART)
A USE FACTOR WITHIN THE SOCIETY

THE ACCEPTANCE OF THE NEED FOR THIS DISTANCING BY A
SOCIETY (IN FACT THE NEED ITSELF) BY A SOCIETY FOR ITS
ART TO FUNCTION HAS LED TO THE MISCONCEPTION THAT ART &
ARTISTS ARE APART FROM SOCIETY UNLESS THE DO NOT FUNCTION
AS ART & ARTISTS

THE WORK REQUIRES A FORMAL SITUATION IN ORDER TO BE PRESENTED
WALLS WERE BUILT FOR THINGS TO BE PUT UPON THEM.

ALL ADORNMENT OF A FORMAL OBJECT MUST HAVE MEANING
OR BRING ABOUT A BASIC CHANGE OF STATE
OR FALL INTO THE DECORATIVE OR SENTIMENTAL WHICH IS IN FACT
ACCEPTANCE OF THE DEMAND FOR ACCOMMODATION.

A CONCEPT (IDEA) OF ENDEAVOR (WORK) WITHOUT A
COMMITMENT ( ) IS NOT A REASONABLE ASSUMPTION

IF IT WALKS LIKE A DUCK & TALKS LIKE A DUCK
IT MAY AS WELL BE A DUCK.

THE NATURAL OBJECT (ITSELF) IS ALWAYS AN ADEQUATE SYMBOL

EACH ACT MUST HAVE CONSEQUENCE

EACH LINE DOES HAVE MEANING

CONSTANT PLACATION OF PREVIOUS AESTHETICS CONSUMES
PRESENT RESOURCES TO THE EXTENT THAT AS THE NEEDS &
DESIRES OF A PRESENT AESTHETIC MAKE THEMSELVES FELT
THE RESOURCES HAVE BEEN EXHAUSTED

QUESTION: HOW DO YOU DETERMINE THE AUTHENTICITY OF A
FOLK TALKE (MYTH) TO PROTECT AGAINST A FALSE STORY
BEING TOLD?

ANSWER: HOW CAN YOU TELL THE DIFFERENCE BETWEEN ONE
SILLY STORY & ANOTHER SILLY STORY

ALL DETERMINED MEANS OF PRESENTATION CONSTITUTE A
THEATRICAL GESTURE

ALL INTELLECTUALLY DETERMINED ACTIVITY IS THEATRICAL

THIS MEANS TO MAKE SEEN THE PRESENTATION OF A PREMISE
CONCERNING THE RELATIONSHIPS OF OBJECTS TO OBJECTS.
THE SEARCH FOR A PLINTH OTHER THAN THE EARTH ITSELF
TO PLACE AN INFORMAL OBJECT (THE ART) WITHIN
A FORMAL CONSTRUCT (THE CULTURE)

THE WORK MUST BE CAPABLE OF EXISTING AND OF MAINTAINING
A FREE FLOW WITH OR WITHOUT THE AID OF THE STRUCTURE
AS WITH MOST VECTORS: THE INTRODUCTION INTO THE STREAM OF A CULTURE IS SUFFICIENT.
TO WHAT END THE WORK FUNCTIONS.
TO WHAT USE IT IS PUT DEPENDS UPON THE INTENTION AND THE NEED
OF THE PLINTH.

ALL ART IS MADE FROM ANGER

THE MEANING RESTS WITHIN THE RELATIONSHIP
OF HUMAN BEINGS TO OBJECTS.

THERE IS WITHIN THE STRUCTURE AN ATTEMPT TO MAKE SENSE
OUT OF A BODY OF WORK.
THIS ATTEMPT IS IN FACT BESIDE THE POINT.
THE WORK WAS MADE DESIGNED AND PRESENTED TO HAVE MEANING.
EACH OBJECT PLACED UPON THE TABLE
MUST HAVE WITHIN ITS MEAING WITHIN ITS SENSE THE POSSIBILITY OF CHANGE.

LAWRENCE WEINER
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Re: (capital) A – R – T

Postby pei » Mon Dec 08, 2014 4:24 pm

i make art too i guess
about to finish my first semester of art school and it's going p well i guess! i mostly do sound, performance, video, and new media but i do enjoy doodling a lil bit

here's some stills of some video performances i worked on

Image
video

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2 channel video

Image
3 channel video

my work used to be focused on using natural resources (see first pic) but now i'm more interested in synthetic objects, feelings, and concepts!!! ahhh
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Re: (capital) A – R – T

Postby rublev » Fri Dec 19, 2014 5:39 pm

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Re: (capital) A – R – T

Postby donut_milk » Sun Dec 21, 2014 10:20 pm

I went and saw a now permanent installation of James Turrell's Breathing Light at LACMA a few weeks ago:

Image



A bit upset at myself for not going when they had his full exhibition earlier this year but at least this is part of the permanent collection now. Felt very calming yet unnerving at the same time being in that room, bathed in light that was extremely saturated.


I am looking forward to seeing Pierre Huyghe's work which is on display now - http://www.lacma.org/huyghe#landing
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Re: (capital) A – R – T

Postby pirxthepilot » Tue Dec 23, 2014 5:35 pm

little video interview with my friend, talking about working by the river thames

http://mirrorcity.southbankcentre.co.uk ... ma-mcnally
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Re: (capital) A – R – T

Postby sunblam » Fri Jan 02, 2015 5:02 pm

I apologize for being so absent from this forum for so long! I have been writing two theses :| They're about art, though! Here are some things that aren't in my theses.

Image
"Untitled," William Eggleston (1965-68 and 1972-74), from Los Alamos.

Image
"100% Permission from Roddy Buchanan," Yang Jiechang (2005), ink and mineral colors on silk.

Image
"Winnipeg, Manitoba Canada," Neil Farber (2009).

Image
"Inward Vision No. 1," Yayoi Kusama (1953).

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Xu Gu, "Cat and Butterfly" (19th century).

Image
"Bus Stop," Neil Farber (2010).

hmu if you want to know everything about Chinese contemporary ink art or Yayoi Kusama!
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Re: (capital) A – R – T

Postby momjeans » Sat Jan 03, 2015 4:51 pm

i've been getting really into may wavers work lately.

[youtube]Cd3YYpldENs#t=33[/youtube]

she also has a piece called Ok Cupid Interview that I really like: http://okcupidinterview.net/
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Re: (capital) A – R – T

Postby exprof » Fri Jan 09, 2015 6:31 pm

all about canadiana, shout out to suzy lake
Spoiler:
and "anything that references Patty Hearst is awesome"


Image
Spoiler:
Suzy Lake: Suzy Lake as Gary William Smith (1973-74): Ten gelatin silver prints, 37 x 26-½ inches each. Photo: Isaac Applebaum. Courtesy Paul Petro Contemporary Art, fake canada, and the artist.

Image
Image
Spoiler:
If You Knew Suzy #2, 1976/2008
colour and black & white photographs
edition of ten
26 1/2 x 22 1/2 inches
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Re: (capital) A – R – T

Postby rublev » Sat Jan 10, 2015 4:23 pm

@heckawheel

Image

alexander archipenko

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ivan puni

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lyubov sergeyevna popova

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ivan kliun

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alexandra exter

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alexander rodchenko

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olga rozanova

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El Lissitzky

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lajos kassak

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theo van doesburg

Image

Image

george vantongerloo

and heaps more if you don't care about labels that much!

@pirxthepilot no sorry, didn't make that show. i'm in glasgow and rarely get down to london to see things :( only other thing i saw was the new hodgkin exhibition. heard mixed reviews of the mirrorcity show but we all know that doesn't mean anything.
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Re: (capital) A – R – T

Postby rublev » Sat Jan 10, 2015 4:58 pm

oops also meant to post about the rietveld schröder house, which is amazing!!!

Image

Image

Image

Image

:woop:
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Re: (capital) A – R – T

Postby sunblam » Thu Jan 15, 2015 12:14 am

OK so I got a couple requests to talk more about Yayoi Kusama so I'm going to do that now. This is basically a summary of fifteen pages so bear with me.

Kusama began working in Japan in the 50's with the backing of a really wealthy family, but she wasn't particularly successful, so she moved to New York. In New York, she was very successful, popular especially for her happenings, in which she would paint polka dots on the nude bodies of participants. Now, two important things about Kusama:

1. She has really bad OCD, and because of this is very prone to repetitive actions.
2. She had "hallucinations" when she was young that were really just lights effecting her eyes, but led her to repeating the pattern of the red spots she saw in her work. The circle to her represents purity and oblivion.

In the 1970's after a very successful 60's when Kusama established herself in New York, she went back to Japan for a while and checked herself into a mental hospital. Kusama did super well after doing so, and went back to having tons of exhibitions and making lots of art in the 1980's. At this time, her artwork changed a bit. Kusama started out making works with dots, as well as sort of mangled phallus shapes; she was incredibly afraid of phalli and these phallus works sort of acted as an exposure therapy, which is pretty common in treating phobias as well as obsessive compulsive disorder. The dot works were an act of obsession, not really a therapy, but an outward expression of her disordered thought. SO ANYWAYS after she checked herself into the mental institution, she stopped making so many phallo-centric works and kinda kept to the dots. In her old age, she has been making works that combine the dot with the phallus, which to me is sort of a reflection on how fears and beauties can coexist.

Kusama is now known around the world as "the dot artist" as well as "that crazy Japanese lady," which is really dismissive of the empire that she has created. Kusama has designed (for Louis Vuitton, most recently), published a series of acclaimed novels, and established herself as one of the most renowned contemporary artists in the international art world. Although she remains in a mental hospital, she is very aware of her condition and consciously incorporates its effects on her into her artwork.

here's a ton of images:
Spoiler:
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infinity room
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infinity room
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accumulation
Image
some coat the name of which I do not know
Image
yayoi kusama for louis vuitton :))
Image
more yk for lv (which, granted, was not great, but it was at no fault of kusama's--those textiles are beautiful)
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Re: (capital) A – R – T

Postby smiles » Thu Jan 15, 2015 1:26 am

Going to see an exhibition of Nobuyoshi Araki's work tomorrow, and then there's an exhibition with Ren Hang and Li Lang opening on Saturday. Probably going to be less naked people than would be expected of most of these artists.

Excited for Nobuyoshi, There's going to be some works from 'Sentimental Journey, Winter Journey', which is my favourite of his. Never seen Ren Hang in person so that will be good. Anyway, I'm liking a lot of photography stuff right now.

Image

Image

Image

Image
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Re: (capital) A – R – T

Postby klonopin » Fri Jan 16, 2015 12:18 pm

Is queer terrorism the future of art??

[vimeo]http://www.vimeo.com/57882032[/vimeo]
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Re: (capital) A – R – T

Postby areo » Fri Jan 16, 2015 1:06 pm

interesting, thanks.

Image

If you are in London:
http://www.carrollfletcher.com/exhibitions/37/overview/
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Re: (capital) A – R – T

Postby schiaparelli » Sun Jan 18, 2015 8:33 am

my new favorite tumblr: what they see. the viewpoint of works of arts stored in museums (largely the met). the juxtaposition is hilarious and awesome and it feels like this lovely childlike exploration of the secret lives of portraits and sculptures. reminds me a lot of the harry potter idea of portraits flitting to other frames to socialize and hang out and act out their own little dramas.

Image
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that poor girl, staring into the abyss of humanity.
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Re: (capital) A – R – T

Postby Iliam » Tue Jan 20, 2015 4:40 am

went with @natural.log to the 'Commune' exhibition at White Rabbit Gallery, which shows Chinese contemporary art.

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We also watched Li Xaiofei's Assembly Line Interview Series. Probably my favourite.
Spoiler:
[vimeo]http://www.vimeo.com/73380797[/vimeo]
[vimeo]http://www.vimeo.com/75727786[/vimeo]

'Foreign Boss' and 'Woman Director' were also in the exhibition.
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Re: (capital) A – R – T

Postby rublev » Sat Jan 24, 2015 5:02 pm

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Re: (capital) A – R – T

Postby australia » Mon Jan 26, 2015 2:27 am

Any thoughts/recommendations/sites for purchasing art (originals, re-prints, copies, posters) in the $50-500 price range.

Looking to fill up two walls of a bedroom I'm moving into shortly. Colour scheme will be fairly simple (creams, white, greys, black). Wooden floorboards, plain white/cream walls.

Already have been browsing http://www.artelino.com/default.asp as I love Japanese ukiyo-e style, though these seem quite small in general.
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Re: (capital) A – R – T

Postby momjeans » Mon Feb 02, 2015 3:05 pm

The First Major Museum Show to Focus on Smell

http://www.smithsonianmag.com/arts-culture/the-first-major-museum-show-to-focus-on-smell-1787124/?no-ist

...this fragrant historiography will initially be lost on the average visitor because while scent may indeed be the best sense for provoking memory, it is the worst sense for conveying intellectual content. When we smell something—good or bad—our reaction is typically an automatic or emotional response. Such a reaction doesn’t lend itself particularly well to critical analysis.


obviously scent-based art is a difficult conversation to have over the internet, but i'm really interested to see scent art expanded upon. personally, i think that only showing perfumes and colognes is kind of boring, but considering the emotional weight that scent carries, im really interested in seeing (smelling) scent being incorporated into other art forms.
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Re: (capital) A – R – T

Postby longjumps » Wed Feb 04, 2015 11:20 pm

Stephen Shore - Uncommon Places

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The work’s laconic eloquence speaks of an era and a nation. Its wit and affection add buoyancy to scenes of threadbare America from a moment when the country was depressed by war and years of civil unrest. Its formal rigor makes an uncanny order out of images that, at first glance, look like no place or nothing. ... Why that moment at that spot and not another? Mr. Shore’s pictures, like his diary entries, imply the arbitrary ways we make sense of life, choosing to note certain things but not others, framing the world so that what we see comes into focus, thereby excluding what doesn’t fit."
- from a review by Michael Kimmelman
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Re: (capital) A – R – T

Postby AmericanPie » Thu Feb 05, 2015 1:42 am

I have a small show up right now, and I wanted to share the things I make with the c-t.

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Pics of each individual piece here:
Spoiler:
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Re: (capital) A – R – T

Postby ramseames » Sun Feb 08, 2015 10:06 pm

http://rr-ho-presi.tumblr.com/

also the last page is fucking annoying to load

pls spoiler or make an imgur album guys cmon its not hard i swear
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Re: (capital) A – R – T

Postby CleanThug » Sat Feb 14, 2015 11:45 am

Anybody like Alex Grey? He does really psychedelic stuff akin to what you (apparently) see while on DMT.

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super cool stuff
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Re: (capital) A – R – T

Postby rublev » Mon Mar 16, 2015 1:40 pm

spoilered 'cos there's quite a few but here is some of my most recent stuff !!!

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