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robertogreco : contemporary   21

MCASD's 'Very Large Array' celebrates regional artists | UTSanDiego.com
"Primary patrons

In conceiving the exhibition, Dawsey and Davies decided to represent every San Diego and Tijuana artist in the institution’s collection, built over the course of the last 50 years. The museum defined “San Diego artists” as artists who lived here, practiced here or taught here. Of the 102 artists it identified in its collection, about a quarter of them — 27 to be exact — are from Tijuana (their influence and concerns are one of the show’s most pervasive qualities).

“What distinguishes us from the San Diego Museum of Art, or the Timken Museum, or every other museum in town except perhaps the Mingei, is we are primary patrons of living artists,” Davies said. “And there’re no more important artists than our own artists.”

That statement might come as a surprise to some local artists, who have perceived the museum as somewhat removed from their everyday realities. But as the local art community has become more energized, so has the museum’s attitude toward it. Over the past year, MCASD invited representatives of local art spaces (from Agitprop to Space 4 Art) into the museum for conversations, which resulted in a loose coalition now called Think Tank.

During the recent Fall for the Arts events, the museum and Think Tank participated in the festival’s Pod Project and produced a zine, “Other Ideas,” which highlights the aspirations of some of the alternative arts spaces.

“The Think Tank is a good step,” said artist and Agitprop founder David White, who was involved in the museum’s 2010 show “Here Not There: San Diego Art Now” and the Orange County Museum of Art’s most recent California Biennial (he’s not represented in MCASD’s collection and therefore not in “The Very Large Array”). “It’s great there’s an acknowledgment from that institution toward what I think is a trend toward independently run spaces and artist-initiative-driven spaces in the city.”

“Here Not There,” which included approximately 40 artists, marked a coming-of-age moment for the San Diego scene. Unlike “Here Not There,” however, “The Very Large Array” is a timeline (to use Dawsey’s description), not a snapshot. It presents an even more impressive overview of the local art community.

“Every museum of contemporary art has this balancing act,” Davies said. “How much do you deal with, acknowledge, recognize, your local art community at the risk of becoming provincial and navel gazing? And how much do you bring in work from around the world that makes you cosmopolitan and makes you part of an international dialogue about art?

“My sense is, for a city like ours, which is very close to a major art capital, Los Angeles, we should probably err on the side of showing, patronizing, nurturing our own artists.”"

[Paginated version: http://www.utsandiego.com/news/2012/dec/07/MCASD-array/ ]
sandiego  mcasd  art  local  museums  glvo  thinktank  crissorza  agitprop  davidwhite  herenothere  contemporary  purpose  timkenmusuem  sdma  hughdavies  verylargearray  mingei  community 
april 2013 by robertogreco
The Purple Thistle Institute
"The PTI will be something like an alternative university, or maybe better: an alternative-to-university. The idea is to bring together a bunch of engaged, interested people to talk about theory, ideas and practise for radical social change. We’ll have a great time, meet good people, get our praxis challenged and with luck refine and renew our ideas, politics and energies.

Importantly, the conversations will very deliberately cut across radical orientations – anarchists, socialists, lefties, progressives, anti-colonialists, anti-authoritarians, ecologists of all stripes are welcome. The idea is to work, think and talk together – to articulate and comprehend differences sure – but to find common ground, get beyond factionalized pettiness and stimulate radical ecological and egalitarian social change. We want to get good people with good ideas together to talk and listen to each other."
conferences  unconferences  the2837university  agitpropproject  unschooling  deschooling  education  learning  conversation  matthern  vancouver  socialecology  change  egalitarian  ecology  anti-colonialism  socialism  anarchism  anarchy  left  progressive  radical  2011  britishcolumbia  altgdp  alternative  alternativeeducation  socialchange  gamechanging  politics  policy  astrataylor  cecilynicholson  carlabergman  amjohal  geoffmann  glencoulthard  decolonization  activistart  art  urbanstudies  economics  contemporary  socialphilosophy  criticaltheory  bc 
february 2011 by robertogreco
The Institute of Contemporary Art at Maine College of Art (ICA at MECA)
"The Institute of Contemporary Art at Maine College of Art features innovative exhibitions and public programs that showcase new perspectives and trends in contemporary art. Located in stunning galleries in our landmark Porteous Building, the ICA at MECA presents cutting edge work by local, national, and international artists. A lively schedule of public programming includes lectures, workshops, and performances. The ICA at MECA provides a unique resource to the MECA community, offering insight into the practices of the professional field and first hand experiences with renowned visiting artists. Internships are also available, providing hands-on museum experiences ranging from the research and development of exhibitions to teaching to museum management."
meca  maine  portland  ica  icameca  art  glvo  museums  education  arts  exhibits  exhibitions  contemporary 
february 2011 by robertogreco
Early Modern History Lessons: The Potosí Principle | post.thing.net
"The Secret of Subjections, or a History of Modern Colonialism… Note: This show recently closed at Reina Sofia museum in Madrid. It is opening soon in Berlin (Chto Delat is doing workshops end of first week October). “The Potosí Principle” mixes projects by contemporary artists with Spanish colonial paintings and documents from the 17th and 18th centuries. The intention of the curators and artists is nothing less than to re-imagine modernity. Historians call the 16th century the “early modern” period. The French Revolution is a class divide between global political and economic regimes. “The Potosí Principle” exhibition arguest hat in fact the regime of what Marx called “primitive accumulation,” the coercive exploitation of labor, never ended. I intend to review this remarkable show, but can't do it now. Here instead is a Spanish government ministry text on the show. (The current prime minister of Spain is a socialist.)"
colonialism  art  marxism  baroque  thepotosíprinciple  alanmoore  spain  españa  perú  modernity  contemporary  historiography  theory  slavery  history 
january 2011 by robertogreco
Modern Schools - Practical Theory
"…does not assume that because we learned a certain way when we were kids that our children must learn the same. A modern school movement does not assume that what was good for us will automatically be good for them, nor does it assume that just because we did something a certain way in the past that it holds no value in the future…does not have to focus solely on tools or skills but rather on ideas and people and the lives we live today.

I want to create modern schools, in and of our time, for our time, for these kids."

[Don't agree with the word choice of 'modern'. 'Progressive' is better fit, but unfortunately brings misconceptions, preconceptions. 'Contemporary' may be the best option.]
chrislehmann  education  modernity  modern  words  schools  policy  tcsnmy  lcproject  teaching  learning  history  future  contemporary  progressive  2011  change  gamechanging  reform 
january 2011 by robertogreco
somamexico.org
"SOMA es un espacio para el arte contemporáneo que busca establecerse como contrapunto a la dinámica existente de escuelas, museos y galerías.

SOMA surge de la iniciativa de un conjunto de artistas que, aprovechando las experiencias de La Panadería, Temistocles 44 y otros espacios de artistas, han unido sus esfuerzos dando como resultado una plataforma única en el ámbito cultural.

SOMA consta de tres partes:

. Un sistema de residencias para artistas nacionales e internacionales.

. Un programa para la profesionalización de artistas.

. Un foro para conferencias, discusiones y eventos semanales

SOMA es una organización sin fines de lucro."
mexico  df  education  art  unschooling  deschooling  alternative  lcproject  mexicodf  soma  conferences  events  nonprofit  culture  contemporary  non-institutional  non-institutionalartschools  schools  machineproject  mexicocity  nonprofits 
december 2010 by robertogreco
Qué es alias | alias
"El propósito de Alias es la difusión de la obra y el pensamiento de autores particularmente significativos para el arte contemporáneo. Creaciones que, por razones y circunstancias difíciles de enumerar en este espacio, no han sido traducidas, impresas y difundidas en habla hispana; o bien, cuyas ediciones anteriores están descontinuadas o nunca han sido distribuidas en México.<br />
<br />
Alias es una editorial independiente sin fines de lucro económico."
art  mexico  mexicodf  publishing  books  damiánortega  contemporary  alias  df  mexicocity 
december 2010 by robertogreco
Frieze Magazine | Archive | Mexico City Report
"From new museums to project spaces and pop-up music events, nothing stands still in one of the largest cities in the Americas "

"Mexico City doesn’t feel alive so much as impossibly animated, scary in a way that you want to interact with rather than shy away from. D.F. is as much its bricks and mortar infrastructure and fantastically variegated architecture as the myriad ways people have of negotiating it. A hole-in-the-wall becomes a bar becomes an experimental music store, for a few hours once a month, or a penthouse gets repurposed as an ephemeral gallery."
mexico  mexicodf  art  glvo  museums  galleries  events  df  alias  damiánortega  soma  contemporary  music  popup  pop-ups  mexicocity 
december 2010 by robertogreco
Temple? School? Try Nightclub: The Soul of a New Museum | The New York Observer
"past year is culmination of decade-long effort to change museum's character, to turn it "interactive," place where people come to see, but also be seen; to not just look at art but participate in it. MoMA has made its mission to transform "into a social space from an treasure trove," according to the director…

But a resulting influx of people through the doors has lead influential art worlders like Robert Storr to lament rise of "Death Star Museums." These are places where "uninterrupted contemplation" is impossible. More people may be coming to contemp art museums, Mr. Storr wrote…, but "the mechanisms in play are horridly like those of a sci-fi monster that ingests people in great gulps."

"Museums of modern art are a kind of inherently unstable space," Mr. Lowry said. "If you're going to follow flow of contemp art, you have to constantly tweak & adjust. You can't lock it down & say this is what it should be for the next 10 years. Artists are moving much faster than that.""
via:foe  art  museums  moma  nyc  contemporary  events  participation  scenes  objects  social  robertstorr  design  paolaantonelli  accessibility  change  2010  attendance  quiet  crowds  yokoono  artclubbing  youth  ps1  ncmideas  participatoryart 
august 2010 by robertogreco
Bétonsalon
"Bétonsalon is designed as a place for work, production, activities and leisure, for the students, teachers and university staff, inhabitants, shopkeepers and employees of the neighbourhood, and people working in various disciplines: artists, philosophers, playwrights, choreographers, scientists ... and all of those who wish to contribute to make it a space of exchange."
education  culture  art  performance  france  paris  artists  exhibition  everyday  contemporary  glvo  lcproject  science  philosophy  exchange  crossdisciplinary  crosspollination  multidisciplinary  interdisciplinary  discourse  conversation  thirdspaces 
december 2009 by robertogreco
The Art of Jim Denevan
"Jim Denevan makes freehand drawings in sand. At low tide on wide beaches Jim searches the shore for a wave tossed stick. After finding a good stick and composing himself in the near and far environment Jim draws-- laboring up to 7 hours and walking as many as 30 miles. The resulting sand drawing is made entirely freehand w/ no measuring aids whatsoever. From the ground, these drawn environments are experienced as places. Places to explore and be, and to see relation and distance. For a time these tangible specific places exist in the indeterminate environment of ocean shore. From high above the marks are seen as isolated phenomena, much like clouds, rivers or buildings. Soon after Jim's motions and marks are completed water moves over and through, leaving nothing."
jimdenevan  design  art  landscape  big  large  installation  contemporary  photography  environment  food  nature  artists  drawing  land 
november 2009 by robertogreco
Interview with Fernando Llanos - we make money not art
"No one dons the moustache like Fernando Llanos. He's a video artist, a musician, a writer, a blogger, a curator, he makes drawings i'd like to steal, he's the über macho-looking Mexican guy who walks around the city with a chihuahua in his bag. He also produces tv shows, works on Animasivo --a festival of animation in Mexico, and the moto of his own radio programme is: "Porque no hace falta hablar de arte para hablar de arte" ("There's no need to talk about art in order to talk about art")."
mexico  art  fernandollanos  video  glvo  artist  contemporary  artists 
october 2009 by robertogreco
LA><ART
"LA><ART is Los Anegeles’ leading independent non-profit contemporary art space, producing experimental exhibitions, publications and public art initiatives with emerging and mid-career local, national and international artists.

Founded in 2005 to support the production of new work by contemporary artists, architects and designers, LA><ART occupies a critical space in the cultural landscape of LA between the larger institutional and commercial sectors.

Support of LA><ART means supporting artists in a direct, intimate and influential way, promoting both risk and dialogue.

Join LA><ART for intimate access to a new generation of artists, curators and thinkers who are shaping the future landscape of contemporary art."
losangeles  art  design  glvo  galleries  exhibitions  museums  artists  contemporary  artcenter  alternative  gallery 
september 2009 by robertogreco
Human/Nature: Artists Respond to a Changing Planet
"pioneering artist residency & collaborative exhibition project that, for the 1st time on this scale, uses contemporary art to investigate the changing nature of some of the most biodiverse regions on earth & the communities that inhabit those regions. Organized by UC Berkeley Art Museum & Pacific Film Archive (BAM/PFA), Museum of Contemporary Art San Diego, in partnership with international conservation organization Rare, Human/Nature sent eight of the world’s most thoughtful and innovative artists to eight UNESCO-designated World Heritage sites around the globe for two mini-residencies. Through harnessing the power of art, we hope to build global support for the protection of environmental biodiversity, & to create a new model promoting conservation worldwide. The project will address many themes, including: the relationship between the natural environment & human culture; assumptions about the value of preserving biological & cultural diversity; & global exploration & exchange."
art  environment  sustainability  activism  nature  artists  consumption  residencies  glvo  earth  exhibition  installation  mcasd  sandiego  conservation  contemporary  photography 
august 2009 by robertogreco
Encastrable, guerrilla art residencies inside DIY megastores - we make money not art
"Encastrable is a series of guerrilla art residencies held inside gardening and DIY megastores in the Paris area. The project, which i discovered it while i was visiting the École Nationale Supérieure des Arts Décoratifs (ENSAD) in Paris a few weeks ago, was initiated by Paul Souviron and Antoine Lejolivet. At no cost at all, the young artists have at their disposal a huge array of material that they can grab, move, superimpose, and organize onto temporary installations and sculptures. Authorization of the manager of the establishment is obviously never requested."
art  consumption  walmart  contemporary  bigbox  megastores  wmmna  installation  temporary  glvo  guerillaart 
june 2009 by robertogreco
The Believer - The Paralyzed Cyclops
"I should perhaps myself note, however, the way that curiously, while the two artists have been engaged in entirely different artistic enterprises—undergirded, they would argue, by entirely opposite readings of history—many of Hockney’s and Irwin’s core concerns have come to seem, to me at any rate, almost entirely identical: the emphasis, for instance, on the critique of photography, the countervailing celebration of the human quality of looking and experience, the focus on the centrality of the observer, the vitality of the periphery, the interpenetrations of art and science, the dialogue of immanence. "
lawrenceweschler  robertirwin  davidhockney  art  photography  artists  criticism  california  painting  contemporary  believer 
november 2008 by robertogreco
David Cohen obituary for R.B. Kitaj
"could be called Zarathustra of contemp art. With characteristics of prophet & jester, produced complex, compelling, at times knowingly irksome images...intensely personal & address major themes of modern history & identity politely avoided by most art of
art  history  rbkitaj  contemporary  artists 
november 2007 by robertogreco
Blue Yonder: Welcome, Young Artist
"James was bored to tears with those paintings, but was positively GLOWING over the more contemporary installations."
children  art  museums  learning  contemporary  comments  homeschool  education 
november 2007 by robertogreco

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