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robertogreco : josephbeuys   21

James Luckett en Instagram: “August Frederick Townes Luckett-Maus, Democracy is seeds, seeds are funny, Multiple - Postcard, 2017 / "Even the act of peeling a potato…”
"August Frederick Townes Luckett-Maus, Democracy is seeds, seeds are funny, Multiple - Postcard, 2017 / "Even the act of peeling a potato can be an artistic act if it is consciously done." - Joseph Beuys"
seeds  josephbeuys  jamesluckett  art  democracy 
april 2017 by robertogreco
Residential Archaeology – MAS CONTEXT
"The cultural phenomenon of customization, the appropriation of things to make them personal, has been the focus of study for years. We can see it daily in the objects that we transform and recycle, between efficiency and aesthetics. If we extrapolate this idea to the discipline of architecture, it becomes even more interesting, albeit of varying intensity: from the wallpaper to the added floor level and through various degrees of appropriation in between.

The approach of Modern Architecture, such as the universal space from the early 20th Century, becoming even more common in the 1950s in houses by Craig Elwood or Richard Neutra among others, has been transformed nowadays into the idea of neutral space, empty, ready to be occupied.

There are also curious examples such as the Appliance House and the Put-Away Villa by the couple formed by Peter and Alison Smithson. In the first one, architecture and household goods are the same, taking to the limit the idea that we are only passing through the spaces. Ideas such as comfort are taken to the extreme in the growing amount of advertising of autos and appliances.

From the industrialized architecture of those spaces we had to extract the particular aesthetic related to the prefabrication process. It is time for architects and manufacturers to address the problem from the opposite end of the scale and make buildings that emanate living habitats and reflect the needs of those who inhabit the spaces.

In the second example, a few years later and almost in opposition, the warehouse house, where we all collect, resulting in the need for a deposit, which requires the occupation of a third of the house: the place for objects-that-you-don’t-use-now-and-that-perhaps-won’t-be-used-anymore. Ultimately, it is the domestication of the spaces.

Let’s recall the performance “I Like America and America Likes Me” (1974) by Joseph Beuys. In it, Beuys is separated from his usual space in order to be placed in a single space along with a coyote, also separated from its natural habitat. Cohabitation and making the space human, space domesticated.

Finally we are generally talking about two things: first, how we get to the spaces and second, how we fill them and therefore, how we transform them.

We must pause and think, how do users (of different social class) personalize their spaces? What can we learn and understand from the materiality of life? Does this have anything to do with the materiality of the projects designed by architects and with any social commitment?

Le Corbusier, Mario Pani, Teodoro González de León, among others, have focused on the constructive materiality, in methods of self-construction or low-cost construction. But, what about the materiality of the everyday? What happens between the mere representation that the architect proposes and the everyday occupation by the resident?

Residential Archaeology consists, therefore, of:

1. Drawing in an archeological way three things: the space occupied by the architecture itself; the everyday life infrastructure, that is, furniture; and the elements that provide use to the furniture, those that humanize them.

2. Studying the impact in terms of occupancy, density and time. An archaeological GPS that subtly gets transformed by the passing of the hours and the collecting of objects, and sometimes their final destination. What we called earlier the objects-that-you-don’t-use-now-and-that-perhaps-won’t-be-used-anymore. How do they alter and reconfigure the space?

3. As a result, the project proposes the registration of these styles-modes-adjustments of life in an electronic file in order to observe their impact and make the design and use evident. Additionally, the project makes a 1:1 scale comparison of each unit: a rug-map, as if drawn by hand on the floor itself, recalling the images we have of when we did so as children on the street or sidewalk. It is, in the end, a recording as George Perec explains in Life A User’s Manual.

The project places the Unité d’habitation in Marseille, the Tlatelolco housing complex, the Mixcoac Towers, the CUPA and Unidad Esperanza under equal conditions, like it does with its authors: Le Corbusier, Mario Pani and Teodoro González de León. All are perhaps pieces of the same puzzle that builds and shows more faithfully what, perhaps, we should take more into account, how we domesticate the spaces.

Citing [furniture and interior designer] Clara Porset, “we could not impose the tenant to acquire the furniture that had been created specifically for his home, nor did we think about convincing him. Instead, we chose to instruct him about design in general, providing him with a culture of housing.”"
housing  architecture  archaeology  residentialarchaeology  tlatelolco  mixcoactowers  lecorbusier  mariopani  teodorogonzálezdeleón  space  everyday  infrastructure  furniture  juancarlostello  residential  cupa  mexicocity  mexico  marseille  france  customization  josephbeuys  humans  domestication  habitat  craigelwood  richardneutra  modernism  df  mexicodf 
march 2015 by robertogreco
Jen Delos Reyes | Rethinking Arts Education | CreativeMornings/PDX
[video on YouTube: https://www.youtube.com/watch?v=vXWB7A1_zWA ]

"On the complex terrain of arts education today and expanded ways of valuing knowledge.

What should an arts education look like today? Can education change the role of artists and designers in society? How does teaching change when it is done with compassion? How does one navigate and resist the often emotionally toxic world of academia? With the rising cost of education what can we do differently?

Bibliography:

Streetwork: The Exploding School by Anthony Fyson and Colin Ward

Teaching to Transgress by bell hooks

Teaching Community: A Pedagogy of Hope by bell hooks

Education Automation: Comprehensive Learning for Emergent Humanity by Buckminster Fuller

Talking Schools by Colin Ward

Learning By Heart: Teachings to Free the Creative Spirit by Sister Corita Kent and Jan Steward

The Open Class Room by Herbert Kohl

Deschooling Society by Ivan Illich

Why Art Can’t Be Taught by James Elkins

Education and Experience by John Dewey

Freedom and Beyond by John Holt

Notes for An Art School edited by Manifesta 6

Black Mountain: An Exploration in Community by Martin Duberman

Teaching as a Subversive Activity by Neil Postman and Charles Weingartner

We Make the Road By Walking by Myles Horton and Paulo Friere

Education for Socially Engaged Art by Pablo Helguera

Rasberry: How to Start Your Own School and Make a Book by Sally Rasberry and Robert Greenway

This Book is About Schools edited by Satu Repo

Art School: (Propositions for the 21st Century) edited by Steven Henry Madoff"
via:nicolefenton  jendelosreyes  2014  art  arteducation  education  booklists  bibliographies  anthonyfyson  colinward  bellhooks  buckminsterfuller  sistercorita  coritakent  jansteward  herbertkohl  ivanillich  jameselkins  johndewey  johnholt  manifesta6  martinduberman  blackmountaincollege  bmc  unschooling  deschooling  informal  learning  howwelearn  diy  riotgirl  neilpostman  charlesweingartner  paulofriere  pablohelguera  sallyraspberry  robertgreenway  saturepo  stevenhenrymadoff  lcproject  openstudioproject  standardization  pedagogy  thichnhathahn  teaching  howweteach  mistakes  canon  critique  criticism  criticalthinking  everyday  quotidian  markets  economics  artschool  artschoolconfidential  danclowes  bfa  mfa  degrees  originality  avantgarde  frivolity  curriculum  power  dominance  understanding  relevance  irrelevance  kenlum  criticalcare  care  communitybuilding  ronscapp  artworld  sociallyendgagedart  society  design  context  carnegiemellon  social  respect  nilsnorman  socialpracticeart  cityasclassroom  student-centered  listening  love  markdion  competition  coll 
january 2015 by robertogreco
Rethink What Can Happen in a Museum: Portland Art Museum’s Shine a Light | Art Museum Teaching
"“Art is a space, which we have created, where we can cease to subscribe to the demands and the rules of society; it is a space where we can pretend. We can play, we can rethink things, we can think about them backwards.” —Pablo Helguera

As museums face the current challenges to drive relevance through becoming more active, participatory, responsive, and community-based, projects such as the ones explored in this past week’s posts indicate a potentially transformative role for artists to play. Whether rethinking a museum’s visitor experience, reinventing the public spaces of and around museums, drawing on creative practice to break museums’ ‘old habits,’ or interrogating the internal culture and working of the museum, artists are effectively exploring museum institutions as sites with a distinct “possibility for evolution,” to reconnect with the powerful words from Joseph Beuys that opened this series of posts (and from which the title of my paper came).

As the second International Museum Forum wraps up here in Yeongwol County, South Korea, I wanted to post this final excerpt from my paper, discussing the artist-driven program I am directly involved in here at the Portland Art Museum. In addition, I’m concluding this post with some of the “core, burning questions” that institutions involved in this work are addressing — especially as many of these projects are in a current phase of reflection and rethinking."



"Inspired by the Machine Project’s Field Guide to the Los Angeles County Museum of Art one-day event in November 2008 as well as the broader approach and process of social practice art, the team at the Portland Art Museum and PSU launched the first Shine a Light event in September 2009. For six hours, the museum was a space in which sixteen artists enacted projects that offered visitors new, unanticipated, playful and provocative ways to experience the museum.  The goals established during this first event—which have remained the core goals for this project up through the most recent Shine a Light event in 2013—included:

• Situate art (producing, interpreting, enjoying, puzzling over) as a living activity that everyone can participate in.
• Encourage an atmosphere of participation between the museum, its visitors, and artists.
• Make the museum a “site” of artistic production and practice.
• Inspire inquiry into the connection between art and everyday life.
• Have fun!

Artist-led projects that have been part of Shine a Light since 2009 have ranged from live Greco-Roman nude wrestling, a museum cookbook, dead artist seances, and haircuts inspired by artworks in the collection to inviting visitors to have a work of art tattooed onto their body, to sing songs about a work of art, or to display their personal cell phone photos within the museum’s photography collection."



"At the Open Engagement panel discussion, the top questions were revealed and discussed, and I think perhaps it is an appropriate way to end this paper by simply presenting these and other questions that are now sparking some open thinking in the field across institutions.

• Are we doing this work to broaden our audiences or to serve existing audiences?
• What’s the difference between an artist doing this work versus a public engagement or education department doing it?
• What does success look like? How do we measure success?
• What happens when institutions collaborate with artists? How can the questions artists ask reshape us as practitioners and reshape the museum itself?

Many of the answers to these and other questions are localized to each project and institution (some have even been addressed above by existing projects), yet certainly some common responses will emerge as institutions push ahead with experimental, participatory practices that open the spaces of museums to the work of social practice and socially-engaged artists, as well as museum staff that have been gaining a tremendous level of creative capacity through this type of work. Overall, many of these core questions bring the conversation back to the ability of these socially-engaged, participatory projects to effect change — whether that is shifting the ‘mindset’ for museum visitors as well as the communities that engage with museums, or a more broad social change felt in the community."

[See also:

Possibilities for Evolution: Artists Experimenting in Art Museums
http://artmuseumteaching.com/2013/10/14/artists-experimenting-in-art-museums/

Blurring the Lines: Walker Art Center’s Open Field
http://artmuseumteaching.com/2013/10/15/blurring-the-lines-walker-art-centers-open-field/

Getting a Better Sense of the Terrain: Machine Project at the Hammer Museum
http://artmuseumteaching.com/2013/10/18/getting-a-better-sense-of-the-terrain-machine-project-at-the-hammer-museum/ ]
mikemurawski  art  artmuseums  museums  arteducation  participatory  2013  openengagement  pablohelguera  josephbeuys  machineproject  markallen  hammermuseum  lacma  everyday  portlandartmuseum 
july 2014 by robertogreco
Frieze Magazine | Archive | New Schools
"What would an art school fit for the 21st century look like? It’s become common to note that the last decade has seen a rise in pedagogic projects initiated by artists and curators. As Claire Bishop, among others, has argued, the cancellation in 2006 of Manifesta 6 – a failed attempt to set up an art school in Cyprus, and its afterlife as a series of seminars in Berlin – could be seen as the moment when this so-called educational turn became more pronounced. In the intervening years, countless self-organized night schools, free-to-attend lecture programmes and artist-run art academies have sprung up around the world. The reasons for this, though complex and interrelated, are frequently attributed to escalating tuition fees, cuts to university budgets, the creeping neoliberalization of education at large, frustration with overstretched tutors or inadequate teaching, not to mention a lack of academies in a given region.

There are, of course, important precedents for such projects, not least the activities of artists including Joseph Beuys, Luis Camnitzer, Lygia Clark and Tim Rollins, all of whom made pedagogy a central part of their work. This past decade, artist-led projects have taken forms as various as Khaled Hourani and Tina Sherwell’s International Academy of Art Palestine in Ramallah (2005–ongoing), Henriette Heise and Jakob Jakobsen’s Copenhagen Free University (2001–07) and Tania Bruguera’s Cátedra Arte de Conducta (Behaviour Art School, 2002–09) in Havana. In a more established art centre, like Los Angeles, a constellation of initiatives has emerged, such as Machine Project (2003–ongoing), Fritz Haeg’s ‘Sundown Salons’ (2001–06), and Piero Golia and Eric Wesley’s The Mountain School of Arts (2005–ongoing). Other schools are roving (like Pablo Helguera’s School of Panamerican Unrest, 2003–ongoing), studio-bound (such as Lia Perjovschi’s Centre for Art Analysis, in Bucharest) or, like Parallel School of Art or Gerald Raunig’s European Institute for Progressive Cultural Policies, exclusively online. As is clear from the names, one common thread is the claiming of institutional status (Gregory Sholette has used the terms ‘mockstitutions’ and ‘phantom establishments’), even though they remain, for the most part, unaffiliated with any traditional institution. What’s obvious is that many are eager for an art school today to be self-determined, flexible, small-scale and cheap or free to attend. This summer, the tendency found a temporary institutional home at London’s Hayward Gallery with ‘Wide Open School’, a month-long ‘experiment in public learning’ involving more than 100 artists.

I invited representatives from three artist-led education programmes, each of which was or will be launched this year, to contribute case studies about their projects: Los Angeles-based Sean Dockray, co-founder of The Public School and Telic Arts Exchange, discusses the background for The External Program, an online learning network based on a Victorian correspondence course; the Turkish artist Ahmet Öğüt introduces The Silent University, a multi-lingual, nomadic institution organized by asylum seekers and political refugees; and the London-based artist collective LuckyPDF interview students from their School of Global Art, a ‘peer-2-peer meshwork’ of learning, about debt and intellectual property. Additionally, I asked the founders of three artist-run art schools – SOMA in Mexico City, mass Alexandria, Egypt, and Islington Mill Art Academy in Salford, UK – to sketch out their influences and aims, as well as the competing ideologies and practicalities at play in the day-to-day running of a school.

Several shared preoccupations emerge: What are the possibilities of and limits to self-organized education? Who owns art education in what Tom Holert has called the ‘knowledge-based polis’? What can be borrowed from traditional academies, and what should be jettisoned? And what’s actually at stake with this self-institutionalizing impulse? In a 2009 lecture titled ‘The Academy is Back’, Dieter Lesage argued that: ‘The art academy is going to be the defining innovative institution within the art field in the next 20 years, much more so than museums, galleries, biennials, whatever.’ So, if we take this to be the case, what are the responses being developed by artists today?"

[via: http://blog.sfpc.io/post/57415533181/what-would-an-art-school-fit-for-the-21st-century ]
art  education  arteducation  openstudioproject  lcproject  2012  altgdp  soma  thesilentuniversity  lygiaclark  josephbeuys  luiscamnitzer  timrollins  theexternalprogram  massalexandria  islingtonmillartacademy  seandockraylosangeles  yoshuaokón  schoolofglobalart  mauricecarlin  laurenvelvick  samthorne  waelshawky  egypt  london  ahmetöğüt  luckypdf  katherinesullivan  mexico  mexicodf  seandockray  manifesta6  dieterlesage  2013  copenhagenfreeuniversity  pablohelguera  gregorysholette  wideopenschool  khaledhourani  tinasherwell  henrietteheise  jakobjakobsen  taniabruguera  havana  cuba  fritzhaeg  pierogolia  ericwesley  schoolofpanamericanunrest  losangeles  thepublicschool  telicartsexchange  tomholert  mountainschoolofarts  df  mexicocity 
august 2013 by robertogreco
The ARPANET Dialogues
"an archive of rare conversations within the contemporary social, political and cultural milieu"

Vol. I
Published on 9 October 2010
ARPANET Test 1975 with Marcel Broodthaers, Jane Fonda, Ronald Reagan & Edward Said…

Vol. II
Published on 14 March 2011
ARPANET Test June 1976 with Samir Amin, Steve Biko, Francis Fukuyama & Minoru Yamasaki…

Vol. III
Published on 1 November 2011
ARPANET Test March 1976 with Joseph Beuys, Juan Downey, Rosalind Krauss & Henry Moore…

Vol. IV
Published on 4 March 2012
ARPANET Test April 1976 with Jim Henson, Ayn Rand, Sidney Nolan & Yoko Ono…"

[See also: http://meaning.boxwith.com/projects/the-arpanet-dialogues and http://www.newscientist.com/blogs/culturelab/2011/04/so-reagan-signs-into-this-chatroom.html ]
satire  humor  internet  darpa  donaldlupton  artdubai2011  manifesta8  1975  1976  yokoono  sidneynolan  aynrand  jimhenson  henrymoore  rosalindkrauss  juandowney  josephbeuys  minoruyamasaki  francisfukuyama  stevebiko  samiramin  edwardsaid  ronaldreagan  janefonda  marcelbroodthaers  conversations  culture  philosophy  politics  netart  history  arpanet 
december 2012 by robertogreco
School Days — Lined & Unlined
[Now here: https://linedandunlined.com/archive/unbuilding ]

Quotes highlighted by Allen on Reading.am:

"It is not simply the unexamined life here that is not worth living, but the unnarrated life — and far from a nostalgic examination, that narration is increasingly essential and increasingly likely to occur in real time."

"Instead of the dismantling and overtly critical strategy employed by postmodernism, the reflexively modern society seeks to examine and correct itself in order to keep placing itself continually back on track. The result is a heightened sense of self-awareness and self-preservation leading all the way back to the individual. "

"Whether overtly biographical or simply self-referential, design remains even today in the peculiar position of having its history and criticism written largely by and for its own practitioners."

[This is a link-rich article that points to many other articles worth reading.]

[Manifesta 6's Notes for an Art School is available in PDF here: http://a.nnotate.com/docs/2011-11-11/iVdeoOj9/NFAAS%20fire%20inside%20copy.pdf ]
designcriticism  altgdp  manifesta  via:litherland  via:tealtan  whitneyispprogram  mountainschoolofart  josephbeuys  freeinternationaluniversity  skowhegan  blackmountaincollege  bauhaus  manifesta6  self-involved  art  criticalautonomy  andrewblauvelt  lorrainewild  wiggerbierma  karelmartens  graphicdesign  gunnarswanson  criticaldesign  speculativedesign  fionaraby  anthonydunne  helenwalters  brucenussbaum  dextersinister  raymondwilliams  antonvidokle  waltergropius  paulelliman  nowinproduction  designeducation  writing  education  criticism  2012  self-preservation  self-reference  unnarratedlife  examinedlife  unexaminedlife  self-awareness  design  robgiampietro  bmc  designfiction  dunne&raby 
november 2012 by robertogreco
American Beuys: "I Like America & America Likes Me"
"During Sacred Time, the time of Creation, Coyote taught humans how to survive, and the incredible survival of the coyote, both mythologically and biologically, continues to be one of the great American mysteries."

"Mythologically and biologically, Coyote is a survivor and exemplar of evolutionary change. This is what attracted Beuys to Coyote."

"Many people feel that the Vietnamese mistake was the first war that the United States didn't win. That isn't true. For forty-five years, Uncle Sam has fought a war against coyotes...and lost!"

"Beuys's intentions in the Coyote action were primarily therapeutic. Using shamanic techniques appropriate to the coyote, his own characteristic tools, and a widely syncretic symbolic language, he engaged the coyote in a dialogue to get to ”the psychological trauma point of the United States' energy constellation”; namely, the schism between native intelligence and European mechanistic, materialistic, and positivistic values."
navajo  transformer  stephenjaygould  jamesgleick  lewisthomas  fritjofcapra  systemsthinking  holisticapproach  holistic  science  adaptation  adaptability  survival  jeannotsimmen  heinerbastian  christianity  semiotics  josémartí  standingbear  nomads  shamanism  anthroposophy  intelligence  evolution  pests  garysnyder  carolinetisdall  johnmoffitt  1974  benjaminbuchloh  susanhowe  davidlevistrauss  1999  ilikeamericaandamericalikesme  history  rudolfsteiner  environmentalism  animalrights  glvo  trickster  shamans  europe  us  art  myth  coyotes  josephbeuys 
november 2012 by robertogreco
Franz Erhard Walther: Work as Action - artreview.com
"Franz Erhard Walther counts among those artists who, in the 1960s, sought to undermine the authorial role of the artist in favour of a more democratic aesthetic dependent on the interaction of viewer and object. Others with similar ideas whose work has entered the curatorial limelight of late include Charlotte Posenenske, featured in the last Documenta and subject of a one-person show this summer at Artists Space here in New York. Unlike Posenenske ¬– who wished to divorce the hand from artmaking in favour of mechanised labour – Walther seems to take his cue from Leonardo’s Vitruvian Man: simple and individual acts such as folding and lying, leaning and stepping are either the source of his often minimal works or the means by which individual viewers may interact with them."

[See also: http://www.moma.org/visit/calendar/events/16187 AND http://www.moma.org/visit/calendar/exhibitions/1294 ]
canvas  wearables  johnbock  martinkippenberger  santiagosierra  josephbeuys  firstworkset  workasaction  action  charlotteposenske  collaborative  participatory  1967  franzerhardwalther  democratic  interactive  glvo  art  wearable  ncm  participatoryart 
november 2012 by robertogreco
Leigh Blackall: Situated art, situated learning - En Route by One Step At A Time Like This
"I think the artistic intent of these concepts could be enhanced with study of Joseph Beuys' work, particularly the Free International University, as well as Situationist International and their desire to create environments for discovering and appreciating the true value of things rather than their staged value.

All of this makes for excellent examples to add to my essay in progress on Ubiquitous Learning - a critique, where I'm trying to argue that the words ubiquity and learning have nothing inherently to do with technology, and are instead words of ethical dimension, so the phrase ubiquitous learning should become one more to do with an ethical approach or framework to learning, and not one suggesting a technological determination of it."
context  situated  situationist  leighblackall  comments  josephbeuys  newpublicthinkers  technology  art  situatedlearning  ubiquitouslearning  2837university  agitpropproject  agitprop  williamhanks  randallszott  colinward  learning  unschooling  deschooling  education  messiness  ethics  georgesiemens  curation  curating  curatorialteaching  connectivism  space  place  explodingschool  adamgreenfield  guydebord  enroute  street  urban  urbanism  cities  cityasclassroom  thecityishereforyoutouse  cv  lcproject  psychogeography  urbanscale  salrandolph  situatedart 
may 2011 by robertogreco
Dark Matter: Activist Art and the Counter-Public Sphere
"Like its astronomical cousin, creative dark matter also makes up the bulk of the artistic activity produced in our post-industrial society. However, this type of dark matter is invisible primarily to those who lay claim to the management and interpretation of culture - the critics, art historians, collectors, dealers, museums, curators and arts administrators. It includes makeshift, amateur, informal, unofficial, autonomous, activist, non-institutional, self-organized practices - all work made and circulated in the shadows of the formal art world. Yet, just as the astrophysical universe is dependent on its dark matter, so too is the art world dependent on its dark energy."

[Concept mentioned by Randall Szott here: http://intheconversation.blogs.com/art/2008/03/interview-with.html ]

[See also other articles here: http://gregorysholette.com/writings/writing_index.html ]

[Update 2 June 2014: Link is dead. Here's the Wayback: http://web.archive.org/web/20110911222745/http://www.journalofaestheticsandprotest.org/3/sholette.htm ]
art  culture  politics  media  activism  activistart  vernacular  counter-publicsphere  josephbeuys  proletarian  oskarnegt  alexanderkluge  resistance  subversion  outsiders  artcriticism  tinkering  amateur  glvo  bourgeois  darkmatter  gregorysholette  collectives  culturalresistance  hierarchy  gatekeepers  cultureindustry  artworld  invisibility  economics  temporaryservices  lasagencias  publicspace  tacticalmedia  deschooling  unschooling  zines  diy  outsider  shrequest1 
may 2011 by robertogreco
INTHECONVERSATION: Notes on Social Architectures as Art Forms by Sal Randolph
"To put it differently, sculpture and architecture can both be meaningful, but they typically mean in different ways. Nicholas Bourriaud, in his more recent book Postproduction offers, "why wouldn't the meaning of a work have as much to do with the use one makes of it as with the artists intentions for it." Or, Bourriaud again, quoting Tiravanija, quoting Wittgenstein: "Don't look for the meaning, look for the use.""
wittgenstein  architecture  urban  psychogeography  design  art  socialarchitectures  salrandolph  nicholasbourriaud  josephbeuys  johncage  dadaism  alankaprow  fluxus  gutai  situationist  performance  performanceart  rirkrittiravanija  johndewey  robertirwin  perception  consciousness  niklasluhmann  structure  urbanism  communication  audience  observation 
march 2011 by robertogreco
Leigh Blackall: Joseph Beuys
"Beuys' conceptualisation of art, and of education is certainly the alley I want to go down. Serious, spiritual, humanistic, metaphoric, controversial, universal. He set up the Free International University for a start... which is a framework and legacy that I hope Roberto Greco, Dougald Hine, Joss Winn and Richard Hall (The UK Connection) will consider aligning with.<br />
<br />
Beuys breaks a path I can follow with this "OpenPhD" too, where I aim to develop an output for the requirements of a Creative PhD, namely a 20 thousand word thesis and an artistic exhibition."
leighblackall  josephbeuys  education  art  history  freeinternationaluniversity  deschooling  unschooling  anarchism  anarchy  learning  humanism  the2837university  agitpropproject 
february 2011 by robertogreco
Free International University - Wikipedia
"The Free International University (FIU), was a support organization founded by…Joseph Beuys together with Klaus Staeck (1st), Georg Meistermann (2nd) & Willi Bongard (secretary). It was founded as a "organizational place of research, work, & communication" to ponder the future of society. As a free University it was intended to supplement the state educational system while at the same time campaigning for legal equality with that system.

The FIU was founded on 27 April 1973 in Düsseldorf studio of Joseph Beuys & existed as a non-profit, recognized, & registered association up to its dissolution in 1988, more than 2 years after the death of the artist.

The idea of the FIU was revisited & taken further by various people & groups, including the author Rainer Rappmann under the FIU-Verlag & the FIUs in Amsterdam, Gelsenkirchen, Hamburg, & Munich, which were begun by students of Beuys. They also include the organization Mehr Demokratie e.V. & the Omnibus for direct Democracy."
deschooling  josephbeuys  education  freeschools  highereducation  highered  alternative  altgdp  lcproject  unschooling  via:leighblackall  agitpropproject  the2837university 
february 2011 by robertogreco
Pattern Recognition - Art for animals - we make money not art
"Art for animals is art with animals intended as its key users or audience. Art for animals is not therefore art that uses animals as a substrate or a carrier, nor as an object of contemplation or use."
animals  art  wmmna  glvo  perception  human  animalart  artforanimals  performanceart  performance  constumes  josephbeuys  adamchodxko  hanshaacke  janniskounellis  jeremydeller  matthewfuller  bertholdlubetkin  lindsaydrake  tecton  paulperry  nataliejeremijenko  marcuscoates  louisbec  anthonyhall  wilfriedhoujebek  gilgamesh  artists 
november 2010 by robertogreco
Archinect : Features : Working out of the Box: Thumb [designed the "Ring Roads of the World" poster, "Ryan McGinness Works" and "Everything Must Move" books]
"Robert Walters...really inspiring...died-in-the-wool Modernist...survey course...focused a lot on 20th century...presented architecture in larger context of design & culture...looked at Bauhaus typography, Futurist manifestoes, Beuys' sculpture alongside the built work of Mies, Marinetti's drawings & projects like Berlin Free University...very visual approach with side-by-side slide comparisons...sort of broad thinking appealed to me...Studio courses & work culture they promoted, really appealed to me too...long hours in studio...M Arch degree...very strong conceptual bent to Rice...influence of Bruce Mau & Sanford Kwinter who collaborated at Rice for 2-3 years...involvement in school was a sort of experiment to see how design thinking could dismantle & reassemble typical seminar/studio formats. Sometimes these experiments were more/less successful, but there was a huge amount of risk-taking. I still like the idea "nothing ventured, nothing gained" that they worked under..."
robertwalters  thumb  riceuniversity  design  graphics  books  brucemau  sanfordkwinter  futurists  typography  josephbeuys  bauhaus  modernism  interdisciplinary  crossdisciplinary  risktaking  architecture  bookdesign  posters  miesvanderrohe  marinetti  berlinfreeuniversity 
june 2009 by robertogreco
My life in art: How Joseph Beuys convinced me of the power of conceptual art | Art and design | guardian.co.uk
"But, to my mind, Homogeneous Infiltration for Piano is his best piece, a truly great work of art; one that I revisit whenever I have the chance. Like Mark Rothko's giant black canvases, it draws you in and calms you down. And in doing so achieves one of Beuys's aims – to change the status quo. I love it all the more for introducing me to the weird and wonderful world of Joseph Beuys. A world of myth, ideas, obsessions and hope. A world where facts and fiction are indistinguishable. Jeremy Paxman can have University Challenge; Beuysworld is my kind of place, where questions don't have answers, but just offer up more questions."
josephbeuys  art  history  creativity  glvo 
march 2009 by robertogreco
'Art of Participation' Connects Viewers, Artists
"The new S.F. Museum of Modern Art exhibit The Art of Participation: 1950 to Now turns the typically quiet gallery walk into a hands-on interactive experience. The pieces in the retrospective exhibit show how artists have dabbled in two-way communication with viewers over the past 60 years. The refreshingly self-reflexive exhibition draws on a rich history and examines the relationships among museums, artists and the public.

The show explores "how the public relates to the museum and vice versa," says Rudolf Frieling, the museum's curator of media arts. "Art frames you as a participant and art is framed by the museum.""
art  participation  glvo  interactive  namjunepaik  internet  video  felixgonzalez-torres  johncage  vitoacconci  johnbaldessari  josephbeuys  robertrauschenberg  lygiaclark  ncmideas  participatoryart 
december 2008 by robertogreco

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