recentpopularlog in

robertogreco : richardserra   5

James Turrell at C4 Contemporary- Artist Profile & Biography
"Like any truly 'inspired' artist - James Turrell is hard to pigeonhole. His work hardly resembles that of his contemporaries - as much of the inspiration itself appears to come from the (perhaps metaphysical) properties of light itself, and the lack of ability of even our best scientific minds to really understand it's complex subtlety. Indeed Turrell seems almost to have come from a vacuum with respect to artistic reference and influence - one can see a little bit more reverence for Max Planck and Einstein perhaps in his work than that of the colleagues we choose to group him with.

Working out of a small studio in the area of Venice, California in the early 1970s Turrell began his exploration with projected light, as seen in the documented works below. Setting up a slide projector mounted to the ceiling of the room via a platform, Turrell painstakingly experimented with conventional 35mm slide frames masked off with opaque silver tape in various shapes registgered to the geometry of the corner of the studio into to generate what appears to be a three dimensional volume of brilliant light."
apertures  projections  richardserra  walterdemaria  jandibbets  earthart  opart  rodencrater  plane-implosion  matta-clark  frankstella  robertsmithson  jamesturrell  light  art  gordonmatta-clark 
november 2012 by robertogreco
Frieze Magazine | Archive | Border Control
"…Once they have identified what we should be looking at & talking about, my eye is inevitably drawn to the ‘not art’ side of the room, which often seems more alive to me, more fun. Is it possible to make things, do things, before they are categorized? Is it possible to build a life’s work as a free-range human, freely meandering and trespassing without regard for the borders?…

Children naturally operate this way, but it’s the opposite of how most formal education works. We are introduced to borders, decide which ones we want to surround ourselves with, learn what happened within them before we got there, and are then expected to perform within their narrow perimeters until we die… If I am interested in gardening, I don’t want to make work about gardens, I become a gardener…

Maybe identifying myself as one limits my freedom by implying that everything I do aspires to be art. I’m not aiming for art, I’m aiming for life, and if art gets in the way, that’s fine."

[via: http://randallszott.org/2012/05/21/border-control-fritz-haeg/ ]

Another passage from earlier on:

"In her 1979 essay ‘Sculpture in the Expanded Field’ Rosalind Krauss analyzes the slippery, evolving nature of what was being referred to at the time as sculpture by artists including Carl Andre, Walter De Maria, Michael Heizer, Robert Irwin, Sol LeWitt, Richard Long, Robert Morris, Bruce Nauman, Richard Serra and Robert Smithson. Krauss talks about sculpture, and its relationship to ‘not architecture’ and ‘not landscape’. Recently the term ‘expanded field’ has been revived to help make sense of the work of a new generation of artists (including myself), whose legacy can ironically be traced directly back to artists from the 1970s whom Krauss does not mention in her essay. These include: Ant Farm, Buckminster Fuller, Anna Halprin, Joan Jonas, Mierle Laderman Ukeles, Yayoi Kusama, Gordon Matta-Clark, Ana Mendieta, Adrian Piper and Yvonne Rainer, to name just a few personal favourites. They were working at the borders of what was known as sculpture, and some were outside what was even considered art. With our generation growing out of theirs, I would argue that the field has not expanded at all, but rather the ossified borders that previously separated it and other fields from each other are becoming more porous."
criticism  autonomy  freedom  notart  artpractice  theory  tresspassing  meandering  lcproject  deschooling  learning  generalists  multidisciplinary  interdisciplinarity  interdisciplinary  disciplines  free-rangehumans  freeranging  unschooling  living  life  making  glvo  2009  fritzhaeg  culture  unartist  community  art  borders  carlandre  walterdemaria  michaelheizer  robertirwin  sollewitt  richardlong  robertmorris  brucenauman  richardserra  robertsmithson  antfarm  buckminsterfuller  annahalprin  joanjonas  mierleladermanukeles  yayoikasuma  matta-clark  anamendieta  adrianpiper  yvonnerainer  rosalindkrauss  architecture  landscape  artists  sculpture  porosity  gordonmatta-clark 
may 2012 by robertogreco
LACMA Collections Online - Art and Technology
"In 1967, the two-year-old Los Angeles County Museum of Art began pairing contemporary artists with high-technology corporations in hopes that new artforms might arise. Ambitious and controversial at the time, this project remains a milestone in LA art history of lasting influence."

[pdf here: http://collectionsonline.lacma.org/mweb/archives/artandtechnology/PDFs/AandT_Report_1971.pdf ]
lacma  via:russelldavies  art  technology  history  1967  crossdisciplinary  interdisciplinary  losangeles  robertirwin  jamesturrell  donaldjudd  andywarhol  robertrauschenberg  richardserra  robertsmithson  jefraskin  claesoldenburg  brucenauman  roylichtenstein  ellsworthkelly  christo  johnbaldessari  anthonycaro  jeandubuffet  danflavin 
july 2008 by robertogreco
David Byrne Journal: 11.20.2007: Caetano Veloso, Tall and/or Wide News
"I also ask myself, if it is as unfeasible as I imagine, what will happen to print, or any form of journalism, as everything migrates online? I wonder if a wiki online newspaper could work?"
davidbyrne  caetanoveloso  music  architecture  renzopiano  nytimes  design  nyc  goolgle  advertising  radio  television  art  richardserra  publishing  print  magazines  newspapers  wikis  news  reviews  critics  journalism  ads  economics  online  internet  web 
november 2007 by robertogreco
The Believer - Interview with Dave Hickey
"The MFA system produces "Almost no one. Idiots with low-grade depression...The MFA thing is an invention of the ’70s. Its raison d’être is evaporating."
art  brain  creativity  criticism  thinking  writing  jazz  davehickey  mfa  education  academia  culture  richardserra  glvo  edruscha  frankgehry  danflavin  donaldjudd  andywarhol  anthonycaro  brucenauman  ellsworthkelly  sollewitt 
november 2007 by robertogreco

Copy this bookmark:





to read