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robertogreco : sfmoma   10

New Work: Park McArthur · SFMOMA
"Park McArthur works with and through the social conditions of dependency, often in relation to care and access. This exhibition, the artist’s first solo museum presentation, examines the materials and processes frequently associated with monuments, memorials, and museums, and explores ongoing relationships with a building or place of congregation. New Work: Park McArthur features new and existing work that draws from the granite and wood of SFMOMA’s building, and includes photographs of informal gathering sites such as picnic tables in a public park. The marks and signs used at these sites question the connections—casual, recreational, ceremonial—that bind stone and wood to site, and people and locations to time."



[video]

"Artist Park McArthur discusses her exhibition at SFMOMA, New Work: Park McArthur, which examines how forms of commemoration and sites of congregation, including museums, create meaning and influence memory. She considers hidden histories and issues of access through explorations of materials, markers, and social spaces."

[via: https://twitter.com/e_mln_e/status/1019327517834899456 ]
parkmcarthur  sfmoma  art  architecture  design  materials  renovation  sanfrancisco  access  accessibility  congregation  commemoration  ramps  museums  memory  influence  meaningmaking  meaning 
july 2018 by robertogreco
A Mind Forever Voyaging Through Strange Seas of Thought Alone on Vimeo
[password: BELIEVER]

[Seen as part of "Nothing Stable Under Heaven"
https://www.sfmoma.org/exhibition/nothing-stable-under-heaven/ ]

[See also:
http://mikemillsmikemills.com/films/sfmoma/
http://mikemillsmikemills.com/art-items/a-mind-forever-voyaging-through-strange-seas-of-thought-alone-for-sfmoma-project-los-altos/
https://talgroupinc.wordpress.com/2014/06/10/via-gizmodo-mike-mills-asks-children-of-silicon-valley-workers-about-the-future-of-tech/
https://www.sfmoma.org/project-los-altos-mike-mills/
https://www.sfmoma.org/artwork/2014.229.3
https://www.kcrw.com/news-culture/shows/the-organist/episode-18-a-mind-forever-voyaging
https://www.believermag.com/issues/201403/?read=interview_mills
https://www.paloaltoonline.com/blogs/p/2014/06/15/mike-mills--short-film-a-mind-forever-voyaging-through-strange-seas-of-thought-alone
http://sfaq.us/2014/03/sfaq-review-project-los-altos-sfmoma-in-silicon-valley/
http://www.blouinartinfo.com/news/story/994326/sfmoma-and-the-kids-of-silicon-valley-grapple-with-digital ]

[trailer only: https://vimeo.com/90563906 ]

[Questions asked:

1. What kind of work do your parents do?

2. If you had to describe yourself in just three words, what would those words be?

3. How old do you think you’ll live to be? How long do you think you’ll live?

4. In your lifetime, towards the end of your life, like seventy years from now, seventy years into the future, do you think the world is going to be different? How is it going to be different?

5. Do you think in your lifetime, like in eighty or ninety years, computers will get so advanced that they will be self-aware, that they will have personalities, maybe even emotions or a soul?

6. What about you personally, can you list for me all the technology you have? Do you have a phone or tablet or computer?

7. Do you think that in the future people are going to be smarter than they are now or not as smart as they are now or the same?

8. Of all the stuff that you own, all the objects, if you could only keep one, what is the one thing you’d keep?

9. Do you think in the future there will be more or less poor people?

10. What about nature? Do you feel like seventy or eighty years in the future nature is going to be different, the environment?

11. Do you think that we are at risk in that way?

12. Do you think in the future, in the far-off future but you’re still alive when you are older than your parents, do you think that people will be different?

13. How would you describe adults and how are they different than kids?

14. Introduce yourself. What is your first and last name and your age?"
mikemills  video  children  2013  siliconvalley  future  classideas  sfmoma 
april 2018 by robertogreco
Nothing Stable under Heaven · SFMOMA
[This was great.]

[So was "Sublime Seas
John Akomfrah and J.M.W. Turner"
https://www.sfmoma.org/exhibition/john-akomfrah/

"Nothing Stable under Heaven reflects on the contested past, the turbulent present, and the unpredictable future, examining how individual and collective voices can be heard in an uncertain world. The title is taken from an essay by James Baldwin, in which he claims the role of the artist in society is to reveal its inherent instability. Featuring contemporary work from the museum’s collection by artists such as Andrea Bowers, Hans Haacke, Emily Jacir, Arthur Jafa, and Glenn Ligon, this exhibition explores the ways that these artists inform our understanding of urgent social, ecological, and civic issues—including security and surveillance, evolving modes of communication, and political resistance."
classideas  sfmoma  art  2018  jamesbaldwin  kevinbeasley  anteliu  dawoudbey  kerryjamesmarshall  andreabowers  mikemills  tiffanychung  richardmisrach  tonyfeher  simonnorfolk  amyfranceschini  lisaoppenheim  felixgonzalez-torres  jorgeotero-pailos  hanshaacke  trevorpaglen  lesliehewitt  maurorestiffe  jessicajacksonhutchins  judithjoyross  emilyjacir  michalrovner  arthurjafa  allansekula  rinkokawauchi  tarynsimon  an-mylê  penelopeumbrico  glennligon  tobiaswong  society  ecology  environment  security  surveillance  communication  politic  resistance  uncertainty  instability  exhibitions  exhibits  johnakomfrah  jmwturner 
april 2018 by robertogreco
Public Knowledge
"Public Knowledge is an expansive, multi-faceted project that aims to promote public dialogue about the cultural impact of urban and technological change and the role of public institutions in these turbulent times in San Francisco and the Bay Area. Bringing together artists, librarians, scholars, and community collaborators and partners from many backgrounds, it is spearheaded by the San Francisco Museum of Modern Art in partnership with the San Francisco Public Library.

The Public Knowledge initiative explores the tectonic economic, social, and cultural shifts transforming San Francisco, the factors involved in the changes taking place, and the stakes involved in surviving, resisting, adapting, and trying to shape these changes. Valuing the unique contribution that artistic thinking and practice can make to public conversations, the project will unfold over two years of artists in residence, free talks, discussions, workshops, performances, and other events in neighborhoods and libraries throughout the city. Together we will explore how contemporary art can illuminate issues of concern to our community, and create spaces for new conversations, both locally and farther afield.

In a time when providing access to public information and social engagement, once a key role of public institutions, is now being taken over by technology, the Public Knowledge project recognizes that people seem to be abandoning public institutions, and ambitiously seeks to examine the historic role of public institutions and reinvigorate their relevance today. By experimenting with new ways of forging relationships and nurturing connections, we look to act as a catalyst for participants to exchange ideas and learn from one another, and together to develop new approaches to strengthening the fabric of civic life.

The project will have a physical location at a new pop-up Public Knowledge Library, a temporary branch of the public library at SFMOMA where visitors can engage with all kinds of related materials, and an online location where anyone interested can learn more and participate.

Public Knowledge is organized by the San Francisco Museum of Modern Art in partnership with the San Francisco Public Library. The project has been made possible in part by a major Public Humanities Projects, Community Conversations grant from the National Endowment for the Humanities: Exploring the Human Endeavor."

[See also: https://www.sfmoma.org/artists-artworks/public-dialogue/public-knowledge/

"Launched in April 2017, Public Knowledge is a two-year project that aims to promote public dialogue on the cultural impact of urban change. Through artist projects, research collaborations, public programs, and publishing, it builds new connections between ideas, individuals, and communities. Public Knowledge is based in San Francisco and takes place at multiple locations in the city.

The project grew in response to the profound changes taking place in the San Francisco Bay Area due to the rapid growth of the technology industry. While many have benefited from the resulting boom, it has also led to increasing inequality. Rising costs and unevenly distributed gains create ever greater difficulties for those excluded: a fraying sense of community as everyday life becomes more precarious; the disappearance of an inclusive and diverse cultural ecology as nonprofit organizations and cultural spaces are priced out of neighborhoods; and the loss of cultural memory for those without the means to represent themselves.

San Francisco may be an extreme instance of this process of hyper-gentrification, but it is not unique. Many other cities in the United States and around the world have shared similar experiences. The changes are so fast and so deep that it can be hard to interpret and respond to their impact on public life.

At the same time, the technology industry, with both a deep local impact and a global reach, has disrupted what knowledge is, how it is produced, and how it is circulated. As information and resources are increasingly privatized and public trust is eroded, how can the forms and institutions of public knowledge be maintained?

Public Knowledge brings together artists, scholars, librarians, community organizers, and San Francisco residents to consider these questions. By sharing their varied expertise and creating new knowledge through the project’s activities, participants can learn from each other and, collectively, begin to develop new approaches to strengthening the fabric of civic life.

Public Knowledge is co-curated by Deena Chalabi, Barbara and Stephan Vermut Associate Curator of Public Dialogue, and Dominic Willsdon, Leanne and George Roberts Curator of Education and Public Practice. Stella Lochman, Program Associate, Public Dialogue, is head of production.

Participating artists include Burak Arikan, Bik Van der Pol, Minerva Cuevas, Josh Kun, and Stephanie Syjuco.

Participating scholars include Julia Bryan-Wilson, Jon Christensen, Teddy Cruz, Fonna Forman, Jennifer A. González, Shannon Jackson, and Fred Turner."]

[via: https://twitter.com/shannonmattern/status/911987274497380353 ]
sfmoma  sanfrancisco  art  public  bayarea  libraries  community  sfpl  economics  society  culture  place  change  thinking  practice  conversation  publicinstitutions  institutions 
september 2017 by robertogreco
Architecture + Design · SFMOMA
"Design affects atmosphere, alters perception, and even changes behavior. SFMOMA’s Architecture + Design collection connects audiences with pivotal works of design that influence contemporary culture. It brings innovative architecture and design into focus, revealing its powerful ability to enlighten, and often transform, our experience of and response to our world.

Long before architecture and design were a focus of museum collecting, SFMOMA was participating in discussions about their influence on environment and behavior. Though the Architecture + Design department wasn’t officially formed until 1983, in 1940 SFMOMA featured the groundbreaking Telesis exhibition, which focused on urban issues and architecture and prompted the city of San Francisco to establish an office of planning. Since then, the collection has featured historical and contemporary works of architecture, furniture, product design, and graphic design, as well as works of art that address these design disciplines."

[Examples:
Yves Béhar/fuseproject, One Laptop Per Child XO laptop computer, 2007
https://www.sfmoma.org/artwork/2008.83.A-B

Olivo Barbieri, site specific_ MONTREAL 04, 2004
https://www.sfmoma.org/artwork/2008.223

Ant Farm, Beyond Things Past, 1971-1972
https://www.sfmoma.org/artwork/2014.240.A-NN

Hiroshi Sugimoto, Chapel de Notre Dame du Haut I - Le Corbusier, 1998
https://www.sfmoma.org/artwork/2014.111

Giovanni Pintori, Olivetti Studio 44 typewriter poster, 1954
https://www.sfmoma.org/artwork/2008.175.1

Corita Kent, tomorrow the stars, 1966
https://www.sfmoma.org/artwork/2008.9 ]

[Exhibition:
Noguchi’s Playscapes
July 15–November 26, 2017
https://www.sfmoma.org/exhibition/noguchis-playscapes/ ]
sfmoma  sanfrancisco  california  architecture  design  antfarm  olivobarbieri  yvesbéhar  isamunoguchi  hiroshisugimoto  coritakent  sistercorita  giovannipintori  olivetti 
august 2017 by robertogreco
Bureau Spectacular
"BUREAU SPECTACULAR is an operation of architectural affairs founded and led by Jimenez Lai since 2008. It is located in Los Angeles.

BUREAU SPECTACULAR imagines other worlds and engages the design of architecture through telling stories. Beautiful stories about character development, relationships, curiosities and attitudes; absurd stories about fake realities that invite enticing possibilities. The stories conflate design, representation, theory, criticism, history and taste into cartoon pages. These cartoon narratives swerve into the physical world through architectural installations, models and small buildings.

BUREAU SPECTACULAR is a group of individuals who practice architecture through the contemplation of art, history, politics, sociology, linguistics, mathematics, graphic design, technology, and storytelling. We often find ourselves at the crossroads of all disciplines, yet comfortably embracing the healthy intersections between the many intellectual human discourses."



"JIMENEZ LAI works in the world of art, architecture and education. Previously, Jimenez Lai lived and worked in a desert shelter at Taliesin and resided in a shipping container at Atelier Van Lieshout on the piers of Rotterdam. Before founding Bureau Spectacular, Lai worked for various international offices, including MOS and OMA. Lai is widely exhibited and published around the world, including the MoMA-collected White Elephant. His first book, Citizens of No Place, was published by Princeton Architectural Press with a grant from the Graham Foundation. Draft II of this book has been archived at the New Museum as a part of the show Younger Than Jesus. Lai has won various awards, including the Architectural League Prize for Young Architects and Debut Award at the Lisbon Triennale. In 2014, Lai designed theTaiwan Pavilion at the 14th Venice Architectural Biennale. In 2015, Lai organized the Treatise exhibition and publication series at the Graham Foundation. In 2017, Lai and his studio exhibited a large scale installation at SFMOMA based on the drawing insideoutsidebetweenbeyond, 2014 which the Museum acquired in 2015.



JOANNA GRANT received her M.Arch from Princeton University. She has worked for architecture offices in Los Angeles, Chicago, Guangzhou, and Shenzhen for a diverse range of internationally renowned firms, including the L.A. based firm, Johnston Marklee & Associates. She has previously worked with Beatriz Colomina on a research projects of couples in architecture, as well as the Danish office ADEPT Architects in their Chinese satellite firm. In 2013 she became a member of Bureau Spectacular, assisting in multiple competitions in which they were awarded honorable mentions or finalists, and the winning proposal for the Taiwan pavilion for the 2014 Venice Biennale. Joanna curates the blog "Cloudzwatching," which features student design work from schools across the United States. She has contributed to Conditions Magazine and Nova Organa, and recently organized a conference at Princeton University called "& Delight" with Kevin Pazik. Her work has been described as "Takashi Murakami meets Mario Botta." She likes rainbowy, cute and fluffy architecture. And Postmodernism."

[via: https://www.sfmoma.org/exhibition/bureau-spectacular/ ]

See also some posts about the SFMOMA exhibit:
http://archinect.com/features/article/149995194/new-bureau-spectacular-exhibition-at-sfmoma-explores-the-narrative-properties-of-architecture
https://archpaper.com/2017/02/bureau-spectacular-insideoutsidebetweenbeyond-exhibition/
https://www.dezeen.com/2017/03/10/bureau-spectacular-shows-fantastical-architectural-models-san-francisco-museum-modern-art-sfmoma/ ]

[See also: "Citizens of No Place"
http://graphic-novel-architecture.com/#/lai/
https://www.amazon.com/Citizens-No-Place-Architectural-Graphic/dp/1616890622
http://www.papress.com/html/product.details.dna?isbn=9781616890629
http://www.archdaily.com/253563/citizens-of-no-place-jimenez-lai

See also: "When I Grow Up"
http://miamirail.org/spring-2017/when-i-grow-up/
http://bureau-spectacular.net/when-i-grow-up/ ]
jimenezlai  architects  comics  design  architecture  bureauspectacular  sfmoma  sfsh  classideas  joannagrant  education  art 
august 2017 by robertogreco
Raw Material: A Podcast from SFMOMA · SFMOMA
"Raw Material is an arts and culture podcast from the San Francisco Museum of Modern Art. Each season we partner with a different “podcaster-in-residence” to explore modern and contemporary art through a new lens. Along the way we bring you voices of artists and thinkers from around the globe who offer surprising perspectives on the world through their work."

[via: https://www.instagram.com/p/BWM_6Xng0Ol/

"Really loved being a part of this. One of my most personal interviews. Many thanks to Geraldine Ah-Sue and @sfmoma's podcast #RawMaterial, for having me. 🙏🏿 You can listen to the episode online at SoundCloud and/or from the SFMoMA "Raw Material" website."

See also:
https://soundcloud.com/rawmaterialpodcast

Manifest Episode 4: The Mind
https://soundcloud.com/rawmaterialpodcast/manifest-episode-4-the-mind
"Art is an exercise in perspective. This episode highlights works that invite new ways of seeing. Artists reflect on how they see themselves, how others see them, and how to look at the world through performance, portraiture, and abstract painting."

"More on Episode 4: The Mind"
https://www.sfmoma.org/theme/manifest-episode-4/ ]
sfmoma  podcasts  art  artists  classideas  toyinojihodutola 
july 2017 by robertogreco
Bruce Conner’s Darkness That Defies Authority - The New York Times
"Conner, who was born in Kansas in 1933 and died in San Francisco in 2008, belongs to American art’s genius-heavy postwar generation, born mostly between 1925 and 1937: Jasper Johns, Robert Rauschenberg, Ed Ruscha, Eva Hesse, Andy Warhol and Edward Kienholz. Like many of those artists, Conner was shaped by the clash between the intense emotionality of Abstract Expressionism and the sardonic worldliness of Dada. Conner gathered his knowledge of these tendencies from the art magazines he pored over in high school in Wichita, Kan., and the visits made to New York during his student years at the University of Nebraska. Graduating in 1955, he won a six-month scholarship to study painting at the Brooklyn Museum’s art school. His first solo gallery show took place in New York in 1956.

But Conner, politically minded from the start, set his sights on San Francisco, where he rightly decided that the art world’s machinations would be less oppressive. He moved west in 1957, just after he and Jean Sandstedt, an artist he’d met in college, married; they were preceded by one of his closest high school friends, the poet Michael McClure. There Conner joined the counterculture, and fearlessly evolved into one of America’s first thoroughly multidisciplinary artists."



"With a few outstanding exceptions, like “Tick-Tock Jelly Clock Cosmotron,” which features a colorful game board and its own scratching, wheezing audio accompaniment, the assemblages tend to look dated, like exuberantly nihilistic juvenilia, although I suppose they are credible antecedents of goth. Once past them, the show assumes a quieter, more meditative mood and becomes more personal and eccentric.

The mood is furthered by seamless collages, made from old engravings, inspired by Max Ernst, and the semiabstract “Angel” photograms: life-size silhouettes of Connor made with the photographer Edmund Shea. Lining a gallery and accompanied by the sound of chirping crickets, they have an Egyptian sleekness while evoking a summer night filled with swanning ghosts. There are a few outbursts, like the films “Report” (1963-67), a wrenching portrayal of President Kennedy’s assassination, and “Three Screen Ray,” Conner’s last foray into his singular and visceral brand of structuralism, as well as some pedestrian photographs of San Francisco’s punk-rock scene.

Partly by its very organization, “Bruce Conner: It’s All True” implies that the films are his greatest work. They feel alive and of our time in a way that only a few of the assemblages do. And the ink drawings convince by their strange timelessness. After he tired of dotting with ink, Conner devised his labor-intensive inkblot technique, whose development enlivens a large gallery toward the show’s end. Conner created the works’ rows and fields of tiny Rorschachian emblems by drawing a single motif and then doubling it by folding the paper. The delicate little symmetries dance and gyrate, connect and disengage, suggesting insect specimens, jewels, orchids, masks, altars, ogres and ornate temples. They dizzy the mind with their expansive imagination and exquisitely controlled evidence of the collective unconscious."
bruceconner  art  moma  sfmoma  2016  politics  artworld  inkblots 
december 2016 by robertogreco
The Creepy World of Bruce Conner | by J. Hoberman | NYR Daily | The New York Review of Books
"“It’s All True,” the title of the Museum of Modern Art’s powerful retrospective of the American artist Bruce Conner (1933-2008), comes from a letter Conner wrote to one of his gallerists in the aftermath of his only previous museum retrospective, organized by the Walker Art Center in Minneapolis in 1999:
My work is described as beautiful, horrible, hogwash, genius, maundering, precise, quaint, avant-garde, historical, hackneyed, masterful, trivial, intense, mystical, virtuosic, bewildering, absorbing, concise, absurd, amusing, innovative, nostalgic, contemporary, iconoclastic, sophisticated, trash, masterpieces, etc. It’s all true.

How about “sinister,” “creepy,” and “indelible”? As a fifteen-year-old Pop Art aficionado wandering through the Whitney Museum’s 1964 Sculpture Annual, I discovered Conner’s work in the form of the assemblage Couch. There was no warning. It was like rounding a corner and bumping into Death or seeing the title Faster Pussycat! Kill! Kill! on a 42nd Street marquee. I couldn’t believe my eyes.

Claes Oldenburg’s rough, pillowy Soft Wall Switches (one of the only other pieces I remember from the show) was something I could understand as art. Couch was something else—a derelict remnant of a nightmare haunted house. Conner took a moldering, paint-spattered, wax-encrusted Victorian divan and managed to imbed it with a child-sized mummy. The simulated, decomposed corpse was nestled into a corner. On closer inspection, it looked as though it might have been strangled."



"Conner largely abandoned assemblages in the early 1960s. It’s sometimes said that if he had continued in this mode (and continued to exhibit in New York) he would now be bracketed by Rauschenberg and Johns but in fact Conner was too anarchic and contrarian a personality to be easily assimilated into the art world. From making objects, he switched to graphic work. These include intricate drawings, sometimes called mandalas, that were variously redolent of Rorschach tests, amphetamine, and the Cabala; as well as ghostly photograms, photographic work and collages documenting San Francisco’s late 1970s punk scene, and, in the late 1980s, a series of found engraving collages reminiscent of Max Ernst’s. Mainly, however, Conner made movies, some of which, like the 1978 film set to Devo’s “Mongoloid” or the 1981 piece scored by David Byrne’s “America is Waiting,” could be seen as art-world music videos—a form that Conner more or less invented."



"If “3 Screen Ray” is a triptych, Crossroads is an altarpiece. Shown in a museum, it seems like an exemplary—and rare—instance of twentieth-century religious art. Like A Movie, Crossroads is entirely fashioned from found footage, namely previously classified US government documentation of the first post World War II atomic test at Bikini Atoll during the summer of 1946.

The footage, some of it originally shot in super slow motion at 8000 frames per second, has been selected and organized but in no way manipulated, save for the addition of a soundtrack. (An audio collage fashioned by Patrick Gleason on a Moog synthesizer gives way to a dreamier drone composition performed on an electric organ by Terry Riley.)

Crossroads consists of twenty-four shots, ranging in duration from a few seconds to a final one of six and a half minutes, during which time appears to stand still. The movie’s dozen or so billowing mushroom clouds—fantastic geysers of vaporized water erupting a mile high out of the ocean, often the same explosion film from differing angles—are a sort of visual mantra. The word “awe-inspiring” barely communicates the cumulative sense of wonder and dread. To sit through Crossroads is to experience what the poet Frances Ferguson called the “nuclear sublime” or appreciate why, after the successful Trinity test of the atomic bomb, J. Robert Oppenheimer might have recalled a passage from the Bhagavad-Gita: “Now I am become Death, the destroyer of worlds.”"
bruceconner  2016  crossroads  jhoberman  bikiniatoll  jrobertoppenheimer  film  death  terryriley  patrickgleason  moog  sountrack  art  sfmoma  moma  inkblots 
december 2016 by robertogreco
SFMOMA | OPEN SPACE » A Meditation on Space (in Four Parts)
"…architecture school didn’t teach me…much about behavior, and how that behavior can activate and transform the spaces we design. Natalia Ilyin makes the following comment in her wonderful meditation on Modernism, Chasing the Perfect:

"As designers, we have been taught to love the object, love the completedness of the finished masterpiece. But because we have paid so much attention to the outsides of things, we have forgotten the insides.""

"We worked hard and did some decent studio work, but what really mattered is that we knew when to blow it all off. To fuck around and experience life, because life is where all the good ideas come from anyway."
We create devices that distract people from thinking, from working through the fear that accompanies real thinking, from coming out the other side. We help to make people believe they can’t live without movement, communication, distraction. We teach them the exact opposite of truth.
—Natalia Ilyin, Chasing the Perfect

Currently, digital technology is too often the tail that wags the design (and often art) dog, and I worry that it’s distracting us from, rather than connecting us to, what is meaningful. Ilyin is talking about design more generally, but her words are absolutely applicable to today’s digitally saturated context. Not everything needs to be mediated by technology or be “social” (in the contemporary sense of the word). Instead of the iPad, why can’t the new paradigm for a magazine be a live show that is specifically intended not to be documented (like the popular Pop Up Magazine events)? Instead of a Kindle, why can’t the new paradigm for reading a book be a live performance by actors on a stage (as in the play, Gatz!)? Instead of Facebook, why not create a restaurant to connect, engage, and educate a struggling rural community (as the Pie Lab project in Greensboro, Alabama did)?

"Instead of listening to a museum audio tour, why not discover art unencumbered by commentary? Instead of viewing art online, why not live with it in your own house? Or within the—gasp—four white walls of a gallery? Sounds downright radical, no? If it seems as if I am reneging on my earlier anti-white wall gallery stance, I am. New technology has dramatically changed the context of the white cube, and as designers we need to be aware of the increasingly distraction-filled environments people are coming from when they enter the art spaces we help articulate."
I have nothing to say and I am saying it and that is poetry. We need not fear these silences. We may love them.
—John Cage, Silence, 1961
digital  johncage  pielab  marinaabramoviç  tinosehgal  markhansen  benrubin  johnbaldessari  experience  communication  socialmedia  2012  sfmoma  participatory  paticipation  jochengerz  esthergerz  shimonattie  tiborkalman  rigo23  society  jasonbrenner  jaquestati  morphosis  johndewey  nataliailyin  galleries  museums  graphicdesign  design  art  glvo  life  architecture  ericheiman  ncm  participatoryart 
july 2012 by robertogreco

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