Monday, January 31, 2011

found: Roger White via (standard) INTERVIEW

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"I do things over and over. I work out ideas in drawings and watercolors, and use these as starting points for paintings. I paint pretty quickly, over only a few sessions, but often I make two or three (or five or six) versions of the same thing before I’m happy with it. It’s also important for me to have different kinds of paintings going in the studio at the same time—this allows for some unexpected crossovers. Lately this has meant: more abstract things together with more representational things. The connection to perceptual painting, however tenuous, is very important to me, and I think of even the most non-objective paintings I make as essentially pictorial—rather than schematic or process-based or conceptual, or any of the other ways abstraction can be understood." (read more)

Sunday, January 30, 2011

found: Varda Caivano, Iris Haussler, Emma Talbot

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Wednesday, January 26, 2011

found: Maira Kalman, Dwight Ripley, Lisa Sanditz

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Sunday, January 23, 2011

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From an interview with painter Beth Stuart at LVL3:

"LVL3: What is one of the bigger challenges you and/or other artists are struggling with these days, and how do you see it developing?

"Beth Stuart: I see - especially in the work I most admire - a tendency towards modesty, humility, soft humour and a kind of deliberate tentativeness. Consciously or unconsciously, I think this is in reaction to the more and more intense professionalization of the artist. As if in protest to the kind of aggressive, big, hard, shiny presence needed to breach the system, the best work is embodying none of these traits. People are exhausted with the constant noise, and perhaps finding respite in more quiet, mysterious actions." (read more)
Artist Mira Schor on the "constant negotiation between world and self, the art itself and the making of it":

"I’m committed to the artist as a historically produced thus educated to history, culturally contextualized person who should have as much control of theory as possible so it won’t have control of her–but at the same time I love the development of working–call it studio practice even when it isn’t what that used to mean or what I do–and I know that creative work needs to occasionally be unmoored from overdetermination."

"In this city/graduate school environment, the upside of constant interaction/confrontation with people, work, and ideas that you have to understand, absorb, react to, sometimes defend yourself against, yet often allow to transform you, is that complacency is hard to come by. The downside is that there may not be time to process everything and all the outside voices can drown out the interior ones or, even, according to certain theoretical outlooks, deny that an inner voice exists inasmuch as it might be associated with autonomous art practices which have been deemed obsolete. And you are constantly having to put yourself forward, which for the MFA student means constantly talking about what your work means leaving little time for either doing it or for doing work whose meaning you might not have a ready explanation for, work that is transitional, even work that is a “failure.” You become all outside speech and less inside voice until you are running on empty."

"Thinking of this split between information and critical discourse on the one hand, and studio/post-studio/post-post-studio practice on the other in relation to the usefulness of graduate school, one could truthfully state that the knowledge one is exposed to in school is available in the world at all times, especially in urban centers: museums, galleries, books, art magazines, internet sources, panel discussions, artists’ lectures all abound, though graduate school intensifies, categorizes, and filters that knowledge through the interpretive structuring lens of the school’s ideology and its faculty’s strongly held viewpoints while insisting on disciplined and timely engagement and response on the part of the student. But critical responses to your artwork by individual artists and critics is much harder to come by outside the academic structure, people are just too busy and will certainly not be able to give sustained attention, so if you don’t do the work when you’re in school, you lose out on the unique opportunity to get concentrated and sustained feedback, when you want it and even when you don’t."

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Thursday, January 20, 2011

found: Alice Channer, unknown, Neo Rauch

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Wednesday, January 12, 2011

Excerpts from Judith Butler's ‘Subjects of Desire: Hegelian Reflections in Twentieth-Century France':

“the immediacy of desire proves to be always already mediated, and we are always much more intelligent in the moment of desire than we immediately know ourselves to be. In the ostensibly pre-rational experience of desiring some feature of the world, we are always already interpreting that world, making philosophical motions, expressing ourselves as philosophical beings.” (2)

“actualization only occurs to the extent that the subject confronts what is different from itself, and therein discovers a more enhanced version of itself. The negative thus becomes essential to self-actualization, and the human subject must suffer its own loss of identity again and again in order to realize its fullest sense of self. But once again, can this full self be found?” (13)

“Hegel’s sentences enact the meanings that they convey; indeed, they show that what “is” only is to the extent that it is enacted.” (18)

“the text must be read to have its meaning enacted.” (19)

“to implicate the reader indirectly and systematically.” (20)

“we recognize ourselves as the subjects we have been waiting for inasmuch as we gradually constitute the perspective by which we recognize our history, our mode of becoming, through the Phenomenology itself.” (20)

“We might read this subject as a trope for the hyperbolic impulse itself, that frantic and overdetermined pursuit of the Absolute which creates that place when it cannot be found, which projects it endlessly and is constantly “foiled” by its own projection. As a being of metaphysical desires, the human subject is prone to fiction, to tell himself the lies that he needs to live.” (23)

“As readers of his text, accepting time and again the terms of his journey, we indulge in the same exorbitant desires; we become makers of fiction but only to dream more shrewdly the next time.” (24)

“When we ask, what is desire “after,” we can give a partial answer: the illumination of its own opacity, the expression of that aspect of the world that brought it into being. This is part of what is meant by the reflexivity that desire is said to embody and enact.” (24)

“Desire is intentional in that it is always desire of or for a given object or Other, but it is also reflexive in the sense that desire is a modality in which the subject is both discovered and enhanced. The conditions that give rise to desire, the metaphysics of internal relations, are at the same time what desire seeks to articulate, render explicit, so that desire is a tacit pursuit of metaphysical knowledge, the human way that such knowledge “speaks.” “ (25)

“conceptual thinking must replace Understanding, for only the former can think the movement between opposites. The Understanding consistently mistakes stasis for truth, and can only understand movement as a series of discrete moments, not as the vital unity of moments that imply each other endlessly and do not appear simultaneously. The Understanding cannot grasp movement itself; it is always prone to fix its object in a present tense which purports to present exhaustively the full reality of the object at hand.” (27)

“Self-consciousness thus emerges as a kind of knowing that is at once a mode of becoming; it is suffered, dramatized, enacted. Consciousness gives rise to self-consciousness in the bungled attempt to explain what it knows” (28)

“The Understanding lacks reflexivity, and so cannot understand how consciousness’ own difference from that which it scrutinizes is itself part of the phenomenon under investigation.” (28)

“And yet this failed explanation reveals an unexpected clue to the proper formulation of the phenomenon. As an “Explanation,” the Understanding comes to be determinately manifest in material form; there is consciousness itself sprawled on the page, formed in letters and words, existing, materially, outside itself. In recognizing the authorship of that explanation, consciousness becomes aware of itself for the first time. No longer enthralled intentionally with a world that ostensibly monopolized reality, consciousness discovers its own reflexivity; it has become other to itself, and knows itself as such” (28)

“Consciousness thus relinquishes itself as consciousness in the process of explaining what it knows. By the time the Explanation is over, neither consciousness nor the object it seeks to explain are the same." (29)

”the only true satisfaction for desire is to be found in an object that mirrors the reflexive structure of desire itself.” (40)

“But what is it that the other recognizes us as? The answer is, as a desiring being” (58)
found: Ellen Gallagher, Marguerite Burnat-Provins, Eva Räder

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Friday, January 07, 2011

found: Beth Stuart

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Monday, January 03, 2011

Excerpts from Jacques Rancière's ‘Future of the Image’ (2003):

‘The Future of the Image’

“the novelistic tradition begun by Flaubert: an ambivalence in which the same procedures create and retract meaning, ensure and undo the link between perceptions, actions and affects…the operation of the power which separates cinema from the plastic arts and makes it approximate to literature: the power of anticipating an effect the better to displace or contradict it.” (5)

“There is visibility that does not amount to an image; there are images which consist wholly in words. But the commonest regime of the image is one that presents a relationship between the sayable and the visible, a relationship which plays on both the analogy and the dissemblance between them. This relationship by no means requires the two terms to be materially present. The visible can be arranged in meaningful tropes; words deploy a visibility that can be blinding.” (7)

“the micro-movements of a matter that is ‘rhythm, speech and life’ “ (44)

'Painting in the Text'

“The essence of painting – simply casting coloured matter on a flat surface – is to suspend the appropriation of means to an end that is the essence of technique.” (72)

“A medium is not a ‘proper’ means or material. It is a surface of conversion: a surface of equivalence between the different arts’ ways of making; a conceptual space of articulation between these ways of making and forms of visibility and intelligibility determining the way in which they can be viewed and conceived.” (75)

“What Deleuze calls the logic of sensation is much more a theatre of de-figuration, where figures are wrenched from the space of representation and reconfigured in a different space.” (77)

“The ideal plane of the painting is a theatre of de-figuration, a space of conversion where the relationship between words and visual forms anticipates visual de-figurations still to come.” (88)

“anti-theatre itself comes directly from the theatre – very precisely from the naturalist theory of the ‘fourth wall’ invented by a contempoarary of Gaugin and Aurere: the theory of a dramatic action that would pretend to be invisible, to be viewed by no audience, to be nothing but life in its pure similiarity to itself…The ‘formalist’ dream of a kind of painting that turns its back on the spectator in order to close in on itself, in order to adhere to the surface that is peculiar to it, could well be nothing but the other side of the same identitarian dream…But theatre is not primarily ‘spectacle’, is not the ‘interactive’ site calling upon the audience to finish the work denounced by Fried. Theatre is first and foremost the space of visibility of speech, the space of problematic translations of what is said into what is seen…forms do not proceed without the words that install them in visibility. The ‘theatrical’ arrangement of Gaugin’s peasant women establishes the ‘flatness’ of the painting only at the cost of making this surface an interface that transfers the images into the text and the text into the images. The surface is not wordless, is not without ‘interpretations’ that pictorialize it…the present of art is always in the past and in the future. Its presence is always in two places at once. [Hegel] tells us in sum that art is alive as long as it is outside itself, as long as it does something different from itself, as long as it moves on a stage of visibility which is always a stage of de-figuration. What he discourages in advance is not art, but the dream of its purity.” (88-89)

‘Are Some Things Unrepresentable?’

“It says that a thing cannot be represented by artistic means on account of the very nature of those means, of three characteristic properties of artistic presentation. Firstly, the latter is characterized by its surplus of presence, which betrays the singularity of the event or situation, recalcitrant as it is to any plenary material representation. Secondly, this surplus of material presence has as its correlate a status of unreality, which removes from the thing represented its weight of existence. Finally, this interplay of surplus and subtraction operates according to a specific mode of address that delivers the thing represented over to affects of pleasure, play or distance which are incompatible with the gravity of the experience it contains.” (110); “not only through its own particular surplus, but because the peculiarity of the there was in general is to exceed thought. Thus, in Lyotard in particular, the existence of events that exceed what can be thought calls for an art that witnesses to the unthinkable in general, to the essential discrepancy between what affects us and such of it as our thinking can master. It is then the peculiarity of a new mode or art – sublime art – to record the trace of the unthinkable.” (111)

On a kind of straight-forward description of activities, tasks, and observations leading up to and after a traumatic event: “The ‘interrupted spectacle’ revokes the privilege of the theatrical space of visibility, the separate space where representation offered itself up to vision as a specific activity…What is revoked, at the same time as the poem’s specific space of visibility, is the representative separation between the rationale of facts and the rationale of fictions. The identity of the wanted and the unwanted can be located anywhere. It rejects the separation between a specific world of facts pertaining to art and a world of ordinary facts.” (122); “The language that conveys this experience is in no way specific to it.” (126); “the absolute passivity of physical matter. This extreme experience of the inhuman confronts no impossibility of representation; nor is there a language peculiar to it. There is no appropriate language for witnessing…this principled identity of the appropriate and the inappropriate is the very stamp of the aesthetic regime in art.” (126); “If what has occurred, and of which nothing remains, can be represented, it is through an action, a newly created fiction which begins in the here and now. It is through a confrontation between the words uttered here and now about what was and the reality that is materially present and absent in this place.” (127)
found: Rebecca Morris

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Sunday, January 02, 2011

found: Eunice Adorno

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