We are not surprised.

We are not surprised.

We are artists, arts administrators, assistants, curators, directors, editors, educators, gallerists, interns, scholars, students, writers, and more—workers of the art world—and we have been groped, undermined, harassed, infantilized, scorned, threatened, and intimidated by those in positions of power who control access to resources and opportunities. We have held our tongues, threatened by power wielded over us and promises of institutional access and career advancement.

We are not surprised when curators offer exhibitions or support in exchange for sexual favors. We are not surprised when gallerists romanticize, minimize, and hide sexually abusive behavior by artists they represent. We are not surprised when a meeting with a collector or a potential patron becomes a sexual proposition. We are not surprised when we are retaliated against for not complying. We are not surprised when Knight Landesman gropes us in the art fair booth while promising he’ll help us with our career. Abuse of power comes as no surprise.

This open letter stems from a group discussion about sexual harassment within our field,


© Jenny Holzer, Artists Rights Society (ARS), New York.

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Towards an age of maturity

The School of Life on some pivotal moments in the development of Romanticism, adjusted the way we feel and look at the world – influencing thoughts on love, nature, industry and children.

Related : A longer piece on the shortcomings of Romanticism.

Utopia

Utopian projections are spatialized operators that offer possible transformations of place, perception and society. A flower bed at a writer’s residency in Thomassin can be such a site.

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Utopia by Thomas More, supplement by Ursula K. Le Guin, introduction by China Miéville.

China Miéville: The Limits of Utopia – 2014 Nelson Institute Earth Day Conference

Archaeologies of the Future : The Desire Called Utopia and Other Science Fictions by Fredric Jameson.
Longevity as Class Struggle Part 2, Chapter 7

The Last Angel of History, produced by the Black Audio Film Collective, directed by John Akomfrah.

Fredric Jameson makes the case that The Wire holds multiples utopian spatialized visions. 2015.

Essay – Realism and Utopia in The Wire, Criticism, Vol 52, No 3-4, Summer/Fall 2010.
Mirrored by Slavoj Žižek – The Wire or the clash of civilisations in one country, 2012; via progressivegeographies.com

An American Utopia: Fredric Jameson in Conversation with Stanley Aronowitz, 2014.

Hippie Modernism: The Struggle for Utopia, Walker Art Center. Review in Panomara.

Utopia Is No Place: The Art and Politics of Impossible Futures, also at Walker.

Gilbert & Sullivan – Utopia, Limited; or The Flowers of Progress, 1893. Libretto.


The first 50 seconds is utopia.

D’Oyly Carte Opera Chorus
Royal Philharmonic Orchestra
Conductor: Royston Nash
Recorded in 1975

Anahid Nersessian, Utopia, Limited: Romanticism and Adjustment (Harvard UP, 2015). Review.
… formal and political practices of renunciation and self-containment.

Stuart Davis: In Full Swing

Exhibition organized by the National Gallery of Art, Washington, and The Whitney Museum of American Art, New York.

Stuart Davis (1892–1964) was an American.

The exhibition is unusual in its focus on Davis’s mature career and on his working method of using preexisting motifs as springboards for new compositions. From 1939 on, Davis rarely painted a work that did not make reference, however hidden, to one or more of his earlier compositions. Such “appropriation” is a distinctive aspect of his mature art.

reinventions.

NGA audio tour.

Stuart Davis in Full Swing

Stuart Davis in Full Swing

1-5 Stuart Davis at Whitney

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Egg Beater No. 2, 1928, oil on canvas, Amon Carter Museum of American Art, Fort Worth. © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Whitney audio on Egg Beater 4.

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House and Street, 1931, oil on canvas, Whitney Museum of American Art, New York, Purchase. © Estate of Stuart Davis/Licensed by VAGA, New York, NY
W audio on House and Street.

…a correlation,

RHQuaytman_Voyelle_Ch26_2013_32x32x7in_RQ1711
RHQuaytman
Voyelle, Chapter 26, 2013
Silkscreen ink, gesso on wood, and wooden shelf
32 3/8 x 32 3/8 x 7 inches (82.2 x 82.2 x 17.8 cm)

Plato and Behavioural economics

Text by Nick Romeo

Behavioural economics […] celebrated for identifying and analysing many of the core biases in human cognition.

Plato not only identified various specific weaknesses in human cognition, he also offered powerful proposals for how to overcome these biases and improve our reasoning and behaviour.

Plato’s dialogues dramatise the habits and processes that lead humans to false conclusions. He depicts people believing what they want or what they are predisposed to believe (confirmation bias); asserting whatever comes most readily to mind (availability bias); reversing their opinions about identical propositions based on the language in which the propositions are presented (framing); refusing to relinquish current opinions simply because these happen to be the opinions they currently possess (a cognitive version of loss aversion); making false inferences based on the size and representativeness of a sample of a broader population (representativeness heuristic); and judging new information based on salient current information (a version of anchoring).

Much more on Aeon.