Category: language

Walking

dig

9780262037051

Wanderlust: Actions, Traces, Journeys 1967–2017 by Rachel Adams

Artists as voyagers …

Wanderlust highlights artists as voyagers who leave their studios to make art. This book (and the exhibition it accompanies) is the first comprehensive survey of the artist’s need to roam and the work that emerges from this need.

[…]

Each of these works recognizes the walk and the journey as much more than just a basic human act. Rebecca Solnit observes that walking replicates thinking, adding “the motions of the mind cannot be traced, but those of the feet can.” These works trace the motions of wandering artists’ focused minds.

Artists
Vito Acconci, Bas Jan Ader, Nevin Aladag, Francis Alÿs, Janine Antoni, John Baldessari, Kim Beck, Roberley Bell, Blue Republic, Sophie Calle, Rosemarie Castoro, Cardiff/Miller, Zoe Crosher, Fallen Fruit, Mona Hatoum, Nancy Holt, Kenneth Josephson, William Lamson, Richard Long, Marie Lorenz, Mary Mattingly, Anthony McCall, Ana Mendieta, Teresa Murak, Wangechi Mutu, Efrat Natan, Gabriel Orozco, Carmen Papalia, John Pfahl, Pope.L, Teri Rueb, Michael X. Ryan, Todd Shalom, Mary Ellen Strom, and Guido van der Werve.

Contributors
Rachel Adams, Lucy Ainsworth, Andrew Barron, Pamela Campanaro, Andy Campbell, Hannah Cattarin, Ian Cofre, Jamie DiSarno, Katherine Finerty, Joshua Fischer, Natalie Fleming, Melanie Flood, Jason Foumberg, Allison Glenn, Kate Green, Ross Stanton Jordan, Anna Kaplan, Jamilee Lacy, Jennie Lamensdorf, Toby Lawrence, Jane McFadden, Lynnette Miranda, Conor Moynihan, Liz Munsell, Karen Patterson, Ariel Lauren Pittman, Sean Ripple, Eve Schillo, Holly Shen, Rebecca Solnit, Lexi Lee Sullivan, Whitney Tassie, Charlie Tatum, Zoë Taleporos, Lori Waxman

Buffalo Spree
UBNow

The Liberator, a role to play

dig

AG2017-Document-Letscultivate-122717ab12
Jefferson L. Edmonds‘s newspaper had the byline, “A weekly newspaper devoted to the cause of good government and the advancement of the Negro.”

Toussaint L’Ouverture and Jean-Jacques Dessalines come to mind.

The claims for greater freedom are never enough. The role of operators acting on the machineries that produce civics, culture and liberties, Liberator, if you will, is pivotal and always needed.

W H Johnson
William H. Johnson, Toussaint l’Ouverture, Haiti, ca. 1945, oil on paperboard, Smithsonian American Art Museum, Gift of the Harmon Foundation, 1967.59.1154

Jean-Jacques Dessalines and the Haitian Revolution– William and Mary Quarterly, July 2012.

We are not surprised.

dig

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.

?

Utopia

dig

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.

_1000546

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

[soundcloud url=”https://api.soundcloud.com/tracks/106294961″ params=”color=00aabb&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

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

dig

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

DEX-13-slideshow
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.

DEX-23-slideshow
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)