February 2012
231 posts
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boogiebored:
i didnt go to class today because i wanted to make art instead
These days it sometimes seems like if I really want to be an artist, I should stop going altogether.
Anonymity as Culture: Treatise - Triple Canopy →
The growth of these anonymous spaces marks the first wide-scale collective gathering of those who are alienated, disaffected, voiceless, and just plain unsocialized. These are people whose tweets will not make the headlines. They do not wish to create a platform that enables them to be heard by the world; they want to shut out the world. Ironically, their popularity has exploded as part of the...
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artnet® Magazine - The Matrix of Sensations by... →
The status and significance of the image changes in postmodern digital art: the image becomes a secondary manifestation — a material epiphenomen, as it were — of the abstract code, which becomes the primary vehicle of creativity. Before, the creation of material images was the primary goal of visual art, and the immaterial code that guided the process was regarded as secondary. Now,...
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"I think; I am; Something Exists"
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Frieze Magazine | The Power of One →
The wonderful thing about belief is how uncritical it is of its surroundings. Take amulets, for example. These can be man-made (coins, dominoes, glass beads) or naturally occurring (fossils, shark teeth, mole paws), but in general an amulet’s physical attributes are worth much less than the faith placed in them.
Amulets can be held for an almost infinite number of reasons: for good luck or for...
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Annika von Hausswolff » Contemplating the sudden.... →
Plato placed the sudden, in a similar way to von Hausswolff, between eternity and time. Time suddenly emerges out of eternity, but the moment itself belongs neither to time nor to eternity. Since the sudden gives rise to opposite becomings it is a pure starting point. Everything that begins, or comes into existence, comes suddenly, and from that follows different becomings.
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Frieze Magazine | Archive | Snappy Snaps →
in looking at the photographic image, what we are doing is, in a sense – or, if you will, in the manifold senses of sense qua the sensational – beholding by way of our eyes (that is to say, receiving visual information through ocular means that could be construed [if we are, for a moment, to put aside Wittgenstein’s reluctance to define his own position – though not withstanding his extant...
Watchmossfull:
Video preview for the 2012 Whitney Biennial.
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WatchHow To / Critique (by Jaakko Pallasvuo)
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I am Such a Failure: Poetry On, Around, and About... →
Post-irony, as I understand Pallasvuo using it, as opposed to sincerity, is a strategy that still steeps itself in irony, uses it as a jumping off point. Therefore, “sincerity” is somehow something completely new and different in the context of art concerned with the Internet and our relationship to it. Pallasvuo suggests that “sincerity” is what will finally slaythe old and cold, bitter and dry...
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When The Object Presents Itself: An Interview with... →
I currently see performance in a very simple (yet useful) way: performance is nothing other than the process through which an object is translated into a version of itself able to be experienced by another object. By translatable object I don’t only mean a musical score, a theatre play, an idea, or even a person; rather, an object (like Graham Harman demonstrates) is anything that has an...
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Imagining the Image: Photography, Psychoanalysis... →
Still, there is something of interest for us in sticking to photographic tradition that is beyond historical nostalgia and the ideals of pedagogy: that is how the drawn-out process of accomplishing the image, culminating in the work of photographic development and its ritualistic bathings, builds up a momentum of expectancy that indexes the photographer’s desire to see the image. Here, memories...
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my grandmother's artist resume is absolutely...
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someone may be trying to tell me I should move...
