Selected Entries for Dr. Ben Greenman

Selected Entry 23:

Museums as Editorials:

Having touched on this before, I want to make more defined statements about the role of museums in shaping the dialogue of art and art theory. It’s an uncomfortable concept; the idea that museums attempt to shape your perception in one particular way. It’s my (possibly idealistic) perception that museums are meant to facilitate a space without making a predetermined judgement. Three exhibitions have occurred that are excellent examples of museums as editorials. I don’t know how I feel about them now, but I have to consider why they are different from the normal intentions of museum/gallery spaces.

· “Girls on the Verge” The Art Institute of Chicago

· “The More Things Change” The San Francisco Museum of Modern Art

· “Crime and Punishment” Musee’ dOrsay

These exhibitions hold a strong editorial comment on culture. “Girls on the Verge” is a comment on the brief existence of girlhood in the world, as their culture strongly compels them to grow up physically and mentally. “The More Things Change” is an editorial on the “important and significant” movements within the last ten years of art. The MoMA did a similar exhibition, but prefaced that their exhibition would feature a few of many moments in art history over the decade. SFMOMA made no such claim. And Crime and Punishment is a history of torture and death in France, stemming from the recent vote to abolish the death penalty.

How does this relate to aesthetics? In Dr Greenman’s lecture, he asks us specific questions: “What do we want from aesthetic theory?” “What is significant about aesthetic theory?”

It is possible that its easier for an artist to answer those questions than an exhibition designer. But if I were pressed, I would say what I want out of aesthetic theory, and what is significant about aesthetic theory is… the questions.

What are the ethics of an objective space using an exhibition to raise their own questions about society?

I don’t know. It makes me think of the Degenerate Art Exhibitions; a space that one is invited to that has a pre-determined stigma, which it bewitches you into believing. It’s dangerous.

If patrons are robbed of their objective space… what do they have to count on?

Selected Entry 24:

The Personal is Political

The exhibition “The Personal is Political” from the permanent collection of the Museum of Contemporary Art in California is one of many that one could choose when discussing the fallacy of my previous entry. Women artists, and feminist art appear every year in the 24 museums I’ve followed in the 6 year timeline. I could have referenced Adrian Piper. I could have referenced three of our lectures over this term.

Exhibiting artwork in any way is an editorial, I suppose. Feminism, and female artists are receiving more exhibition space now than every before. The more time and space that is given to female artists is another editorial on the culture of the feminine.

I am of two minds on the subject. My objective side is not interested in gender, but would rather see the strongest work regardless of sex. My subjective side cannot deny that perhaps the great transformation that has occurred in the last six years has much to do with female artists, and female curators (which have comprised of about 40 percent of my featured exhibitions).

If I’m ever smart enough, or good enough, to make any comment on art I would be surprised if the comment WASN’T something that was personal to me. If I ever manage to design exhibitions, perhaps I’ll look back on this log and remind myself

the personal is always political.

Selected Entries for Dr. Nicky Byrd

Selected Entry: 21

Where does the Artist Stop and the Patron Start?

Much of Nicky’s work is about inclusion, and about the infusion of art and participant. Collaboration was important to her, and, more importantly, to her work. I wanted to see if there were any other artists that were as inclusive in their work. I found Roman Ondak. At MoMA PS1 performace occurred where every art patron was asked to stand with their backs against the wall, they measured their height and wrote down their name and the date on the wall next to the line than indicated how tall they were.

It was called “Measuring the Universe” , which, according to Ondak, he is not able to measure without his patrons.

What does it mean to be this inclusive in art? How does performance change a space? To me, on a personal level, performance art has an essence of magic that I can’t readily find in other art. Is it the brevity of the piece? Is it that I am completely aware of the fact that it can never be re-performed? Is it because I am involved?

Selected Entry: 22

Cattelan’s Gift

I’m in love with Maurizio Cattelan. I have been waiting for a long time to talk about him, but it appears that his exhibition for the Museum Fur Moderne Kunst is a very worth subject to discuss in lieu of Nicky’s lecture.

Since 2007 Cattelan has been making monthly visits to the museum and adding a piece of work around/on/behind/inside/over the museum. As of this January, he has finished making work… so it is fair to say the work is now completed. But the idea that Cattelan would return back to a place, almost like a pilgrimage, is a response to Nicky’s work; returning back to a place, and making something of it. There is a permanent mark being made on the museum. The museum must respond to, it in a way. I feel that it is not the nature of museums to respond, only to facilitate. But Cattelan, in his clever way, is making things that cannot speak, speak.

Selected Entries for Dr. David Sweeny

Selected Entry 16:

Theory as Object:

It’s a little too old for my research, however, I find the October magazing article very compelling. Juliet Mitchell discusses “Theory as an Object” using Freud’s analysis of the “object”. Juliet argues that the things we posses are not as important as the source from which we extract that thing. She suggests that a theory/idea/concept that we pull from art-objects are loved like physical objects.

That is curious to me: the things we posses. A lot of Dr. Sweeny’s ideas came from fetishism, which I think is very compelling. The objects are, indeed, important, but what about the concept BEHIND the things. Would Freud not say that the SOURCE of the desire is more important than the object with which we desire?

Consider Trecarins work, which is little more than fetishism of commoditites that can rot a culture. “Like Living, Only More So” is an exhibition of desire, of wanting things so desperately they consume you. That desire transcends any THING. Thus the need will never be satisfied.

What does this do to Marx?

Selected Entry 17:

Installation of Contemporary Art and its Role in Authorship

I know Dr. Sweeny is a fan of Barthes, he also argues that once something is out in the world authorship becomes less important. For example, I told him in the post lecture discussion that I thought the reason why “The O.C.” was smart, was that Dr. Sweeny MADE it smart. His contribution to the text made it more than it was initially. His response was that the television show was whatever he said it was because he was not interested in the INTENTION of the show.

That concept goes back to authorship. Authroship, I believe, has the burden to prove that something is finished enough to be handed to the world for scrutiny or praise. That is more difficult than one may think. At least, that how I felt after reading an article called “Information and Entropy: Collaborative Efforts in Installing Contemoprary Art” which discusses the problems that exhibition designers and museum directors may face now that a portion of art is now designed with the exhibition space in mind. The article is predominantly “shop talk” where they discuss proper shipping and packaging techniques. But a few paragraphs were reserved for positing to their readers about authorship. Could contemporary installation work be credited to the artist solely?

An excellent question… The space itself is a contributor, and, of course, the curator. At the very least, installation art is in murky water with regards to authorship. Is it ever really finished? Are the hands that install it just as important as the hands that devised it?

Selected Entry 18:

The Irresistible Force

Perhaps the most overtly political exhibition within the 6 year span of my research. The Tate Modern’s exhibition entitled “The Irresistible Force” features a selection of artists that consider the distribution of wealth in a global economy. For an exhibition that features multiple artists, this is my favorite by far. Each artist devises art objects that speak heavily of the influence of money in varied cultures, and the acts of vengeance and violence against the oppressing forces in their lives. The exhibition as a whole creates a haunting urge that can only be fully articulated by its title “The Irresistible Force”

Judi Werthein’s work was most compelling. Her work consisted of giving away shoes that had a map that would aid in the crossing on the Mexico/America border and a flashlight. They were called “Brincos”. The shoes were made in China. 1000 were given to immigrant hopefuls, and the rest went on sale at a high-end boutique for $200 a pair.

Selected Entry 19:

Slumming

Dr. Sweeny discussed slumming as loving something that is supposed to be low-class but it desired by all classes.

In 2009, an excellent example of slumming arrived in the National Gallery: Kienholz “The Hoerengracht” which is a live-to-scale reproduction of the red light district in Amsterdam. This concept of slumming works on two levels. First, the concept of red-light districts in reality are considered low class, but frequented by those of many class statuses. Secondly, the idea that an artist would devise an exaclt duplicate of a slum and install it in something as (seemingly) exalted-class as an art museum is rather ironic. Now, even individuals who would not consider going to a red light district is now welcome to peruse the streets in an “elitist” space (that is to say, the SPACE is used selectively, NOT that museums are elitist)

Selected Entry 20:

Dreaming the Unreal

Josia McElheny devised a set of large sculptures of crystalline glass. The exhibiton at the MoMA PS1 is a fine example of an artist devising what would rise out of the dust of revolution. This work was based on the writings of Bruno Taut, who imagined what life would be like after World War I. The delicacy of the towers are a credit to the hope of a country in peril, however, the irony cannot be lost as WWI was quickly followed by WWII. The idea is similar to Marx’s idea (at least for a while.) A place that serene, that quiet and that peaceful that would be built on the ashes of burnt cities.

Selected Entries for Dr. Tim Collins

Selected Entry 12:

“…The Process was Art.”

Much of this lecture, for me, was about Dr. Collins’ quotations. The quote regarding if his restoration projects were more science than art, he sad: “Is it art? Good question… I’m not too worried about it. The process was art.” I love that. I really do. Mostly because I feel like I worry about everything. The idea of NOT worrying is fantastic. But more on this “process”…

I am greatly tempted to talk more about Ai Wei Wei, but I do think I can come up with more artists whom have considered the process a much as the end result.

Perhaps Anish Kapoor. In his first exhibition in India, his work was divided between two exhibition spaces; one in New Dehli, and the other in Mumbai. I am trying not to bring up very specific pieces with an exhibition (I want to research the exhibition habits, more than the pieces) however… One of Kapoor’s Mumbai pieces can be seen as an excellent example of “the process” and “The finished work”. It’s called Shooting in the Corner. Where there would, literally, be nothing if there were no process. There is a violence to it, a pretty violence that acts as some sort of liberation from the repression felt by the artist from the exhibition space. It liberates me just to see it. Indeed… indeed. He didn’t worry too much if it was art, because the PROCESS was art.”

I also came across a beautiful article entitled “A Philosophy of Gardens” by David E. Cooper. That, literally, discusses the metaphysics of a garden; the differences of demeanor in large gardens vs. small gardens, the benefits of the seasons on the gardens. Half of the article, however, discussed the process of a garden. As there is no such thing as a finished one; the seasons compel different flora to sprout at different times. It was in The hournal of Aesthetics and Criticism but it read like poetry. So calming, much like Dr. Collin’s lecture.

Selected Entry 13:

“Theory. Practice. Theory. Practice… the way of the tree.”

My favorite research find is an exhibition at MoMA PS1. I think it’s beyond appropriate for Tim’s concept. The exhibition is titled “Not For Sale” and features selected works from many local, and national artists. Alanna Heiss, a more vocal curator than most, devised the idea of asking artists to make work that they will never sell and exhibiting them to patrons whom would only have the one chance to see it.

This exhibition strikes at the heart of theory and practice because it insists that the cycle continue without the interruptions of commoditization: “Theory. Practice. Theory. Practice… the way of the tree.”

Selected Entry 14:

Restoration:

MoMA extibited a landscape restoration program entited “Groundswell: Constructing the Contemporary Landscape” in 2005. This exhibition brought together a global team of landscape designers where they devised 23 landscapes. All are built on top of existing urban landscapes, but each design strives to make the space better through deliberate landscaping. No one idea is alike, many push the boundaries of the possible in landscaping, but all efforts are concentrated on improving the human landscape. That exhibition may be too straightforward, not enough comparison and cotrast between Dr. Collins’ work and theirs…

There was something I found that is rather more compelling. Chinese artist Liu Bolin, a very busy artist if you see his portfolio, is famous for hiding in cities by painting his body to perfectly match the scenery. He often chooses rubble from destroyed buildings, or graffiti painted urban streets as his refuge. There is something about a man who wants to be one with his city. There’s something about “taking responsibility for what we put our toes in” as Dr. Collins would say. Much of what Dr Collins spoke about was one thing existing with another. The trees change because he is there, he chages because the tree is there. Perhaps it is the same with Liu Bolin, The landscape changes because he’s there. He changes because the landscape is there.

Selected Entry 15:

What do I love?

In my research I found an article on the role of the couch in psychoanalysis. Fear not, this is not about psychoanalysis proper. This article was about the space in which people talk to a stranger, and they see what happens as the process of being psychoanalyzed commences. Throughout the article, I could feel a sense of the uncanny, as Mignon Nixon discusses the psychology of an analyst’s office… It’s the same as an exhibition space.

What I love, is what happens inside four walls; the space in which people talk to strangers through art, and see what happens. How can I make that a practice and a theory? Then another practice, then another theory?

Selected Entries for Dr. Graham Lister

Selected Entry 8:

Good Research: Good Art

Dr Hanna explained to us that research is not just collection of knowledge. There is definite merit to that. How can I make research into something that has my fignerprints on it? I understand that its about being objective, but its also about making a statement in the art dialogue. I found two well constructed exhibitions that shows a culmination of projects that enriches the art patron, while providing the all-important aesthetic experience. Tate Modern’s “Global Cities” exhibition deconstructed the concept of a city, and reacted to each facet in an academic and aesthetic way. Size, Speed, Form, Density, Diversity: these aspects were considered as the two artists (acting as artists and exhibition designers) built an exhibition to chronicle city-life, and how its changed over the decades. Sculpture, film and installations were all used to convey this concept.

The curious thing about the Tate exhibition is that it could be well received anywhere. The fact that it talks about cities as a concept, rather than citing a specific city, there is a oneness that comes from it. Something Bourriaud would relate to. The extend of their research had to be immense. Making an exhibition about the universality of a city is not an easy task. And, in the end, they had to concede that their arguments are one of many.

Then I considered this exhibition at the Museum of Contemporary arts Chicago where two artists made a piece with a different kind of research in mind. The UBS 12 x 12 New Artists New Work exhibition was the undertaking of three artists to use a large portion of the garbage made by the Museum of Contemporary Art. For three months, garbage was sorted and collected by the artists and then used to design 12 x 12 inch squares of art-objects. This is research of an unusual kind; more intimate, I suppose. The extent of THEIR research, comparatively to the research of the Tate exhibition, is specified to one time and place. But, then again, isn’t all are a representation of a specific time and place?

Selected Entry 9:

Raw Art

I keep trying to negotiate in my head if there is any art that does not come from some form of research. While researching the idea of researchless art, I think I came up with a couple of front-runners:

MoMA PS1’s “Emergency Room” is an interesting exhibition when discussed in this context. “Emergency Room” brought together 30+ artists and provided them a space to react to current affairs. The tricky thing is that for each day of the exhibition, the artist must produce a new piece of work inspired only by the events that happened within the last 24 hours. Little, if any, research is possible within that time. But the effects were IMMEDIATE as art was being produced at an alarming rate. Was any of it strong art? Perhaps not. But, Perhaps, that was a part of the idea. Perhaps the exhibition itself was the concept. As what more is a gallery than a place that facilitates a space to let things happen.

A more complex idea of “raw art” comes from the Tate Modern when they exhibited “Street and Studio: An Urban History of Photography” Here is where I’m thinking of two things:

· Photography in ehibit in this space is, for the most part, coincidental snapshots. That is to say, there is very little thought in how the picture was taken. Photography was used more for a documentation than “fine art” so to say. This journalist style photography suggests little research and more good luck, than anything

· However, the exhibition itself is remarkable organized and deliberately designed. Rooms are sectioned off into different concepts, and wall labels offer a wealth of knowledge on various photographic subjects.

Here is where the clandestine meets the exhibition. A museum or gallery space can find a story, where, perhaps, separately there would be no story. Raw art turns into substantial art in the right hands.

Selected Entry 10:

Taking Responsibility for the Every Day:

Easily my favorite concept so far. I LOVE the idea of my landscape relinquishing its control over me! I came up with the idea of looking at two artists: Richard Estes and JMW Turner, and discuss the different use of landscapes, now that we have been liberated from the tyranny of our landscapes. In Turners work, it appears to be that we are victims of our landscape (sea storms, beached wrecked ships, rolling thunderous clouds etc…) whereas Richard Estes considers his landscape as his responsibility. Those are HIS phone booths, that’s HIS delicatessen. It’s a whole new perspective on my every day life.

This concept of the every day was well used in an exhibition for Ai Wei Wei’s work. Last year Wei Wei exhibited over 100 million hand painted ceramic sunflower seeds. Each individually hand painted, it offers a political, social, and intimate perspective of the life in China. And perhaps my life too. To amass that many sculptures is impressive, but to see them spread out over the floor of an exhibition space would be deafening. It calls to the idea of globalization. Perhaps, most efficiently for me, that globalization doesn’t mean homogenization. It JUST means globalization.

Selected Entry 11:

Museum as Hub:

Is it just the burden of the artist to research before he/she/the create? Certainly not. It is the responsibility of everyone, in my opinion. With the understanding that research is not always possible, I believe that the New Museum in New York has the right idea. Once a year the New Museum features an exhibition called “Museum as Hub” where they partner with other museums to design philosophies and theories that can be considered in the light of contemporary artists. “Museum as Hub” was designed to perpetuate the art dialogue through the eyes of exhibition designers and curators.

Is there a chance that this compromises the work of the artists that are featured in the exhibitions? Are the designers making too many assumptions about the work? If the artist is alive, are they considered? Or, perhaps, do they take a more Foucault-ish philosophy and let the art speak for itself? Perhps this is a little negligent?