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.