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?
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