By Miles Huston The world is flat The colors have been corrected. There are a myriad of ways to upload your personal content, but some more prominent sites require specific viewing standards for proper vetting. Others format your unique information into a strict designed structure to maintain a cohesive nonhierarchical viewing or listening experience. For Artists, we have been duped into thinking we have agency over our image creation and distribution. Sculpture, installation art, and performance art have flattened—to the perspectival populist square grid much like the Minimalism Clement Greenberg described this mirrored essay Recentness of Sculpture
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By Miles Huston The world is flat The colors have been corrected. There are a myriad of ways to upload your personal content, but some more prominent sites require specific viewing standards for proper vetting. Others format your unique information into a strict designed structure to maintain a cohesive nonhierarchical viewing or listening experience.
For Artists, we have been duped into thinking we have agency over our image creation and distribution. Sculpture, installation art, and performance art have flattened—to the perspectival populist square grid much like the Minimalism Clement Greenberg described this mirrored essay Recentness of Sculpture The carefully constructed image has taken the place of the atheistic surprise and discovery that might exists beyond the screen.
If not, you will need to find a way to change the game, effectively creating the next Contemporary Art Daily, Pinterest or Instagram. The imagification of the Artworld allows for forms of value outsourcing to operate as well. Different locations and spaces act as gallery proxies for the New York centric transaction, which can be completed without seeing the work in person. But it failed to tell the story of how users of this Flatland would have to develop new obscuring design strategies in order to hold onto our most base modes of experiencing power and value through mystery, myth, manipulation, desire, seduction, and romance.
Unfortunately, this set of terms is forever in wedlock to another set: misery, horror, servitude, revenge, destruction, and deceit.
This is the dark side of the mirror: what the utopic ideals of individual cyber network navigation hoped to curtail through transparency and access. So I am not surprised that within this flatted overexposed Expanded professional Field it is becoming more apparent that the Production of Obscurity has been co-opted into nuanced forms of marketing.
This is not dissimilar to a bar-with-no-name or a menu without price. I am not concerned with writing an essay about the history of the disappearance of the Artist or art in age of post-mechanical reproduction post-production. My main concern now in this Post-Obama twilight zone is that we make ourselves aware of the different uses of obfuscation, to understand when it is productive and when you should call bullshit.
So with that, it is also my intention to think about the Production of Obscurity in relationship to the production denial or removal of images of the work as the work itself. Those from the pre-internet world became obscure, mainly due to a lack of access to distribution, not always by choice. Today our reality is that everyone has the ability to share and distribute content democratically.
And I am sympathetic to it. Being private, harmless, reserved, concerned, empathetic, quiet, listening, and less forceful are all great attributes to embody. In the same manner, there are galleries who have the financial stability to maintain an image of provenance and certainty.
Much of what I am speaking about is a result of the distribution of artwork, where it goes, where it is seen, who speaks about it and what they choose to tell.
There is another level of the obfuscation game that is even harder to discern or to navigate. I have no idea how many dealers operate in the secondary market, but I bet that most of them do. The market that I participate in, as a living Artist, seems equally unfair, for better or for worse. I decode no logic to why Artworks sell when they do: a gift of the Potlatch, the watershed of manipulation, or the marriage of white male privilege and minority exploitation.
Ideally, people just like the work and want to own it. From where I stand as a participant, I see an experiment filled with the hearsay of tax loop holes, email art consulting services like Baer Faxt, secret Trump supporters and their relationships to our institutions; accrued cultural and Art historical power fortified by Manhattan real estate backed security—a theme park with rides—Designed, Rendered, Flattened. It all exemplifies a two faced-society that does not want a government to support its Museums or the Artist making the Art, but wholeheartedly believes in privatizing its power and grandeur to transfer wealth as a model for its makers.
The mutation results in an increase of acidity found in their urine that when released is so acidic it immediately begins to burn their own flesh. In the volume they are stocked, bait-fish create an exponential rise in toxicity to their environment.
Art would remain Art and pose as life through its compositions, its degradation, its scattering, and splattering affects to simply hang on flat walls or sit in Freeport crates.
The brutality of Taste, thank you Julian Schnabel. That is much of what we get, flattened framed central subject images of these mimicked forms and not an elusive presentation of a constellation of layers that produced the idea of the central serving object in the first place. As the sphere dips through this Flatland you only see a line expanding and shrinking, never the circle.
Allow me, once more, to indulge. As Sculpture dematerialized itself over and over throughout history, the viewer has become more aware of everyday life and their solipsistic relationship to it. To me, it is a sign of progress that someone might look at a pile of trash on a corner outside a home and call it Art. The bags are wet with spotted oil drops that have rainbows inside them. The pile leans into an angle of repose to the right. On the left side, a blunt force trauma inflicted by the fire hydrant holds the pile up like you had to hold up your drunk cousin who came to stay with you last weekend.
I could go on and on about the formal qualities that this pile of trash holds. I am sure you see pile in your mind, so why must we constantly show the pile?
Could we make an exhibition and compose a series of layers that would produce the pile in your mind, without ever showing anything related to that form? How did the pile get there? Is the form of the pile its own geometric and material qualities or is its form an elusive network of materials and the histories of them? This kind of sculpture is very hard to do and to document no less. Even sculpture that has dematerialized itself in the past is torpedoed by the documentation, creating another discrete centralized framed subject that gets retrofitted with meaning and value.
Minimal art remains too much a feat of ideation, and not enough of anything else. Its idea remains an idea, something deduced instead of felt and discovered.
As the ART-ifact mining persists, everything to the bottom of the flat file, I wonder if it was her plan all along or if she will be doing some haunting soon.
Kazit In describing the uses of this symbol as a corporate identifier, Goldscholl comments:. And it is in the context of such graphic design that much Minimalist art yields up the secrets behind its formal effects. In the February issue of Artforum, Morris notes:. For the Minimalists the revelatory potential inherent in their works is an order of value explicitly contained in the order of form. Part of the means for increasing industrial production in the U. Of such gardens, Carl Andre has written:.
Clement Greenberg recentness of sculpture
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