Tag Archives: contemporary art

MULTIPLE SLASHES ARE SOUGHT AFTER

2 Feb

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I can’t believe they’re talking about this shit with a straight face” of the week goes to a recent article on Artsy (aforementioned) on ‘The Secrets of Art Pricing‘. If they’re meant to be secret, should you really be telling us? Never mind.

Submarkets for individual artists, and markets within different periods for those artists, require their own brand of unique pricing lore. Case in point is the oeuvre of Lucio Fontana, who began puncturing the surface of paper or canvas in the late 1940s, developing the idea over the next two decades. “At different times, different colors are more or less popular,” wrote Melanie Gerlis, Art Market Editor at The Art Newspaper, in her 2014 book Art as an Investment?, referring to Fontana. According to Fontana specialist Luigi Mazzoleni, founding director of Mazzoleni London, “regarding the slashes,” the most popular colors on the market are white and red. Various other factors also come into play. He added, “The quality of the cut is very important as this gives a different rhythm and effect to the canvas. The quantity of cut is also important. A single cut is very minimalist and therefore very sought after, but multiple slashes are also sought after on the international market.”

“Unique pricing lore”? Are you a wizard? As for Mr Mazzoleni, a single kick up the arse is very minimalist, but I think with the way he’s talking he is really seeking multiple kicks up the arse with a pointed shoe. Anyway, just in case you were in any doubt, the content, beauty, emotion, craft and artistry of your art are not important at all. It’s all about being red or white, and the slashes.

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ARTIST STATEMENT REPAIR SERVICES

6 Jan

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If you’re an artist from NE England or SE Scotland who needs to write about your work and would like to do it better, please join me at one of the workshops I’m running this February for a-n the artists information company and Berwick Visual Arts. Read more about these workshops on my site, or book directly with Eventbrite here:

Writing about your practice at Queen’s Hall Arts Centre, Hexham: Thursday 4 February 2016 from 09:30 to 15:00

Writing about your practice at The Maltings Theatre and Cinema, Berwick-upon-Tweed: Friday 5 February 2016 from 10:00 to 16:00

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REAL ART WORLD MORE SATIRICAL THAN SATIRE AGAIN

5 Dec

RiffWestsideStory

This is what you get when rolling around on the floor, self-harming and generally making a tit of yourself become normalised as art practices: a woman (really, but non-fatally) stabbed by another woman in the neck and arms with a craft knife during an altercation at Art Basel Miami Beach and taken out on a stretcher while police cordoned off the crime scene was described by onlookers as “a performance art presentation.” Two of these patrons were “sipping champagne” and gawking at the bloody floor from behind police tape even as they expressed their horror that it was a real stabbing. Still think covering yourself in body fluids, paint, food (etc.) is cutting edge or exploring new territory? The public are now so blasé about this “transgressive” type of art that they assume crimes, violent incidents and bloody accidents are art interventions, so the answer is a resounding NO.

Obviously I hope the unfortunate victim gets well soon, but this whole scenario is like a scene from a John Waters film. An artist opined that he thought it was more likely that “a piece of art fell on her” because nobody gets stabbed at Art Basel– putting me in mind of the woman in Airplane! who idly muses that “Jim never vomits at home…” as the aircraft is crashing. Not to mention the Road Runner cartoon imagery of a patron at an art fair being splattered underneath a heavy sculpture, as if that’s a likely event. The fact that the stabbing was done with an X-Acto knife vaguely suggests that the assailant was either an artist or worked for an art gallery, for a little Valerie Solanas spice. And of course the incident takes place in the comprehensively daft and beyond satire 1-percenter bubble of Art Banal Miami Vice itself, where the important art works on show include a female mannequin set up to crush walnuts between its thighs and a man punching canvases with boxing gloves full of paint.

[Sigh]

LeonardoDavinsky

PARASITES, CANT, SHALLOWNESS

21 Aug

Joseph Devlin’s book from 1910, How to Speak and Write Correctly, is like many similar books in that much of its advice still has relevance and is still ignored by (or unknown to) many people who describe themselves as writers or work as writers but are not worthy of the term except in the most literal sense.

“Don’t imagine that a college education is necessary to success as a writer. Far from it. Some of our college men are dead-heads, drones, parasites on the body social, not alone useless to the world but to themselves. A person may be so ornamental that he is valueless from any other standpoint. As a general rule ornamental things serve but little purpose. A man may know so much of everything that he knows little of anything… Cant is the language of a certain class — the peculiar phraseology or dialect of a certain craft, trade or profession, and is not readily understood save by the initiated of such craft, trade or profession. It may be correct, according to the rules of grammar, but it is not universal; it is confined to certain parts and localities and is only intelligible to those for whom it is intended… Words of “learned length and thundering sound” should be avoided on all possible occasions. They proclaim shallowness of intellect and vanity of mind.”

WINNING THE WAR, LOSING THE BATTLES

27 May

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On Monday of this week I was thinking– with some satisfaction and serenity– that for some time I’d seen nothing but reasonable, factual press releases in plain English and artist statements that actually made sense. Perhaps the day would soon come when I would no longer have any material for Artbollocks Theatre? No. Come Wednesday morning, I see this:

There is no mediation that is lossless—an output is never the pure transmission of a source—but always as much the distance it has travelled, the things it has come in contact with or bounced with or off. She is interested in the consistency of distances that can be traced through an arbitrary sense of material precision: utilising water, viscosity, synthetic carpets, electricity, surface tension, stray socks and chewing gum. This consistency, at times imperceptible and at times palpable, is what the artist describes as “something that I find in my sculptural vocabulary—an extra-linguistic or non-verbal modulation of content—articulating the impurities of a medium or assemblage.” […]

Literally caught in between melting and being repurposed, several hundred meters of gutted sheaths are compressed into dense lumps of immaterial distance. Contextualized by both recent and earlier works, the exhibition will consider sculpture as a medium of storage, transmission and reception.

A translation of the last paragraph is that she’s melted a load of old plastic cables into lumps. This is not me editorialising, by the way. Here is a publicity image of the “art work” associated with the verbiage quoted above:

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Have you tried unplugging it, leaving it for a few seconds, then plugging it back in?

Yes, it’s made of communication cables, but that doesn’t make it a consideration of “sculpture as a medium of storage, transmission and reception” any more than making an art work out of cake is considering birthdays, aging and parenthood. It can be that, but there’s a pathetic schoolgirl literalism in claiming an art work is about something just because it’s made from things associated with the subject. Even if it is a consideration of anything, perhaps as an artist you could actually have some courage and commit to saying something about the subject and instead of just limply, meekly considering it? It’s toxic, weird and also entirely fitting that so many contemporary artists claim to be considering things because considering things without coming any nearer to an answer is not at all profound and the majority of contemporary artists are neither capable of nor truly interested in profundity. They just like the idea of being thought of as profound, which is very different from being so and much harder. I consider what I’m having for lunch or whether it’s worth waiting for the next train after I just missed one, or if I should get the bus instead. Note that even in these extremely banal examples I actually come to a conclusion. Consideration without conclusion is noodling or daydreaming, at best.

And several hours previously– arriving unwelcome in the middle of the night like a drunk or a stalker– this double-decker of nonsense about two simultaneous solo exhibitions by another two artists:

Her work is located in the meeting of sculpture, video installation and performance and is characterized by an acute study of the relationship of the body to space, closely linked with her utilization of digital technologies (often including, for example: projectors, scanners, action cameras, and drones). The videos, which play a central role in her work, consist of filmed actions (mostly featuring Vogel herself), documentations of her own installations and collages from her archive of images. These videos then become part of her sculptural constructions where dimensional space, decor and the corporeal merge into an organically woven structure. She treats the projectors and the other technical equipment as active protagonists: for example, by removing their casings or by suspending them in unexpected ways, thus revealing their fragility and somatic character. Ultimately, she creates a hybrid form in which her relationship to space, object, technology and machine is displayed in a dynamic field of motion, from the process of its development to the self-reflective treatment of her own work.

In English: She films herself because herself is the most interesting subject she can think of, and she takes the cases off the projectors. In the interest of relative brevity I’ll just note in passing that this monolithic paragraph is riddled with bad writing and unexamined assumptions: Why and how is her study acute? Space is always dimensional. An active protagonist has to be active and a protagonist, and a protagonist is by definition active anyway; simply doing something unusual with a piece of equipment does not necessarily make it either active or a protagonist. And so on.

This body-studying (YAAAAAAWN) artist shares the gallery with an artist who is, yep, another one adopting the tiresome pretence that he is “undertaking an investigation”:

Of particular interest in Binet’s work is his perception of the painting as an “integrative object.” This process of integration—the inclusion into a larger whole—occurs during the work’s installation; Binet actively considers the walls and conditions of the surrounding exhibition space, initiating a working process based on its specifics. Everything taking place within the space shapes the exhibition. A canvas can bend and be embedded in a stair railing. A continuous line spray-painted over the surface of a wall and onto a canvas extends a painting into space. With this direct and equal treatment of both painting and place, the work becomes inseparable from its surroundings, existing only in this very moment and in its specific spatial arrangement.

English translation: He goes over the edges of his paintings, some of which are not rectangular. Oh, didn’t you know that paintings don’t have to be rectangular? Ha ha Stupid U, artist moar intelligectual than U.

Looks like I picked the wrong week to quit making Artbollocks Theatre.

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