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Corner College Summer School 2009 Course Book Texts by David Corner College Summer School 2009 Course Book Texts by David Hammons Ken Lum Artur Żmijewski Boris Groys Brian O’Doherty Andrea Fraser Wiesław Borowski Hanna Ptaszkowska Mariusz Tchorek Michel Foucault Jeff Wall Seth Price Jorge Luis Borges 1 Summer School Course Book 2009 In high school, college or university, students can enroll in 1. I CAN’T STAND ART ACTUALLY. I’VE NEVER, EVER MY KEY IS TO TAKE AS MUCH MONEY HOME AS POSSI- classes for credit to be taken into account in their grade LIKED ART, EVER. I NEVER TOOK IT IN SCHOOL. BLE. ABANDON ANY ART FORM THAT COSTS TOO point average or their transcript. Generally, this credit is in MUCH. INSIST THAT IT’S AS CHEAP AS POSSIBLE IS one of two categories: remediation or advancement. For 2. WHEN I WAS IN CALIFORNIA, ARTISTS WOULD WORK NUMBER ONE AND ALSO THAT IT’S AESTHETICALLY remediation, the summer school is used to make up credits FOR YEARS AND NEVER HAVE A SHOW. SO SHOWING CORRECT. AFTER THAT ANYTHING GOES. AND THAT lost through absence or failure. For advancement, the HAS NEVER BEEN THAT IMPORTANT TO ME. WE USED KEEPS EVERYTHING INTERESTING FOR ME. summer school is used to obtain credit for classes to TO CUSS PEOPLE OUT: PEOPLE WHO BOUGHT OUR accelerate progress toward a degree or in order to lessen WORK, DEALERS, ETC., BECAUSE THAT PART OF BEING 7. I DON’T KNOW WHAT MY WORK IS. I HAVE TO WAIT the load of courses during the regular school year. AN ARTIST WAS ALWAYS A JOKE TO US. TO HEAR THAT FROM SOMEONE. In academia the term can also refer to a type of conference. WHEN I CAME TO NEW YORK, I DIDN’T SEE ANY OF I WOULD LIKE TO BURN THE PIECE. I THINK THAT Typically, established academics will give presentations on THAT. EVERYBODY WAS JUST GROVELING AND TOM- WOULD BE NICE VISUALLY. VIDEOTAPE THE BURNING advanced topics in a field to postgraduate students. This MING, ANYTHING TO BE IN THE ROOM WITH SOME- OF IT. AND SHOOT SOME SLIDES. THE SLIDES WOULD type of summer school is often organized at a national or BODY WITH SOME MONEY. THERE WERE NO BAD GUYS THEN BE A PIECE IN ITSELF. I’M GETTING INTO THAT international level, and no credits are awarded. In addition, HERE; SO I SAID, “LET ME BE A BAD GUY,” OR ATTEMPT NOW: THE SLIDES ARE THE ART PIECES AND THE ART a college or university sometimes offers a summer program TO BE A BAD GUY, OR PLAY WITH THE BAD AREAS AND PIECES DON’T EXIST. for teachers or other professional workers wishing to round SEE WHAT HAPPENS. out their professional or general education. 8. IF YOU KNOW WHO YOU ARE THEN IT’S EASY TO 3. I WAS TRYING TO FIGURE OUT WHY BLACK PEOPLE MAKE ART. MOST PEOPLE ARE REALLY CONCERNED http://en.wikipedia.org/wiki/Summer_school WERE CALLED SPADES, AS OPPOSED TO CLUBS. ABOUT THEIR IMAGE. ARTISTS HAVE ALLOWED THEM- BECAUSE I REMEMBER BEING CALLED A SPADE ONCE, SELVES TO BE BOXED IN BY SAYING “YES” ALL THE AND I DIDN’T KNOW WHAT IT MEANT; NIGGER I KNEW TIME BECAUSE THEY WANT TO BE SEEN, AND THEY BUT SPADE I STILL DON’T. SO I TOOK THE SHAPE, AND SHOULD BE SAYING “NO.” I DO MY STREET ART MAINLY STARTED PAINTING IT. TO KEEP ROOTED IN THAT “WHO I AM.” BECAUSE THE ONLY THING THAT’S REALLY GOING ON IS IN THE 4. I JUST LOVE THE HOUSES IN THE SOUTH, THE WAY STREET; THAT’S WHERE SOMETHING IS REALLY HAP- THEY BUILT THEM. THAT NEGRITUDE ARCHITECTURE. I PENING. IT ISN’T HAPPENING IN THESE GALLERIES. REALLY LOVE TO WATCH THE WAY BLACK PEOPLE MAKE THINGS, HOUSES OR MAGAZINE STANDS IN 9. DOING THINGS IN THE STREET IS MORE POWERFUL HARLEM, FOR INSTANCE. JUST THE WAY WE USE THAN ART I THINK. BECAUSE ART HAS GOTTEN SO....I CARPENTRY. NOTHING FITS, BUT EVERYTHING WORKS. DON’T KNOW WHAT THE FUCK ART IS ABOUT NOW. IT THE DOOR CLOSES, IT KEEPS THINGS FROM COMING DOESN’T DO ANYTHING. LIKE MALCOLM X SAID, IT’S In 2007 I wrote a book about Art school called “I got an THROUGH. BUT IT DOESN’T HAVE THAT NEATNESS LIKE NOVOCAINE. IT USED TO WAKE YOU UP BUT NOW A+ in Art and You can Too.” It’s an opinionated book about ABOUT IT, THE WAY WHITE PEOPLE PUT THINGS IT PUTS YOU TO SLEEP. I THINK THAT ART NOW IS Art for Art school students. It calls attention to how the TOGETHER; EVERYTHING IS A THIRTY-SECOND OF AN PUTTING PEOPLE TO SLEEP. THERE’S SO MUCH OF IT educational system can bankrupt not only bank accounts INCH OFF. AROUND IN THIS TOWN THAT IT DOESN’T MEAN but also creativity. Today, Summer School arises out a ANYTHING. THAT’S WHY THE ARTIST HAS TO BE VERY feeling that Art can be instrumental in creating a better 5. THAT’S WHY I LIKE DOING STUFF BETTER ON THE CAREFUL WHAT HE SHOWS AND WHEN HE SHOWS planet. STREET, BECAUSE THE ART BECOMES JUST ONE OF NOW. BECAUSE THE PEOPLE AREN’T REALLY LOOKING THE OBJECTS THAT’S IN THE PATH OF YOUR EVERYDAY AT ART, THEY’RE LOOKING AT EACH OTHER AND EACH I have a feeling — and I feel it is shared by a growing EXISTENCE. IT’S WHAT YOU MOVE THROUGH, AND IT OTHER’S CLOTHES AND EACH OTHER’S HAIRCUTS. pop u lation — that Art is more than a pretty picture, more DOESN’T HAVE ANY SENIORITY OVER ANYTHING ELSE. than fashion and glamour, more than a career, more than a 10. THE ART AUDIENCE IS THE WORST AUDIENCE IN commodity. Truly, I feel, Art is an intoxicatingly powerful THOSE PIECES WERE ALL ABOUT MAKING SURE THAT THE WORLD. IT’S OVERLY EDUCATED, IT’S CONSERVA- alive energy. THE BLACK VIEWER HAD A REFLECTION OF HIMSELF IN TIVE, IT’S OUT TO CRITICIZE NOT TO UNDERSTAND, THE WORK. WHITE VIEWERS HAVE TO LOOK AT SOME- AND IT NEVER HAS ANY FUN. WHY SHOULD I SPEND Summer School is what Philippe Parreno describes as an ONE ELSE’S CULTURE IN THOSE PIECES AND SEE VERY MY TIME PLAYING TO THAT AUDIENCE? “alliance of aesthetics.” Rather than only teach you, I hope LITTLE OF THEMSELVES IN IT. to learn with you. I am organizing Summer School and I am DAVID HAMMONS, 1986 responsible for it but I feel both students and teachers must 6. ANYONE WHO DECIDES TO BE AN ARTIST SHOULD learn from one another. We all have knowledge and REALIZE THAT IT’S A POVERTY TRIP. TO GO INTO THIS insights to contribute and it’s arrogant — and impossible — PROFESSION IS LIKE GOING INTO THE MONASTERY OR to know it all and to have all the answers. It makes me think SOMETHING; IT’S A VOW OF POVERTY I ALWAYS that the punk rhetoric of do-it-yourself is somehow mis- THOUGHT. TO BE AN ARTIST AND NOT EVEN TO DEAL leading. Given the crisis of our global situation, in the new WITH THAT POVERTY THING, THAT’S A WASTE OF millennium our phrase perhaps could be: Let’s do it. TIME; OR TO BE AROUND PEOPLE COMPLAINING ABOUT THAT. Antoni Wojtyra Zürich, Summer 2009 2 Corner College Zurich 3 Summer School Course Book 2009 of understanding of art by looking Visiting Poland in 1999, I saw many rules Poles were required to Ken Lum away from what I was accustomed to. an exhibition of Polish conceptual art abide by in their daily lives under I began to embrace an increas- in Warsaw entitled “Conceptual authoritarian rule. Something’s Missing ingly philosophical view of artistic Reflection in Polish Art: Experiences A salient feature of Polish purpose, one inscribed more in terms of Discourse: 1965–1975.” At the conceptualism was the insistence on of the artist’s life and less in terms of time, I was a contributor to ARTMar- audience interaction. In this way, it The Canadian artist Ken Lum delivered the keynote address opening the art world’s idea of the artist. I saw gins, a HTML-based publication of avoided the trap of metaphysical the 2006 Biennale of Sydney. The following is an excerpt. the necessity of letting go of the art the University of California, Santa formalism so endemic to Western world as I knew it in order to be more Barbara, concerned with issues of conceptual art. In Polish conceptual free, to rediscover the true purpose of contemporary Central and Eastern art, metaphysics was but the first step SEVERAL YEARS AGO, IN seen. The man had used the stick-fig- painted and the technical equipment art and to become re-enchanted with European visual culture. The exhibi- of a philosophical proposition, the DAKAR, Senegal, on the occasion ure motif to create a pattern that was older and more modestly scaled it by giving myself over to the world. tion had as its objective a realignment second being its application and of Dak’Art, the largest art biennial in could also seem abstract. The effect of than in the richer biennials of the I became increasingly interested of the field of conceptual art. From grounding in materialism. What is West Africa, I was on Gorée Island, a his works hovered between historical West. Leading critics and curators in initiating projects that could the perspective of the West, the remarkable is how this second step short ferry ride from Dakar, a place and aesthetic engagement.
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