Shock Value: the COLLECTOR AS PROVOCATEUR?
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Andy Woortman, 2015 Index 1. at the End of Art Everyone
ANDY WOORTMAN, 2015 INDEX 1. AT THE END OF ART EVERYONE IS AN ARTIST……page 4 2a. ATTITUDE AS METHOD – a business model……page 6 2b. NOT AN ARTIST / NOT MAKING ART……page 8 2c. CHOOSING NOT TO CHOOSE……page 9 2d. NON ARTISTS VS. PUBLIC OPINION……page 10 3. CONCLUSION……page 13 4. APPENDIX Transcript and stills from the video HOW TO BECOME A NON ARTIST by Ane Hjort Guttu, 2007……page 14 BIBLIOGRAPHY……page 27 1 “Art or the artist is per definition pretentious. It pretends to be something else than what it appears to be. So literally that means it’s pretentious.” In conversation with a friend about my thesis, Barcelona, 2014 INTRODUCTION The first time I saw Martin Creed was in a Youtube video of a lecture that he gave in the Camberwell College of Arts in 2014. He seemed to me someone who just does things randomly; not really knowing why and what for. Creed, for example, stated not having the intention or ambition of making art. While I was watching this video, I opened a second tab and found his profile on Wikipedia. I found an impressive list of past shows and won prizes, amongst which the Turner prize in 2001. As I was reading, I started to doubt my first impression. The image of a man who seemed unsure, insecure and doubtful started to turn into a well-considered concept: an artist that deliberately chooses not to choose. I stumbled upon the following in The Guardian: Creed makes me think of a really sociable philosopher. -
Art, Real Places, Better Than Real Places 1 Mark Pimlott
Art, real places, better than real places 1 Mark Pimlott 02 05 2013 Bluecoat Liverpool I/ Many years ago, toward the end of the 1980s, the architect Tony Fretton and I went on lots of walks, looking at ordinary buildings and interiors in London. When I say ordinary, they had appearances that could be described as fusing expediency, minimal composition and unconscious newness. The ‘unconscious’ modern architecture of the 1960s in the city were particularly interesting, as were places that were similarly, ‘unconsciously’ beautiful. We were the ones that were conscious of their raw, expressive beauty, and the basis of this beauty lay in the work of minimal and conceptual artists of that precious period between 1965 and 1975, particularly American artists, such as Sol LeWitt, Robert Morris, Dan Flavin and Dan Graham. It was Tony who introduced (or re-introduced) me to these artists: I had a strong memory of Minimal Art from visits to the National Gallery in Ottawa, and works of Donald Judd, Claes Oldenburg and Richard Artschwager as a child. There was an aspect of directness, physicality, artistry and individualized or collective consciousness about this work that made it very exciting to us. This is the kind of architecture we wanted to make; and in my case, this is how I wanted to see, make pictures and make environments. To these ends, we made trips to see a lot of art, and art spaces, and the contemporary art spaces in Germany and Switzerland in particular held a special significance for us. I have to say that very few architects in Britain were doing this at the time, or looking at things the way we looked at them. -
Inside January/February 2018 Volume 17, Number 1
JANUARY/FEBRUARY 2018 VOLUME 17, NUMBER 1 INSIDE Shanghai: Its Galleries and Museums Conversations with Artists in the KADIST Collection Artist Features: Pak Sheung Chen, Tsang Kin Wah, Zhu Fadong, Zhang Huan US$12.00 NT$350.00 PRINTED IN TAIWAN 1 Vol. 17 No. 1 8 VOLUME 17, NUMBER 1, JANUARY/FEBRUARY 2018 CONTENTS 30 4 Editor’s Note 6 Contributors 8 Contemporary Art and the Contemporary Art Museum: Shanghai and Its Biennale John Clark 30 (Inter)Dependency: Privately Owned Art Museums in State-Sponsored West Bund 46 Xing Zhao 46 Out of Sight: Conversations with Artists in the KADIST Collection Biljana Ciric 66 Pak Sheung Chuen: Art as a Personal Journey in Times of Political Upheaval Julia Gwendolyn Schneider 80 Entangled Histories: Unraveling the Work of Tsang Kin-Wah 66 Helen Wong 85 Zhu Fadong: Why Art Is Powerless to Make Social Change Denisa Tomkova 97 Public Displays of Affliction: On Zhang Huan’s 12m2 Chan Shing Kwan 108 Chinese Name Index 80 97 Cover: In memoriam, Geng Jianyi, 1962–2017. Courtesy of Zheng Shengtian. Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C. C. Liu Mainland China’s museum and gallery scene FOUNDING EDITOR Ken Lum has evolved rapidly over the past decade. Yishu EDITOR-IN-CHIEF Keith Wallace MANAGING EDITOR Zheng Shengtian 84 opens with two essays examining Shanghai, EDITORS Julie Grundvig a city that is taking strategic approaches Kate Steinmann in its recognition of culture as an essential Chunyee Li CIRCULATION MANAGER Larisa Broyde component of a vibrant urban experience. -
Arts Celebrations Like Russian State Library, with the First Inventory the Edinburgh- Festival and Exhibitions Like in 20 Years Being- Checked
which established a fund for U.S. artists at Lost: Many manuscripts are missing from the NEWS & NOTES visual and performing arts celebrations like Russian State Library, with the first inventory the Edinburgh- Festival and exhibitions like in 20 years being- checked. 258 missing., the Venice Biennale, is no more. The private manuscripts are stolen or misplaced. &onNews sector must now be relied upon for continued Christie's & Sotheby's in May sold a rare support for the Venice Biennale and other lo& Footnotes in academic writing have Vincent Van Gogh cafe scene at $10.3 mil- events."The Government's budget in this area gone the way of all texts. Footnotes have cer- lion at Christie's. Sotheby's sold Claude cannot be sustained at cold war levels,"said tainly declined in the book publishing indus- Monet's "Les Meules, Giverny, Effet du Joseph Durn, director of the U.S.I.A. try. Footnotes started in the 17th century, the Matin", an early work, to a Japanese dealer longest of which ran for 165 pages in 1840. for $7.15 million. Asian bidders are back. : Archeologists have uncovered three clay tablets inscribed more than 3,200 years MUSEUM NEWS & WUND LOST ago that may have been part of the royal ar- Tbe Metropolitan Museum of Art in New Founl: Washington art collector and historian chives of the largest city-state in the ancient York City has been given 13 works of 20th Thurlow Evans Tibbs Jr. is donating the best region of Canaan. The tablets date to 1550 - century art by such masters as Picasso, of his collection of 19th and 20th century art- 1200 B.C. -
Free | Anno Nono | Numero Sessantotto | Settembre-Ottobre Duemiladieci | L’Idea Era Un’Altra, Per Questo Editoriale
Mensile - Sped. in A.P. 45% art. 2. c. 20 let. B - l. 662/96 Firenze Copia euro 0,0001 20 c. 2. art. 45% A.P. in Sped. - Mensile free | anno nono | numero sessantotto | settembre-ottobre duemiladieci | www.exibart.com L’idea era un’altra, per questo editoriale. Il proposito iniziale, di fine estate, era di imbastire una riflessioncina sui tagli alla cultura. Riflessione che sarebbe stata super-pop, iper-qualunquista, basica, basica, basica. Ehggià, perché se una fazione – quella attualmente al potere - che deve le sue fortune economiche e politiche al mezzo televisivo decide di tagliare di brutto teatri, cinema ed esposizioni d’arte, secondo noi è davvero ridicolo sorprendersi. Sarà un discorso da bar, sarà un discorso da autobus, sarà un discorso da supermercato, ma non è semplicemente ovvio che chi tanto più è ricco quanta più gente vede la tv, punti a evitare il più possibile che il pubblico potenziale venga distratto da opere liriche, rappresentazioni, cultura e mostre d’arte? Che il governo si comporti in questo modo è di una coerenza lineare: non merita neppure commento. Ecco perché abbiamo deciso di cambiare argomento per iniziare la stagione. E di passare a qualcosa di decisamente più positivo. Positivo come può esserlo soltanto l’accorgersi che il proprio Paese, nelle sue infrastrutture creative e di qualità, riesce nonostante tutto (e nonostante i tagli, raccordandosi al discorso di cui sopra) a far bella mostra di sé anche all’estero. Se non addirittura a spadroneggiare giocando su diversi fronti, come sta succedendo in questi mesi a New York. -
Charles Saatchi's 'Newspeak'
Charles Saatchi’s ‘Newspeak’ By Jackie Wullschlager Published: June 4 2010 22:15 | Last updated: June 4 2010 22:15 Is Charles Saatchi having fun? On the plus side, he is the biggest private collector in Britain. His Chelsea gallery is among the most beautiful and well-appointed in the world. It is relaxed, impious, free, and full, which matters because, as Saatchi often admits, “I primarily buy art to show it off.” He buys whatever he likes, often on a whim: “the key is to have very wobbly taste.” Yet for all the flamboyance with which he presents his purchases, it is not clear that he is convinced by them. “By and large talent is in such short supply mediocrity can be taken for brilliance rather more than genius can go undiscovered,” he says, adding that when history edits the late 20th century, “every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote.” These quotations come from a question-and-answer volume, My Name is Charles Saatchi and I am an Artoholic, published last autumn, and their tone of breezy disenchantment, combined with the insouciance with which his new show, Newspeak, is selected and curated, suggests that at 67 Saatchi is downgrading his game. After recent exhibitions concentrated on China, the Middle East, America and India, Newspeak It Happened In The Corner’ (2007) by Glasgow-based duo littlewhitehead returns to the territory with which he made his name as a collector in Sensation in 1997: young British artists. But whereas Sensation, tightly selected around curator Norman Rosenthal’s theme of a “new and radical attitude to realism” by artists including Hirst, Jake and Dinos Chapman, Rachel Whiteread, Marc Quinn, had a precise, powerful theme, Newspeak has a scatter-gun, unfocused approach. -
Art, Tapu and Shared Space in Contemporary Aotearoa New Zealand
So It Vanished: Art, Tapu and Shared Space in Contemporary Aotearoa New Zealand Jonathan Barrett, Open Polytechnic, New Zealand In February 2012, The Dowse Art Museum (‘The Dowse’) in Lower Hutt, New Zealand cancelled an exhibition by internationally renowned Mexican artist Teresa Margolles on the ostensible grounds of culture offence. This article analyses the cancellation of Margolles’s So It Vanishes and situates it in the context of previous conflicts between Indigenous beliefs and exhibitions of transgressive art. Background information is firstly provided and Margolles’s work is sketched and compared with other taboo- breaking works of transgressive art. The Māori concept of tapu is then outlined.1 A discussion follows on the incompatibility of So It Vanishes with tapu, along with a review of other New Zealand exhibitions that have proved inconsistent with Indigenous values. Conclusions are then drawn about sharing exhibition space in contemporary Aotearoa NewZealand. Background The Dowse The Dowse is situated in Lower Hutt,2 which has traditionally been a dormitory suburb for Wellington, but today is technically a city with an increasingly cosmopolitan population. In 2006, more than one fifth of residents were born outside New Zealand 1 In this article, the words ‘taboo,’ ‘tabu’ and ‘tapu’ refer to Polynesian beliefs. Taboo, in roman font, refers to the Western adoption of the concept. The distinction lies between (literal) taboo and (figurative) taboo, the first and second definitions of ‘taboo’ provided in the Oxford English Dictionary (see Simpson & Weiner 1989: 521). 2 The Lower Hutt council has adopted the name ‘Hutt City,’ but this self-designation is not recognized by either the New Zealand Geographical Board or central government in the Local Government Act 2002. -
Proceedings of the European Society for Aesthetics Volume 6, 2014
Proceedings of the European Society for Aesthetics Volume 6, 2014 Edited by Fabian Dorsch and Dan-Eugen Ratiu Published by the European Society for Aesthetics esa Proceedings of the European Society of Aesthetics Founded in 2009 by Fabian Dorsch Internet: http://proceedings.eurosa.org Email: [email protected] ISSN: 1664 – 5278 Editors Fabian Dorsch (University of Fribourg) Dan-Eugen Ratiu (Babes-Bolyai University of Cluj-Napoca) Editorial Board Zsolt Bátori (Budapest University of Technology and Economics) Alessandro Bertinetto (University of Udine) Matilde Carrasco Barranco (University of Murcia) Josef Früchtl (University of Amsterdam) Robert Hopkins (University of Sheffield & New York University) Catrin Misselhorn (University of Stuttgart) Kalle Puolakka (University of Helsinki) Isabelle Rieusset-Lemarié (University of Paris 1 Panthéon-Sorbonne) John Zeimbekis (University of Patras) Publisher The European Society for Aesthetics Department of Philosophy University of Fribourg Avenue de l'Europe 20 1700 Fribourg Switzerland Internet: http://www.eurosa.org Email: [email protected] Proceedings of the European Society for Aesthetics Volume 6, 2014 Edited by Fabian Dorsch and Dan-Eugen Ratiu Table of Contents Christian G. Allesch An Early Concept of ‘Psychological Aesthetics’ in the ‘Age of Aesthetics’ 1-12 Martine Berenpas The Monstrous Nature of Art — Levinas on Art, Time and Irresponsibility 13-23 Alicia Bermejo Salar Is Moderate Intentionalism Necessary? 24-36 Nuno Crespo Forgetting Architecture — Investigations into the Poetic Experience of Architecture 37-51 Alexandre Declos The Aesthetic and Cognitive Value of Surprise 52-69 Thomas Dworschak What We Do When We Ask What Music Is 70-82 Clodagh Emoe Inaesthetics — Re-configuring Aesthetics for Contemporary Art 83-113 Noel Fitzpatrick Symbolic Misery and Aesthetics — Bernard Stiegler 114-128 iii Proceedings of the European Society for Aesthetics, vol. -
Gagosian Gallery
Financial Times January 20, 2020 GAGOSIAN Living with Damien Hirst and friends Robert Tibbles was an early collector of the Young British Artists — now he is preparing to sell many of his acquisitions Melanie Gerlis Caption (TNR 9 Italicized) Everyone likes to say that they discovered an artist before they were famous, but in the case of the London bond salesman Robert Tibbles, the claim is true. Back in the 1980s, the late art dealer Karsten Schubert introduced Tibbles to the work of an art student called Damien Hirst. Alongside Charles Saatchi, Tibbles then became one of the now-superstar artist’s first buyers. So began an intense, 15-year collecting spree, mostly of works by Hirst and other Young British Artists. These now dominate Tibbles’s Victorian ground-floor flat in London’s leafy Kensington, where an early Hirst spot painting, “Antipyrylazo III” (1994), has loomed almost too large over the living room fireplace since Tibbles bought it in the year it was made. Hanging nearby is another early purchase — Hirst’s degree-show medicine cabinet “Bodies” (1989) — a work that demonstrates Tibbles’s aptitude for picking the right time in the art market as well as the debt markets. He bought the cabinet for £600 (again, in the year it was made) and now, as Tibbles prepares to sell much of his YBA collection at auction at Phillips in London, the cabinet is valued between £1.2m and £1.8m. “There’s no question that the medicine cabinet and other works were not liked or understood by many of my friends. -
Exploding-Goat.Pdf
FINE, PROBATION FOR SHOCK ARTIST 2 SHOCK ARTISTS ARRAIGNED IN ROXBURY 3 COLEMAN FACES CHARGES ON EXPLOSIVES 4 WHEN SHOCK ART GOES TOO FAR FEAR AND LOATHING IN THE AUDIENCE 5 OFFICIALS, AUDIENCE, BF/VF REACT AS THE SMOKE CLEARS 7 AUDIENCE FLEES EXPLOSIVE PERFORMANCE 9 FINE, PROBATION FOR SHOCK ARTIST ARTS AND FILM FINE, PROBATION FOR SHOCK ARTIST Jim Sullivan, Globe Staff 266 words 16 February 1990 The Boston Globe THIRD 94 English © 1990 New York Times Company. Provided by ProQuest Information and Learning. All Rights Reserved. Joe Coleman , the controversial New York-based "shock artist" who performed at the Boston Film/Video Foundation Oct. 29, pleaded guilty yesterday in Roxbury District Court to possession of fireworks and cruelty to animals. He paid a total of $662 in fines and was put on probation for one year. The charge of possession of an inferno machine was dismissed by the Commonwealth. A count of burning of a dwelling was dismissed by the judge, according to Asst. District Attorney Robert Benson, because he saw no "willful or malicious intent." Coleman's wife, Nancy, a co-defendent in the case is in the hospital and could not appear, her attorney said. Her case will be heard June 15. Coleman's act, which is captured on the "Mondo New York" videotape, consisted, in part, of detonating explosives attached to his chest and biting the heads off mice. "The judge said he cannot come into Massachusetts and perform anything related to animals," said Benson. "My understanding was he's not going to perform any 'shock art' in Massachusetts anymore." Asked about Coleman's demeanor, Benson said, "He was very subdued and respectable toward the judge, very humble. -
You Cannot Be Serious: the Conceptual Innovator As Trickster
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: You Cannot be Serious: The Conceptual Innovator as Trickster Author: David W. Galenson URL: http://www.nber.org/chapters/c5791 Chapter 8: You Cannot be Serious: The Conceptual Innovator as Trickster The Accusation The artist does not say today, “Come and see faultless work,” but “Come and see sincere work.” Edouard Manet, 18671 When Edouard Manet exhibited Le Déjeuner sur l’herbe at the Salon des Refusés in 1863, the critic Louis Etienne described the painting as an “unbecoming rebus,” and denounced it as “a young man’s practical joke, a shameful open sore not worth exhibiting this way.”2 Two years later, when Manet’s Olympia was shown at the Salon, the critic Félix Jahyer wrote that the painting was indecent, and declared that “I cannot take this painter’s intentions seriously.” The critic Ernest Fillonneau claimed this reaction was a common one, for “an epidemic of crazy laughter prevails... in front of the canvases by Manet.” Another critic, Jules Clarétie, described Manet’s two paintings at the Salon as “challenges hurled at the public, mockeries or parodies, how can one tell?”3 In his review of the Salon, the critic Théophile Gautier concluded his condemnation of Manet’s paintings by remarking that “Here there is nothing, we are sorry to say, but the desire to attract attention at any price.”4 The most decisive rejection of these charges against Manet was made in a series of articles published in 1866-67 by the young critic and writer Emile Zola. -
What Defines a Good Work of Art Within the Contemporary Art World? Theories, Practices and Institutions
WHAT DEFINES A GOOD WORK OF ART WITHIN THE CONTEMPORARY ART WORLD? THEORIES, PRACTICES AND INSTITUTIONS by DELIA VEKONY-HARPER submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ART HISTORY at the UNIVERSITY OF SOUTH AFRICA Supervisor: Dr EL Basson June 2010 I declare that ‘What defines a good work of art within the contemporary art world? Theories, practices and institutions’ is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. Delia Vekony 11/03/2010 What defines a good work of art within the contemporary art world? Theories, practices and institutions By Ms Delia Vekony-Harper Master of Arts Art history Supervisor: Dr EL Basson June 2010 SUMMARY The dissertation explores how quality-judgments on works of art are created within the contemporary art world. The research starts with the examination of modernist art theories supported by the museum, and continues with the exploration of the impact of the art market on quality-judgments. Although the art market had already distorted the idea of quality, further contradictions and difficulties have risen within judgment-making after the 1960s due to the dematerialisation of the work of art. Art criticism should have been able to deal with this complexity, but it is demonstrated that art criticism is a subjective field and even if there is a universal theory on quality, it often fails when applied to the particular work of art. Throughout the dissertation it is demonstrated that although ‘good art’ is a subjective, power- and discourse- dependent concept, all art professionals seek something that is an inherent quality of the artwork.