DOCSLIB.ORG

Robert B. Lisek 1. a Statement Outlining What You

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Robert B. Lisek 1. a Statement Outlining What You Robert B. Lisek 1. A statement outlining what you plan to work on during the residency period (300 word max) Title of the project: SIBYL SIBYL is Artificial Intelligence that proposes new stories and makes predictions. The project offers an innovative fusion between three domains: storytelling, linguistics and artificial intelligence. The project creates and tests new methods of generating stories and new types of audio-visual performance through interactions with autonomous AI agent. The project investigates the storytelling potential of human beings interacting with an AI agent in a natural language as a possible foundation for establishing the best way for humans and machines to interact overall. SIBYL is presented as an immersive installation that uses AI deep learning software and analog sound-video synthesizers. The main objective of this residency will be to research and develop new forms of storytelling by developing a new dimension of artificial intelligence (AI) and machine learning which will lead to the development of new techniques in the area of storytelling, media arts and performance. The project proposes precise solutions for the understanding of story, automatic creation of stories and the creation of interactional narrative experiences. This proposal investigates the storytelling potential of human beings interacting with an AI agent in a natural language as a possible foundation for establishing the best way for humans and machines to interact overall. Communication with an AI agent, accompanied by an understanding of human activities, is an important area within the future of storytelling, creative communication and media arts. However, our knowledge about language and the nature of thinking is limited by the possibilities of implementing this knowledge in a computer programming language. Formalisation of this problem and solving the challenges related with interactive stories will encourage scholars to research this area, and in the future will allow AI systems and people to communicate in a natural way. We observe the success of artificial neural networks in simulating human performance on a number of tasks: such as image recognition, natural language processing, etc. However, There are limits to state-of-the- art AI that separate it from human-like intelligence. Humans can learn a new skill without forgetting what they have already learned and they can improve their activity and gradually become better learners. Today’s AI algorithms are limited in how much previous knowledge they are able to keep through each new training phase and how much they can reuse. In practice this means that it is necessary to build and adjust new algorithms to every new particular task. This is closer to a sophisticated data processing than to real intelligence. This is why research concerning generalisation are becoming increasingly important. Processes such as intuition, emotions, planning, thinking and abstraction are a part of processes, which occur in the human brain. A generalization in AI means that system can generate new compositions or find solutions for new tasks that are not present in the training corpus. There is domain called AGI where will be possible to find solutions for this problems. Artificial general intelligence (AGI) describes research that aims to create machines capable of general intelligent action. "General" means that one AI program realizes number of different tasks and the same code can be use in many applications. We must focus on self-improvement techniques e.g. reinforcement learning and integrate it with deep learning, recurrent neural networks, probability valuation. O1. Analysis of creating analogies and metaphors. O2. Preparation of a Story Database, building a Model describing composition of stories based on formal methods from computer science and creating AI program for generation of new stories. O3. Creation of new narrative methods and new type of audio-visual installation/performance through the use of AI. O4. Application of proposed methods and technologies in society. The project will use formal methods from computer science to create a model and AI program for the generation of new stories. The project will create a Story Database on the basis of different story archives. Different AI techniques will be tested from the perspective of their usefulness for media art. The Model will be created with the use of Recurrent Neural Networks and Deep Learning. RNN are an excellent tool for creating new stories and predictions. DL simulates the process of generalisation. In the next phase, RNN will be self-improved by Reinforcement Learning in order to simplify the patterns. I will incorporate the RL process into DL for creating a system that will have an ability to learn and self- improve. 2. A short artist's statement describing your overall artistic practice (250 word max) I research at the cutting-edge vanguard of electronic arts. The fields of my activity covering conceptual art, tactical media, environmental arts, new media and video art with a critical consideration of social problems. I am a pioneer of art based on Artificial Intelligence and Machine Learning. I'm using Reinforcement Learning and Recurrent Neural Networks techniques. Some of my projects deal with human - machine interaction and building of new interactive. It is a user-centric development process, new modes of interaction that integrate physiological human sensing, gesture and body language, and smart information analysis and adaptation. I deal also with sound and video synthesis. I'm researching new methods and algorithms for sound and video synthesis based on high order algebras and category theory. The part of my theoretical research in focus on the mind uploading problem which means emulation of brain functions by computing. My projects received numerous awards, distinctions and grants: ARCO Art Fair Award Madrid, Harvestworks Arts Center, Lower Manhattan Cultural Council, CEC ArtsLink Award. I am going to continue research and develop new forms of storytelling by developing a new dimension of artificial intelligence (AI) and machine learning which will lead to the development of new techniques in the area of storytelling, media arts and performance. 3. Please describe what you can contribute to and what do you need from a dynamic, international, multidisciplinary, small scale artist resid ency program? (500 word max) I will contribute to local community by making some artistic talks, exhibition and workshop for artists and composers. How human brain functions and the processes behind the creative inspiration are still unclear for the most part. In this workshop you will approach creativity in the field of visual art, music and film starting from the extraction of randomness. Hacking devices and coding will be used for this purpose. Unexpected applications and methods will leave you with a completely new perception of the subject. This workshop uses randomness and machine learning methods for creation of sound, visuals, performance, installation, interactive media, physical computing, and networking. This is practical course with the use of Supercollider, Pure data/Max Msp, Fluxus, Python, Lisp and hacking analogue devices for detection, creation and amplification of noise. To obtain interesting results in music and art we need randomness. Randomness is important when you want the Neural Network from the same input to create different possibilities as an output, without generating the same output over and over again. Therefore it is different than in science, which is all about grouping and clustering. In art and music we don't want to endlessly obtain the same result. When you are composing sound or images, you don't want the neural network program to create the same sets of sounds and images; instead, you need creativity and variability. One of the solutions is to parametrize NN outputs with the use of probability distribution. A different way is to add noise directly to NN, instead of modeling the distribution parameters. Paradoxically, in such NNs, the more randomness during training, the better the results. Good random generators allow to avoid situations, when NN gets fixed in local minima. The workshop consists of: • work with three main types of learning algorithms: Neural Networks and Deep Learning, Reinforcement Learning, Genetic Algorithms. Supervised and unsupervised learning, data sampling, backpropagation, explorations of environment, generalization, experimentation, markov models and processes (speech recognition), support vector machines (image recognition) • practical application of different types of random generators for constructing visual works, music compositions (random generators, random walks, monte carlo, etc), dealing with large systems of events: probability distributions (average, spread, deviation) • extraction of randomness from a physical processes through hacking analogue devices for detection, amplification, sonic and visual analysis (electromagnetic fields, gas particles, photons and decay of radioactive materials) • applications RG and NN in building of new prototypes, artworks and network app 4. Selected projects Primes engine The main goal of the project was create a vehicle that enable experience foundations of reality and tests limitations of computing by dealing with the largest know prime number. The installation produces a very high radiation in several modes having different frequencies (wavelengths) and polarizations based on digits sequence of the largest know
Load more

Recommended publications
  • Dissertatie Cvanwinkel
    UvA-DARE (Digital Academic Repository) During the exhibition the gallery will be closed: contemporary art and the paradoxes of conceptualism van Winkel, C.H. Publication date 2012 Link to publication Citation for published version (APA): van Winkel, C. H. (2012). During the exhibition the gallery will be closed: contemporary art and the paradoxes of conceptualism. Valiz uitgeverij. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:03 Oct 2021 7 Introduction: During the Exhibition the Gallery Will Be Closed • 1. RESEARCH PARAMETERS This thesis aims to be an original contribution to the critical evaluation of conceptual art (1965-75). It addresses the following questions: What
    [Show full text]
  • Michael Scott
    BIOGRAPHY & BIBLIOGRAPHY michael scott Born in 1958 in Paoli, Pennsylvania. Lives and works in New York. Solo shows: 2018 Circle Paintings, Xippas, Paris, France Galerie Xippas, Geneva, Switzerland 2017 Recent Painting and sculpture, Sandra Gering Gallery, New York, USA 2015 Michael Scott, Laurent Strouk, Paris, France Courants alternatifs, Triple V Gallery, Paris, France 2014 Michael Scott and John Chamberlain: a conversation, Sandra Gering, New York, USA Michael Scott, Xippas Art Contemporain, Geneva, Switzerland Michael Scott - To Present, Circuit, Centre d’Art contemporain, Lausanne, Switzerland 2013 Black and White Paintings, Triple V, Paris, France 2012 Black & Blue, Galerie Odermatt-Vedovi, Brussels, Belgium Michael Scott: Buffalo Bulb’s Wild West Show, The Art Museum of South Texas, USA Michael Scott: Black and White Line Paintings 1989 - 2011, Gering & López Gallery, New York City, USA 2011 Michael Scott, Gering & López, New York, Witzenhausen Gallery, Amsterdam, Netherlands 2010 Recent Paintings, Triple V, Paris, France The Inner Eye, Witzenhausen gallery, New York, USA (with Roland Schimmel) 2009 And Then He Tried To Swallow The World, Gering & Lopez, New York, USA 2008 New Works, Triple V, Dijon, France 2002 Central Connecticut State University (avec Toby Kilpatrick), New Britain 1999 Sandra Gering Gallery, New York, USA 1998 Art & Public (avec Steven Parrino), Geneva, Switzerland 1997 Atheneum, Université de Dijon, Dijon, France 1996 Sandra Gering Gallery, New York, USA 1995 Art & Public, Geneva, Switzerland 1994 Tony Shafrazi Gallery, New York*, USA 1993 Akira Ikeda Gallery, Nagoya (Japon) Jason Rubell Gallery, Miami, USA 1991 Le Consortium (avec Steve DiBenedetto), Dijon, France 1990 Tony Shafrazi Gallery, New York, USA Brent Sikkema Gallery, New York, USA 1989 Tony Shafrazi Gallery, New York, USA 1987 Mission West, New York, USA J.
    [Show full text]
  • The Dialogical Imagination: the Conversational Aesthetic of Conceptual Art
    THE DIALOGICAL IMAGINATION: THE CONVERSATIONAL AESTHETIC OF CONCEPTUAL ART MICHAEL CORRIS Within the history of avant-garde art there is a recurrent interest in process-based practices. A substantial claim made by proponents of this position argues that process-based practices offer far more scope for the revision of the conventional culture of art than any other type of practice. In the first place, process-based practices dispense with the idea of the production of a material object as the principle aim of art. While there is often a material ‘residue’ associated with process- based art, its status as an autonomous object of art is always questionable. Such objects are more properly understood as props or by-products, and are valued accordingly by the artist (but not, alas, by the critic, curator or collector). Process-based practices themselves raise difficult questions for connoisseurs; there is often no clear notion where to locate the boundary dividing process works from the environment at large. The process-based work of art may not result in an object at all; rather, it could be a performance (scripted or not), an environment or installation, an intervention in a public space, or some sort of social encounter, such as a conversation or an on-going project with a community. The point of all these practices is to radically alter the subject-position of both artist and beholder. By so doing, the very idea of the autonomy of art is placed in question. Once attention and purpose are shifted from the making of what amounts to medium- sized dry goods, so the argument goes, both artist and spectator are liberated.
    [Show full text]
  • Conceptual Art: a Critical Anthology
    Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
    [Show full text]
  • November Newsletter
    This Month in the Arts ART, ART HISTORY, TECHNOCULTURAL STUDIES, AND THE RICHARD L. NELSON GALLERY AND FINE ART COLLECTION NOVEMBER 2008 EVENTS Michael Corris, “The Dialogical Imagination: Art After the Beholder's Share from Abstract Expressionism to the Conversational Aesthetic of Conceptual Art” Friday In place of an art object whose media identity was secure and of 11/7/2008 sufficient external complexity and detail, Conceptual Art substi- 4:00 PM tuted text, ephemeral performances, banal photography and in- Art 210 stallations virtually indistinguishable from the environment in which they were sited. This paper will consider those practices of Con- ceptual Art that sought to dispense with the spectator entirely through artistic strategies that foreground the act of conversation, interactivity and a radical application of intellectual re- sources associated with the task of indexing and information retrieval. Under such conditions of engagement, can one sensible speak of a work of art at all? If so, what might the 'work' be that a work of art of this sort aims to do? Michael Corris is Professor of Fine Art at the Art and Design Research Center, Sheffield Hal- lam University, Sheffield; the Newport School of Art, Media and Design; and a visiting Profes- sor in Art Theory at the Art Academy, Bergen. A former member of the Conceptual art group Art & Language, Corris’s papers and archive of early Conceptual art are now housed at the Getty Research Institute in Los Angeles. His art criticism has been widely published in journals and magazines devoted to modern and contemporary art including Art Monthly, Artforum, FlashArt, Art History, art+text and Mute.
    [Show full text]
  • Download the PDF Here
    PRESS RELEASE NB: PARTICULARS RELATED TO THE INFORMATION NOT CONTAINED HEREIN CONSTITUTE THE FORM OF THIS ACTION1 &/OR REGARDING SUPPORT LANGUAGES AND THE POSSIBILITY OF SELF VALIDATION NB RETURN OF THE LIVING DEAD III. INCLUDING: CLEMENT GREENBERG IS A CONCEPTUAL ARTIST and FLATNESS AND SHAPE-ISM.2 ‘Aaaah… yeah well we’re all full of shit!’ Greenberg on Jackson Pollock. T.J. Clark interviews Clement Greenberg. Open University TV progamme (1994) 1. Introduction: Night of the Living Dead. The intentionality prerequisite to this text is to use Clement Greenberg’s description of flatness as an AQUA-SHAPE-MODEL-CRYSTAL to think through the relationship between art criticism and the artwork. Or more (or less) specifically the question: what do words do to (art) objects? In a contemporary sense, this might relate to the recently characterised ‘crisis in criticism,’ for example, see October (Spring 2002), Frieze (August 2006) and ArtDeath (January 2007). Or in broader art-historico- philosophical environs to the distinctions drawn between the visual and the linguistic, words and things, form and content – as Foucault puts it: ‘…the oldest oppositions of our alphabetic civilization: to show and to name; to shape and to say; to reproduce and to articulate; to imitate and to signify; to 1. Telegram cable (as artwork) sent by the artist Christine Kozlov to Kynaston McShine, curator of Information (1970). The negation of representational information as its own source of representation. 2. Robert Garnett suggested the term Shapeism via Tony Hancock and Giles Deleuze. look and to read.’3 The intention here is not to re-re-re-reanimate the Living Dead form/content debate and/or contemporary corpses of the aesthetico-beauty and/or critico-antagonism debacle-argument.
    [Show full text]
  • A&L PR English
    ART & LANGUAGE ‘HOMELESS STUFF’ 7 JUNE – 15 JULY 2017 Rob Tufnell presents a retrospective of posters, prints, postcards, journals, jigsaws, records, video and ephemera produced by Art & Language between 1969 and 2017. In 1968 ‘Art & Language’ was adopted as the nom de guerre a group of artists teaching at Coventry College of Art. The initial group of Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell had a shared interest in producing what is now understood as Conceptual Art (a movement Mel Ramsden has since characterised as ‘Modernism’s nervous breakdown’). Their practice, was informed by broad interests including philosophies of science, mathematics and linguistics. They embraced Paul Feyerabend’s notion of “epistemological anarchy” to find new ways of producing, presenting and understanding art. They sought to replace Modernism’s ambitions of certainty and refinement with confusion and contradiction or a state of ‘Pandemonium’ (from John Milton’s ‘Paradise Lost’ (1667)). In 1969 they published the first of 22 issues of the journal ‘Art-Language’ with texts by Terry Atkinson, David Bainbridge and Michael Baldwin and others alongside contributions from Dan Graham, Sol Le Witt and Lawrence Weiner. After they were joined in 1970 by Ian Burn and Mel Ramsden the group quickly expanded forming around two nuclei in the small town of Chipping Norton in Oxfordshire, England and in New York. In the following years they were joined by Charles and Sandra Harrison, Graham Howard, Lynn Lemaster, Philip Pilkington, David Rushton and Paul Wood (in England) and Kathryn Bigelow, Michael Corris, Preston Heller, Christine Kozlov and Andrew Menard (in New York).
    [Show full text]
  • Conceptual Art, 1966-1977 Xvi
    contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966-1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966-1967 Eduardo Costa, Raul Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 Helio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the "Conceptual" Process in Art 36 Helio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. Lippard and John Chandler, The Dematerialization of Art 46 Terry Atkinson, Concerning the Article "The Dematerialization of Art" 52 Yvonne Rainer, Statement 60 Hanne Darboven, Statement to Lucy Lippard 62 Georges Boudaille, Interview with Daniel Buren: Art Is No Longer Justifiable or Setting the Record Straight 66 Marfa Teresa Gramuglio and Nicolas Rosa, Tucuman Burns 76 III 1969 Michel Claura, Paris Commentary 82 Gregory Battcock, Painting Is Obsolete 88 Dan Graham, Art Workers' Coalition Open Hearing Presentation 92 Editors of Art-Language, Introduction 98 Sol LeWitt, Sentences on Conceptual Art 106 Ian Burn, Dialogue 110 Lee Lozano, Dialogue Piece 112 Mierle Laderman Ukeles, Maintenance Art Manifesto, Proposal for an Exhibition, "CARE" 122 John Murphy, Patron's Statement for "When Attitudes Become Form" 126 Piero Gilardi, Politics and the Avant-Garde 128 Jean Clay, Art Tamed and Wild 136 Rolf Wedewer, Introduction to Konzeption/Conception 142 Daniel Buren, Beware 144 Joseph Kosuth, Art After Philosophy 158 Lucy R.
    [Show full text]
  • Rob Tufnell Presents a Retrospective of Posters, Prints, Postcards, Journals, Jigsaws, Records, Video and Ephemera Produced by Art & Language Between 1969 and 2017
    Rob Tufnell presents a retrospective of posters, prints, postcards, journals, jigsaws, records, video and ephemera produced by Art & Language between 1969 and 2017. In 1968 ‘Art & Language’ was adopted as the nom de guerre a group of artists teaching at Coventry College of Art. The initial group of Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell had a shared interest in producing what is now understood as Conceptual Art (a movement Mel Ramsden has since characterised as ‘Modernism’s nervous breakdown’). Their practice, was informed by broad interests including philosophies of science, mathematics and linguistics. They embraced Paul Feyerabend’s notion of “epistemological anarchy” to find new ways of producing, presenting and understanding art. They sought to replace Modernism’s ambitions of certainty and refinement with confusion and contradiction or a state of ‘Pandemonium’ (from John Milton’s ‘Paradise Lost’ (1667)). In 1969 they published the first of 22 issues of the journal ‘Art-Language’ with texts by Terry Atkinson, David Bainbridge and Michael Baldwin and others alongside contributions from Dan Graham, Sol Le Witt and Lawrence Weiner. After they were joined in 1970 by Ian Burn and Mel Ramsden the group quickly expanded forming around two nuclei in the small town of Chipping Norton in Oxfordshire, England and in New York. In the following years they were joined by Charles and Sandra Harrison, Graham Howard, Lynn Lemaster, Philip Pilkington, David Rushton and Paul Wood (in England) and Kathryn Bigelow, Michael Corris, Preston Heller, Christine Kozlov and Andrew Menard (in New York). In 1972 they participated with Joseph Kosuth in Documenta 5, curated by Harold Szemann for which they produced an installation, ‘Index 01’.
    [Show full text]
  • The Art & Language Group
    THE ART & LANGUAGE GROUP: 1966 to 1973 by 'DAVID BRIAN MITCHELL B.A., University of Victoria, 1971 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF ARTS (Dept., of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1976 0David Brian Mitchell, 1976 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of FINE ARTS The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date April 26, 1976 ABSTRACT The history of Post-Object art can be dated from about 1966. The term Post-Object describes two classes of art activity: Post-Minimal and Concep- tual. Post-Minimal art (ie. Earthworks, Bodyworks, Process, and Systems art) derives from the phenomenological interests of some of the major Minimalist figures (ie. Morris, Andre, leWitt, and Smithson). Conceptual art, stringent- ly defined, entails the use of word language to state artistic intentions. % 1969, r..sny of the more progressive Conceptualists in America and England became associated with the "Art & Language group" (hereafter cited as A & L).
    [Show full text]
  • Art & Language Uncompleted. the Philippe Méaille Collection
    Art & Language Uncompleted. The Philippe Méaille Collection ► One of the most comprehensive exhibitions of works by Art & Language, an artists’ collective of great importance in the history of contemporary art. ► The exhibition includes works unseen in public since the 1960s. ► Since 2010, MACBA has been the recipient of the largest and most comprehensive private collection of works by Art & Language. ► The Fundación AXA renews its commitment to MACBA as the principal sponsor of the exhibition. Title : Art & Language Uncompleted. The Philippe Méaille Collection Opening : Thursday 18 September 2014, at 8 pm Dates : 19 September 2014 – 12 April 2015 Curator : Carles Guerra Organisation : Exhibition organised by the Museu d’Art Contemporani de Barcelona (MACBA) and co-produced by the Musée d’art moderne de la Ville de Paris. Exhibition sponsored by the Fundación AXA. The Museu d’Art Contemporani de Barcelona (MACBA) presents Art & Language Uncompleted. The Philippe Méaille Collection , one of the most complete and extensive exhibitions of work by Art & Language. The Philippe Méaille Collection of Art & Language Works, deposited at MACBA since 2010, has more than 500 works covering one of the most complex and belligerent artistic experiences of the second half of the twentieth century. The production of the Art & Language collective challenges art history’s own vocabulary. Its creative practice adopted conversation as a workplace, questioning what could be identified as the art object. In 2010 the French collector Philippe Méaille deposited at MACBA his private collection of works by Art & Language: more than 500 pieces of very different types – paintings, drawings, sculptures, installations, documents, writings, typescripts, annotations, microfilms, maquettes and publications – requiring a reconsideration of the role of writing in the practice of art.
    [Show full text]
  • On View: New Work: Nancy Chunn, Michael Corris, Olivier Mosset
    November 23, 1985- January 19, 1986 TheNewMuseum OF CONTEMPORARY ART On View Tospeak of painting today is to speak of an enterprise that many in the visual arts declared "dead" not so very long ago. The decade of the 1970s witnessed an extraordi- become today's newest avant-garde in nary rise of theoretical-critical prac- a matter of moments, even though it tice which focused on issues difficult was clearly deja vu. to manifest in the sensuous surfaces Certain artists, of course, will al- of painting. The social construction ways make paintings, not out-of-fash- of representation, for example, ion, but out-of-persistence, not out-of- seemed easier dealt with in photo- style, but out-of-need. To deny these graphic practice; sexuality, in film and artists that pleasure, as some critics video; and politics, in the form of a are want to do, is to promote a critical written text, often found anonymously tyranny equivalent to the strictures on the streets. By the late 1970s, that might be laid down against certain painting had become the province of political manifestations in the name late modem diehards, attempting to of freedom, or certain sexual practices shore up a belief system of outmoded in the name of public health. To be individualism, or of the new promoters critical, of course, is a necessity; to of a pluralistic postmodernism, which, be programmatically exclusive-to as- no matter where it came from (the sume that all practice is the same-is South Bronx or southern Italy) could to be blind.
    [Show full text]