A Wikipedia Reader Lovink, G.W.; Tkacz, Nathaniel
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The CIA and Art
return to updates The CIA and Art by Miles Mathis Since this is a review, all images here are reproduced under the fair use doctrine of the US. The clothing photographs were taken from Urban Outfitters website, where you can purchase this clothing if it appeals to you. Some of my art readers will think I have gone offtrack over the past few years, writing less about art and more about politics. Although it is true I have done that, I wouldn't say it is offtrack. It is just further along the track than most have traveled, and further along than many wish to go. I understand that. I understand that many got off long ago, and I understand why. We all do what we have to do. But if you are still with me on this ride, we will see today that I am ontrack. I will prove it by showing how the tracks of art and politics collide. The collision we will see today isn't the normal collision we are used to, where art and politics are mashed together to create some fake relevance. We won't see art and politics colliding in order to make a sale or manufacture a market. We will go a step deeper than that: another level down the rabbithole. For when the CIA gets involved, it doesn't get involved mainly to make money. In this case, it gets involved to mess with your mind. I was led to this paper when I had the recent misfortune to visit an Urban Outfitters. -
Made in China: Implications of Authorship and Historical Studio Practices on Modern Chinese Art
This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts, East Asian Studies Stanford University Made in China: Implications of Authorship and Historical Studio Practices on Modern Chinese Art by Allison Rath August 21, 2016 Advisor: Professor Richard Vinograd Department: Art History Approval Signature: ___________________________________ Date: ___________________________________ When his exhibition at the Royal Academy of the Arts opened in January 2012, David Hockney made certain that the promotional materials for the show included the phrase, “All the works here were made by the artist himself, personally.”1 Hockney’s words marked a not-so-subtle jab at the growing number of artists, including international superstars like Jeff Koons and Damien Hirst, who unabashedly allocate the majority, if not entirety, of the facture of their projects to their assistants. Though many artists might require the aid of assistants to realize monumental installations for practical reasons of size or quantity, there is a distinction to be drawn between practical use of outside aid and wholesale delegation. Debates over the amount of skill and personal involvement required on the part of the “creator” artist have become commonplace within art historical discourse and critical writing and can be traced throughout thousands of years of art history in the East and the West. Such debates have antecedents in discussions of late 20th century Conceptual art, and even deeper historical roots investigations of workshop or studio practices by artist-entrepreneurs such as Peter Paul Rubens (1577-1640). While Hirst openly acknowledges that he lacks the technical skill, time, and desire to paint his own works,2 he also notes the irony of the value ascribed to them. -
Critical Point of View: a Wikipedia Reader
w ikipedia pedai p edia p Wiki CRITICAL POINT OF VIEW A Wikipedia Reader 2 CRITICAL POINT OF VIEW A Wikipedia Reader CRITICAL POINT OF VIEW 3 Critical Point of View: A Wikipedia Reader Editors: Geert Lovink and Nathaniel Tkacz Editorial Assistance: Ivy Roberts, Morgan Currie Copy-Editing: Cielo Lutino CRITICAL Design: Katja van Stiphout Cover Image: Ayumi Higuchi POINT OF VIEW Printer: Ten Klei Groep, Amsterdam Publisher: Institute of Network Cultures, Amsterdam 2011 A Wikipedia ISBN: 978-90-78146-13-1 Reader EDITED BY Contact GEERT LOVINK AND Institute of Network Cultures NATHANIEL TKACZ phone: +3120 5951866 INC READER #7 fax: +3120 5951840 email: [email protected] web: http://www.networkcultures.org Order a copy of this book by sending an email to: [email protected] A pdf of this publication can be downloaded freely at: http://www.networkcultures.org/publications Join the Critical Point of View mailing list at: http://www.listcultures.org Supported by: The School for Communication and Design at the Amsterdam University of Applied Sciences (Hogeschool van Amsterdam DMCI), the Centre for Internet and Society (CIS) in Bangalore and the Kusuma Trust. Thanks to Johanna Niesyto (University of Siegen), Nishant Shah and Sunil Abraham (CIS Bangalore) Sabine Niederer and Margreet Riphagen (INC Amsterdam) for their valuable input and editorial support. Thanks to Foundation Democracy and Media, Mondriaan Foundation and the Public Library Amsterdam (Openbare Bibliotheek Amsterdam) for supporting the CPOV events in Bangalore, Amsterdam and Leipzig. (http://networkcultures.org/wpmu/cpov/) Special thanks to all the authors for their contributions and to Cielo Lutino, Morgan Currie and Ivy Roberts for their careful copy-editing. -
A Wikipedia Reader
UvA-DARE (Digital Academic Repository) Critical point of view: a Wikipedia reader Lovink, G.; Tkacz, N. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Lovink, G., & Tkacz, N. (2011). Critical point of view: a Wikipedia reader. (INC reader; No. 7). Institute of Network Cultures. http://www.networkcultures.org/_uploads/%237reader_Wikipedia.pdf 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:05 Oct 2021 w ikipedia pedai p edia p Wiki CRITICAL POINT OF VIEW A Wikipedia Reader 2 CRITICAL POINT OF VIEW A Wikipedia Reader CRITICAL POINT OF VIEW 3 Critical Point of View: A Wikipedia Reader Editors: Geert Lovink -
Neo-Avant-Garde””
RE·BUS CULTURAL PRODUCTION IN THE 20TH AND 21ST CENTURIES: ART COLLECTIVES, INSTITUTIONS, CULTURE INDUSTRY SPECIAL ISSUE V O L U M E 1 Table of Contents Editorial Statement for Volume 1 .......................................................................... ii Louise R. Mayhew, "On Top of the Art World: Clark Beaumont and the Rise of Artist Girl Gangs” ................................................................................................... 1 Martin Lang, "Counter Cultural Production: A Militant Reconfiguration of Peter Bürger’s “Neo-Avant-Garde”” ............................................................................. 24 Diego Mantoan, "Diverging Collectives: Artist-Run Spaces versus Warehouse Shows” ................................................................................................................. 50 Adrienne Fast, "Printmaking and Professionalism in Early 20th Century Calcutta” ............................................................................................................................. 82 Re·bus Issue 8 Spring 2017 i EDITORIAL STATEMENT FOR VOLUME 1 For the first volume of the re-bus Special Issue “Cultural Production in the 20th and 21st Centuries: Art Collectives, Institutions, Culture Industry” the editorial team has put together four articles that launch a fundamental inquiry into the definition of the art collective and its strained relationship with institutions at large. Implicated in this relationship are distinct matters that run from economic strategies to concrete political -
Le Cinéma Remoderniste Histoire Et Théorie D'une Esthétique Contemporaine
UNIVERSITÉ SORBONNE NOUVELLE – PARIS III Mémoire final de Master 2 Mention : Études cinématographiques et audiovisuelles Spécialité : Recherche Titre : LE CINÉMA REMODERNISTE HISTOIRE ET THÉORIE D'UNE ESTHÉTIQUE CONTEMPORAINE Auteur : Florian MARICOURT n° 21207254 Mémoire final dirigé par Nicole BRENEZ Soutenu à la session de juin 2014 LE CINÉMA REMODERNISTE HISTOIRE ET THÉORIE D'UNE ESTHÉTIQUE CONTEMPORAINE Florian Maricourt Illustration de couverture : Photogramme extrait de Notre espoir est inconsolable (Florian Maricourt, 2013) Une chanson que braille une fille en brossant l'escalier me bouleverse plus qu'une savante cantate. Chacun son goût. J'aime le peu. J'aime aussi l'embryonnaire, le mal façonné, l'imparfait, le mêlé. J'aime mieux les diamants bruts, dans leur gangue. Et avec crapauds. Jean Dubuffet Prospectus et tous écrits suivants, 1951 En ces temps d'énormité, de films à grand spectacle, de productions à cent millions de dollars, je veux prendre la parole en faveur du petit, des actes invisibles de l’esprit humain, si subtils, si petits qu’ils meurent dès qu’on les place sous les sunlights. Je veux célébrer les petites formes cinématographiques, les formes lyriques, les poèmes, les aquarelles, les études, les esquisses, les cartes postales, les arabesques, les triolets, les bagatelles et les petits chants en 8mm. Jonas Mekas Manifeste contre le centenaire du cinéma, 1996 i am a desperate man who will not bow down to acolayed or success i am a desperate man who loves the simplisity of painting and hates gallarys and white walls and the dealers in art who loves unreasonableness and hot headedness who loves contradiction hates publishing houses and also i am vincent van gough Billy Childish I am the Strange Hero of Hunger, 2005 Je tiens à remercier chaleureusement les cinéastes remodernistes qui ont aimablement répondu à mes questions, en particulier Scott Barley, Heidi Elise Beaver, Dean Kavanagh, Rouzbeh Rashidi, Roy Rezaäli, Jesse Richards et Peter Rinaldi.