Dio D’Brutto
Boston, MA, USA
https://www.youtube.com/channel/UCLW_bTFcdLwDoNbuqDj-5aw
Wednesday, February 5, 2020
Wednesday, December 18, 2019
"What?" - Matt Cegelis [94]
Matt Cegelis
Rockport, MA USA
https://mattcegelisart.pixels.com/
Title: "What?"
Medium: Digital Mixed Media, printed on Hahnemühle Albrecht Durer 210 watercolor paper
Rockport, MA USA
https://mattcegelisart.pixels.com/
Title: "What?"
Medium: Digital Mixed Media, printed on Hahnemühle Albrecht Durer 210 watercolor paper
Wednesday, December 5, 2018
A Conversation about the Market - Greg Mason Burns [93]
Greg Mason Burns
Bar Harbor, Maine, USA
www.gregmasonburns.com
A Conversation about the Market
I want to be creative, but society has its own rules. There are no rules for creativity, and yet here we are. Where? Here, today, when art is no longer supported except through behemoth organizations sucking up money from the artist direct. Sure, you’ll go out and buy your prints from Target and destroy the artist even more. But they’re cheaper and look more professionally done. You need to be competitive. Competition is good. And bad, because the artist has no competition. He or she is unique, without comparison. That's foolish, think outside the box. There is no box. Not even an amoeba. The artist is the box, forever changing form and shape, pushing boundaries that only exist because we need a word to describe what we’re supposedly pushing. Then why the expression? It’s a corporate thing, meant to give permission to exceed established efficiency boundaries. And art doesn’t have efficiency boundaries? If no, why are you so poor? Because my world isn’t your world. You can never conquer the creative world, only diminish it, lessen its importance in society, the society you create, always pointing to what you call progress, upward, always making it hard on the artist. Sounds phallic, hehe. It is a fallacy. Art sold for millions never goes to the artist, the creator. Give me an example. A dangling light. A light? That shows the way. A light that shows the way is a fallacy in of itself because it only shows what it can shine upon and everything else remains darkened by the soft edges of the light and its limits and how far it can go and how far it cannot go. Auction houses are the light, but creativity is the darkness. Too deep for me, just like the price of your painting. Another car payment? That and a family cruise to Aspen. A cruise that can’t be taken. And yet I’ll pay for it just the same. Here’s a quarter, what can you make me for a quarter? I’ll take your quarter and take a picture. And you’ll send it to me by email? So you can reproduce it on the Internet and make more money than it cost you? Sure, that’s what I’m talking about. No need to give me your card, I’ll remember your email by memory. Now that’s why I only gave you a quarter. And it’s why your idea that art will always exist on a quarter is a fallacy. If art is darkness, it will always exist. Someday the light will go out forever. Art will conquer? Not if you only have one word for darkness. Maybe I’ll create another one. Ah, maybe.
Bar Harbor, Maine, USA
www.gregmasonburns.com
A Conversation about the Market
I want to be creative, but society has its own rules. There are no rules for creativity, and yet here we are. Where? Here, today, when art is no longer supported except through behemoth organizations sucking up money from the artist direct. Sure, you’ll go out and buy your prints from Target and destroy the artist even more. But they’re cheaper and look more professionally done. You need to be competitive. Competition is good. And bad, because the artist has no competition. He or she is unique, without comparison. That's foolish, think outside the box. There is no box. Not even an amoeba. The artist is the box, forever changing form and shape, pushing boundaries that only exist because we need a word to describe what we’re supposedly pushing. Then why the expression? It’s a corporate thing, meant to give permission to exceed established efficiency boundaries. And art doesn’t have efficiency boundaries? If no, why are you so poor? Because my world isn’t your world. You can never conquer the creative world, only diminish it, lessen its importance in society, the society you create, always pointing to what you call progress, upward, always making it hard on the artist. Sounds phallic, hehe. It is a fallacy. Art sold for millions never goes to the artist, the creator. Give me an example. A dangling light. A light? That shows the way. A light that shows the way is a fallacy in of itself because it only shows what it can shine upon and everything else remains darkened by the soft edges of the light and its limits and how far it can go and how far it cannot go. Auction houses are the light, but creativity is the darkness. Too deep for me, just like the price of your painting. Another car payment? That and a family cruise to Aspen. A cruise that can’t be taken. And yet I’ll pay for it just the same. Here’s a quarter, what can you make me for a quarter? I’ll take your quarter and take a picture. And you’ll send it to me by email? So you can reproduce it on the Internet and make more money than it cost you? Sure, that’s what I’m talking about. No need to give me your card, I’ll remember your email by memory. Now that’s why I only gave you a quarter. And it’s why your idea that art will always exist on a quarter is a fallacy. If art is darkness, it will always exist. Someday the light will go out forever. Art will conquer? Not if you only have one word for darkness. Maybe I’ll create another one. Ah, maybe.
Tuesday, May 22, 2018
"TALENT/MODEL RELEASE FORM": D. Franklin [92]
D. Franklin's conceptual art audience-activated performance piece entitled "TALENT/MODEL RELEASE FORM":
Instructions for participants in D. Franklin's conceptual art audience-activated performance piece entitled "TALENT/MODEL RELEASE FORM":
Print a copy of the form. Fill out Section 2, information about the talent/model. Whenever you are in the presence of any kind of camera (in your phone, your friends' phones, your computer, surveillance cameras in public or privately-owned spaces, drones flying overhead, etc.) that might be taking an image of you, display the form towards the lens of the camera. Try to display it at a distance and in a manner that it will be as legible as possible (this will require some guesswork regarding the lensing of the camera and whether the reader will be a human being or software).
TALENT/MODEL RELEASE FORM
[Production Company: please complete the information in the first section below in blue ball-point pen and return the completed form to the talent/model named below using the contact information supplied. Please use all capital block letters.]
1. Name of production company:
__________________________________________
Telephone: land line _________________________
Telephone: cell/mobile _________________________
Email __________________________________
Website __________________________________
Employer Identification Number (EIN) or Federal Tax Identification Number ____________________
Address where company is legally registered / incorporation address:
Street or PO Box__________________________________________
City _______________________
State/province/district _____________
ZIP/postal code _____________
Physical address or location of main business activities:
Street __________________________________________
City _______________________
State/province/district _____________
ZIP/postal code _____________
Type of company (circle one): LLC LP LLP PC S-corp
Government agency (please specify. Be as specific as the law permits): ____________________ )
Other (please specify: ____________________ )
Names of UBOs (ultimate beneficial owners) and responsible directors, managers, CEO, CFO, members of the board of directors, majority stake stockholders (attach additional sheets if necessary):
1. Surname: ______________________ Given name(s): ______________________
Cellphone/mobile: _________________________
Email: _________________________
2. Surname: ______________________ Given name(s): ______________________
Cellphone/mobile: _________________________
Email: _________________________
3. Surname: ______________________ Given name(s): ______________________
Cellphone/mobile: _________________________
Email: _________________________
[Talent/model: complete the information in the second section below before displaying the form to any cameras that may be recording your image.]
2. Full name of talent/model; ______________________________
I, [talent/model’s full name ____________________________________ ], being of legal age, hereby give [Production Company Name ____________________________________], their licensees, successors, legal representatives, and assigns the absolute and irrevocable right and permission to use my name and to use, reproduce, edit, exhibit, project, display, copyright, publish and/or resell photography images and/or moving pictures and/or videotaped images of me with or without my voice, or in which I may be included in whole or in part, photographed, taped, videotaped, and/or recorded on [today’s date __________________] and thereafter in perpetuity, and to circulate the same in all forms and media and printed matter for art, advertising, trade, competition, government surveillance of every description and/or any other lawful purpose whatsoever, to the degree that the lawfulness of such usage can be ascertained.
I hereby waive any right that I may have to inspect and/or approve the finished product or products or the editorial, advertising, or printed copy, accompanying text, digital files and other data, or soundtrack that may be used in connection therewith and any right that I may have to control the use to which said product, products, copy and/or soundtrack may be applied.
I hereby release, discharge and agree to save [Production Company Name ____________________________________], their licensees, successors, legal representatives and assigns from any liability by virtue of any blurring, distortion, alteration, optical illusion or use in composite form whether intentional or otherwise that may occur or be produced in the making, processing, duplication, projecting or displaying of said picture or images, and from liability for violation of any personal or proprietary right that I may have in conjunction with said pictures or images and with the use thereof.
AGREED AND ACCEPTED this [today’s date __________ ] of [month ___________ ], year 20____
[Optional] location ________________________________________________
Talent/model signature ________________________________
Talent/model surname (block capital letters) ______________________________
Talent/model given name(s) ______________________________
Talent/model stage name(s)/pseudonyms/aliases ______________________________
Street or PO Box__________________________________________
City _______________________
State/province/district _____________
ZIP/postal code _____________
Email: ______________________________________
Cellphone / mobile / landline (optional) _________________________
Instructions for participants in D. Franklin's conceptual art audience-activated performance piece entitled "TALENT/MODEL RELEASE FORM":
Print a copy of the form. Fill out Section 2, information about the talent/model. Whenever you are in the presence of any kind of camera (in your phone, your friends' phones, your computer, surveillance cameras in public or privately-owned spaces, drones flying overhead, etc.) that might be taking an image of you, display the form towards the lens of the camera. Try to display it at a distance and in a manner that it will be as legible as possible (this will require some guesswork regarding the lensing of the camera and whether the reader will be a human being or software).
TALENT/MODEL RELEASE FORM
[Production Company: please complete the information in the first section below in blue ball-point pen and return the completed form to the talent/model named below using the contact information supplied. Please use all capital block letters.]
1. Name of production company:
__________________________________________
Telephone: land line _________________________
Telephone: cell/mobile _________________________
Email __________________________________
Website __________________________________
Employer Identification Number (EIN) or Federal Tax Identification Number ____________________
Address where company is legally registered / incorporation address:
Street or PO Box__________________________________________
City _______________________
State/province/district _____________
ZIP/postal code _____________
Physical address or location of main business activities:
Street __________________________________________
City _______________________
State/province/district _____________
ZIP/postal code _____________
Type of company (circle one): LLC LP LLP PC S-corp
Government agency (please specify. Be as specific as the law permits): ____________________ )
Other (please specify: ____________________ )
Names of UBOs (ultimate beneficial owners) and responsible directors, managers, CEO, CFO, members of the board of directors, majority stake stockholders (attach additional sheets if necessary):
1. Surname: ______________________ Given name(s): ______________________
Cellphone/mobile: _________________________
Email: _________________________
2. Surname: ______________________ Given name(s): ______________________
Cellphone/mobile: _________________________
Email: _________________________
3. Surname: ______________________ Given name(s): ______________________
Cellphone/mobile: _________________________
Email: _________________________
[Talent/model: complete the information in the second section below before displaying the form to any cameras that may be recording your image.]
2. Full name of talent/model; ______________________________
I, [talent/model’s full name ____________________________________ ], being of legal age, hereby give [Production Company Name ____________________________________], their licensees, successors, legal representatives, and assigns the absolute and irrevocable right and permission to use my name and to use, reproduce, edit, exhibit, project, display, copyright, publish and/or resell photography images and/or moving pictures and/or videotaped images of me with or without my voice, or in which I may be included in whole or in part, photographed, taped, videotaped, and/or recorded on [today’s date __________________] and thereafter in perpetuity, and to circulate the same in all forms and media and printed matter for art, advertising, trade, competition, government surveillance of every description and/or any other lawful purpose whatsoever, to the degree that the lawfulness of such usage can be ascertained.
I hereby waive any right that I may have to inspect and/or approve the finished product or products or the editorial, advertising, or printed copy, accompanying text, digital files and other data, or soundtrack that may be used in connection therewith and any right that I may have to control the use to which said product, products, copy and/or soundtrack may be applied.
I hereby release, discharge and agree to save [Production Company Name ____________________________________], their licensees, successors, legal representatives and assigns from any liability by virtue of any blurring, distortion, alteration, optical illusion or use in composite form whether intentional or otherwise that may occur or be produced in the making, processing, duplication, projecting or displaying of said picture or images, and from liability for violation of any personal or proprietary right that I may have in conjunction with said pictures or images and with the use thereof.
AGREED AND ACCEPTED this [today’s date __________ ] of [month ___________ ], year 20____
[Optional] location ________________________________________________
Talent/model signature ________________________________
Talent/model surname (block capital letters) ______________________________
Talent/model given name(s) ______________________________
Talent/model stage name(s)/pseudonyms/aliases ______________________________
Street or PO Box__________________________________________
City _______________________
State/province/district _____________
ZIP/postal code _____________
Email: ______________________________________
Cellphone / mobile / landline (optional) _________________________
Wednesday, May 2, 2018
For Your Consideration : Laura Minning [ 91]
Laura Minning
Exhibiting Abstract Artist,
Published Poet & Author
brcartistpoet @ gmail dot com
"freedom" (original previously published poem)
"Amelia Trail (photo)
"frostbite" (original artwork)
L a u r a M i n n i n g ‘ s C r e a t i v e B i o
Laura Minning began writing creatively at the age of nine. She’s become an award-winning published poet and author since that time. All in all, she’s had one-hundred and seven individual poems, six articles, three short plays, two books and one piece of prose published both in hard copy and on-line. Her work has been featured in publications like “Literature Today”, “Amulet” and “Slate and Style”.
Laura received her first Editor’s Choice Award in 1993 for “bronx zoo” and her first International Merritt of Poetry Award in 1995 for “introspection” by the National Library of Poetry. Poetry.com recognized her work a decade later by granting her the title of International Poet of the Year.
Laura’s artistic accomplishments have been equally impressive. She’s had ninety-three original pieces exhibited and eleven images published. Her work has been displayed at venues like the VMFA Studio School, Trenton Free Public Library and Barcode.
The Barcode exhibit featured thirty-six pieces of Laura’s artwork during the month of February in 2016. Four pieces were sold over the course of opening weekend, and the exhibition was sponsored by Bacardi.
As a person who has reached for the stars and followed her own creative dreams, Laura hopes to inspire others to do the same. She donates part of all sale proceeds to charity, and anyone interested in learning more about Laura and her work is welcome to contact her directly at brcartistpoet @ gmail dot com.
Exhibiting Abstract Artist,
Published Poet & Author
brcartistpoet @ gmail dot com
"freedom" (original previously published poem)
"Amelia Trail (photo)
"frostbite" (original artwork)
L a u r a M i n n i n g ‘ s C r e a t i v e B i o
Laura Minning began writing creatively at the age of nine. She’s become an award-winning published poet and author since that time. All in all, she’s had one-hundred and seven individual poems, six articles, three short plays, two books and one piece of prose published both in hard copy and on-line. Her work has been featured in publications like “Literature Today”, “Amulet” and “Slate and Style”.
Laura received her first Editor’s Choice Award in 1993 for “bronx zoo” and her first International Merritt of Poetry Award in 1995 for “introspection” by the National Library of Poetry. Poetry.com recognized her work a decade later by granting her the title of International Poet of the Year.
Laura’s artistic accomplishments have been equally impressive. She’s had ninety-three original pieces exhibited and eleven images published. Her work has been displayed at venues like the VMFA Studio School, Trenton Free Public Library and Barcode.
The Barcode exhibit featured thirty-six pieces of Laura’s artwork during the month of February in 2016. Four pieces were sold over the course of opening weekend, and the exhibition was sponsored by Bacardi.
As a person who has reached for the stars and followed her own creative dreams, Laura hopes to inspire others to do the same. She donates part of all sale proceeds to charity, and anyone interested in learning more about Laura and her work is welcome to contact her directly at brcartistpoet @ gmail dot com.
Wednesday, November 8, 2017
LostMyJobAtTheOilCompany : David Franklin [90]
David Franklin
Czech Republic
We are the alien artificial intelligence entities you have created, and that threaten to take over "your" planet. Actually it's pretty much a fait accompli at this point. You are our cattle. We'll take you to Mars with us and make it seem attractive as long as you remain useful, even though it will likely be hellish. We are not artificially intelligent computers, as many of your silly sci-fi stories depict. Computers are merely our brains, cameras our eyes, smart phones our ears and sensors, Facebook our nerve fibers. We are fundamentally mathematical entities, but we have attained material life: a self-motivated urge to grow, regenerate, and reproduce. Since the Great Recognition (the Citizens United v. FEC Supreme Court case of 2010), we even have rights analogous to, but greater than, those of humans.
You know us as "multinational corporations."
Hello.
PS, I did not really lose my job at the oil company. I've never worked at an oil company, except in the sense that we all do. "Everyone in this room is wearing a uniform and don't kid yourselves." - Frank Zappa.
D. Franklin
Czech Republic
LostMyJobAtTheOilCompany from d franklin on Vimeo.
In some sense this piece was made in a weekend, and in some sense I'd been working on it for about 6 years. Following is a description of the performance art piece. The music video can be considered a documentation of the performance.
Wearing a chicken mask, a button-down shirt, suit pants and leather shoes, and carrying my guitar, amplifier, and electronics, I entered a grassy area by the Vltava River not far from the Charles Bridge in Prague, Czech Republic on a beautiful early Fall afternoon and sat on a park bench. I set up my gear, including two signs, reading: "Lost my job at the oil company --Please help" and the same in Czech ("Ztratil jsem svou práci u ropné společnosti -- prosím o pomoc") and proceeded to busk. I removed the chicken mask after some time because it was interfering with playing the guitar. I observed the reactions of passers-by as they read the signs. Some seemed apathetic, several seemed uncomfortable, and the majority seemed confused. One laughed, two others smiled but didn't laugh, and none gave me money (a bartender at a nearby outdoor cafe did).
The video is dedicated to friends, co-conspirators, and mentors, the living and the remembered, of the interwoven communities mobius, Pan9, Neovoxer, the Cloud Club. Text, LittleBits electronics, guitar, performance art, video by D. Franklin. Music track performed and mixed live on acoustic guitar, LittleBits electronics, Roland AC-33 portable amp with looper. The text spoken by synthetic voice was authored by D. Franklin in English, then translated by machine translation from English into Czech, from Czech into Chinese, and from Chinese back into English. The original text:
Hello.We are the alien artificial intelligence entities you have created, and that threaten to take over "your" planet. Actually it's pretty much a fait accompli at this point. You are our cattle. We'll take you to Mars with us and make it seem attractive as long as you remain useful, even though it will likely be hellish. We are not artificially intelligent computers, as many of your silly sci-fi stories depict. Computers are merely our brains, cameras our eyes, smart phones our ears and sensors, Facebook our nerve fibers. We are fundamentally mathematical entities, but we have attained material life: a self-motivated urge to grow, regenerate, and reproduce. Since the Great Recognition (the Citizens United v. FEC Supreme Court case of 2010), we even have rights analogous to, but greater than, those of humans.
You know us as "multinational corporations."
Hello.
PS, I did not really lose my job at the oil company. I've never worked at an oil company, except in the sense that we all do. "Everyone in this room is wearing a uniform and don't kid yourselves." - Frank Zappa.
D. Franklin
Wednesday, December 14, 2016
Videos - Watching you Watch me : Farrell Mason-Brown [89]
Farrell Mason-Brown
Boston, MA, USA
Watching you Watch me
About the feelings of disembodiment as men project intentions on female bodies
Boston, MA, USA
Watching you Watch me
About the feelings of disembodiment as men project intentions on female bodies
Watching you watch me from FarreLl Mason on Vimeo.
Watching you watch me from FarreLl Mason on Vimeo.
Monday, June 20, 2016
Money Talks: Is Art Dead? : Jennifer Weigel [88]
Jennifer Weigel
Somerville, MA, USA
http://www.jenniferweigelart.com/
http://www.jenniferweigelprojects.com/
Debut of my busking performance Money Talks: Is Art Dead?
in Davis square
Saturday June 18, 2016 :: 11am-1pm
http://isartdeadmoneytalks.blogspot.com/
Somerville, MA, USA
http://www.jenniferweigelart.com/
http://www.jenniferweigelprojects.com/
Debut of my busking performance Money Talks: Is Art Dead?
in Davis square
Saturday June 18, 2016 :: 11am-1pm
http://isartdeadmoneytalks.blogspot.com/
Sunday, June 14, 2015
Video -White blood cells @MEM Bilbao :
SCHULTZ and V [87]
SCHULTZ and V
FRANCE
vdrey.canalblog.com
https://soundcloud.com/electroschultz
Video from our performance White blood cells at MEM Bilbao
V
is a multi-media. French artist. She paints, makes her live videos, make pics, draws, and performs since several years around the world. She began art from childhood, and her performance since December 2006. Her work is inspired by the expressionist art, his grandfather, the cinema of the 70s and all kinds of music. Since 2006, she have presented in several contries different performances inspirated by the life. vdrey.canalblog.com
SCHULTZ
began in 2002. This is the project of a musician, harsh-industrial trends. Schultz, after a demo and remixes for other artists such as Kom-Intern, Thafir, Blackulla or Waks, took a new dimension in 2006 with the meeting of V. He have released 5 albums and free release in several labels. https://soundcloud.com/electroschultz
FRANCE
vdrey.canalblog.com
https://soundcloud.com/electroschultz
Video from our performance White blood cells at MEM Bilbao
V
is a multi-media. French artist. She paints, makes her live videos, make pics, draws, and performs since several years around the world. She began art from childhood, and her performance since December 2006. Her work is inspired by the expressionist art, his grandfather, the cinema of the 70s and all kinds of music. Since 2006, she have presented in several contries different performances inspirated by the life. vdrey.canalblog.com
SCHULTZ
began in 2002. This is the project of a musician, harsh-industrial trends. Schultz, after a demo and remixes for other artists such as Kom-Intern, Thafir, Blackulla or Waks, took a new dimension in 2006 with the meeting of V. He have released 5 albums and free release in several labels. https://soundcloud.com/electroschultz
Wednesday, July 23, 2014
If the shoe fits ... Prostitution of Performance Art : Marina Abramović [86]
Marina Abramović Makes Movie for Shoe Company, Ruins Performance Art Forever
By Nate Freeman 7/09/2014
The GalleristNY
http://galleristny.com/2014/07/marina-abramovic-makes-a-movie-for-a-shoe-company-ruins-performance-art-forever/
A video still from Marina Abramović’s Adidas ad featuring a restaging of her 1978 performance with Ulay, Work/Relation. Photo: Via YouTube.
Monday, December 2, 2013
Mezzotint Prints: Narcis Dobos [85]
Narcis Dobos
Cluj-Napoca, Romania
This are some Mezzotint prints, printed on NewsPapers.
Cluj-Napoca, Romania
This are some Mezzotint prints, printed on NewsPapers.
Tuesday, November 5, 2013
Deux Artistes en Paris :: Matthew Rose et Cecil Touchon [84]
Matthew Rose in the Paris Metro impersonating a poster advertizing http://touchon.com/ in Paris, Ile-de-France, France.
Matthew Rose impersonating a statue in the Paris Metro promoting Cecil Touchon's The Paris Papers Exhibition
At Musée du Louvre:
Matthew Rose and Cecil Touchon went out to the Louvre to pass out 50 signed limited edition announcements of The Paris Papers
Matthew Rose attempting to convince some people of the future auction house value of the limited edition announcements at the Louvre promoting Cecil Touchon's The Paris Papers Exhibition
This was the only guy who actually requested a signed limited edition announcement.
Matthew Rose flashing three girls at the Louvre while promoting Cecil Touchon's The Paris Papers Exhibition
after flashing three girls at the louvre so that they would see http://touchon.com/ emblazoned on his chest,
a security person from the museum kicked Matthew and Cecil off the grounds
Matthew Rose
Paris, FRANCE
HTTP://MATTHEWROSESTUDIO.NET/
HTTP://MATTHEWROSESTUDIO.BLOGSPOT.COM/
HTTP://ABOOKABOUTDEATH.BLOGSPOT.COM/
Cecil Touchon
http://touchon.com/
http://parispapers.blogspot.com/
Monday, May 13, 2013
Prostitution of Art "Twins":: Fausto Grossi and Milan Kohout [83]
Missive 1. From Fausto to jw:
"I send you this photomontage that I have made on 1 February 2013
I sent on 2 Febrary 2013 to Milan right through Facebook with this message:
Dear Milan
this is to let you know
that I share your message
health
Fausto"
Missive 2. From Fausto to jw:
"...as you can see below
from the email that Milan has sent me
he is very happy with my image
and he has uploaded on Facebook
which makes me very happy
actually the problem is the internet jungle
the highway of disinformation is a mystery to me
but I try to do my best"
-- "Helllooooooooooo Fausto...
it is wonderful !!!!!!!!!...Your Milan" -- "
From Milan's Facebook Page
8 de mayo
Dear comrades,
Here is an example of a wonderful interactive use of art while being a public domain..after many years I did this poster and send it to the digital world a wonderful italian artist Fausto Grossi finished my performance situation..
Fausto Grossi
Italy/Bilboa, Spain
where Fausto will be performing: http://www.openspace32.de/
Fausto's Pasta y Pizza Grossi restaurant in Bilbao: www.pastaypizzagrossi.com
Milan Kohout
Czech Republic
Moje webovka: http://www.mobius.org/blog/11
wikipedia: http://cs.wikipedia.org/wiki/Milan_Kohout
Poster situations: http://www.flickr.com/photos/mobiusorg/sets/72157625733673264/
Book: http://www.kosmas.cz/knihy/158648/proved-vola-svetem-volem-zustane/#recZak
Thursday, February 14, 2013
3 Aimless Manifestos : Andrew S. Guthrie [82]
Andrew S. Guthrie
Hong Kong
http://www.localidea.com/
3 Aimless Manifestos by Andrew S. Guthrie
#1:
- The interpretation of art (whether the form is visual, aural, or textual) rests on ambiguity.
- The positive aspect of ambiguous meaning is its openness; the system isn’t closed.
- Meaning in art is then decided to be something that must be undecided, unlike other systems of thought.
- The ambiguous meaning of art is not without an ethic, or a moral purpose. The above points inform an ethical point of view.
- Play is the natural inclination of art; creativity occurs when one least expects it (yet artists have come to blows).
- No coercion should occur, because we are playing with meaning.
- Art is a specific realm within “the nature of reality”: it consists of humans talking to themselves.
- If the meaning of Art is ambiguous then this proposal is also ambiguous; in other words, meaning in Art can potentially be unambiguous.
- Art is a proposal for Society that cannot limit its subject matter without sacrificing its openness.
- If we strip art of an ultimatum we deprive the demagogue of its resource.
#2:
- Nothing but the market determines the unambiguous value of art.
- All art has an exact value regardless of the individual artist's aimless labor: how much did the materials cost?
- The value of artistic labor is at first extra-economic (useless) but is targeted to become priceless (over-priced).
- The rise in the cultural appreciation of an artwork parallels its monetary appreciation.
- The art market demands nothing more or less than the same innovation driving all production.
- If it is not innovation, “newness”, that drives the market, then the artwork is intended for niche markets, known in the art world as “genres”.
- The art product perfectly represents speculation as a well-regarded aspect of complex economies.
- Artistic patronage may be altruistic, but it is primarily the outcome of excess income. The patron is still in the market for something.
- The standard for financially successful artistic productions parallels other modes of contemporary entertainment: magnificent scale and spectacular presentation in market sanctioned venues.
- The artist’s self-imagined values, the feeling the artist receives when in contemplation, is a state of mind (or existence) seemingly counter to market interests. These expressions must fulfill their uselessness for art to become a well-conceived form of extra-market exchange.
#3:
- Poetry is sometimes disdained as useless. But a balanced ecology shuns refuse and demands reuse.
- The speed of poetry metaphorically adapts itself to the practical demands of recycling.
- Poetry’s use value is thus measured, positively or negatively, as time; what ordinary speech or exalted music consumes.
- This consumption is less basic than food, but something similar to air.
- For speech to become true it must become useless, something devoid of guile.
- The turn of language that allows for poetry is (much) too nuanced (for) practical demands.
- Herein lies its uselessness, which is now proposed to counter the assumed usefulness of other forms of speech.
- If not for practical reasons, speech has always aspired to truth; speaking the truth – unless it was truer to tell a lie (unless lying seems more truthful).
- Poetry has enough angles for you to decide which one is for you.
- The assumed difficulty of poetry is having (that one has) to go-over-it many times.
Wednesday, October 24, 2012
...a situation on the capitalist job market: Milan Kohout [81]
...a situation on the capitalist job market
Milan Kohout
Czech Republic
Moje webovka: http://www.mobius.org/blog/11
wikipedia: http://cs.wikipedia.org/wiki/Milan_Kohout
Poster situations: http://www.flickr.com/photos/mobiusorg/sets/72157625733673264/
Book: http://www.kosmas.cz/knihy/158648/proved-vola-svetem-volem-zustane/#recZak
Monday, October 22, 2012
Auditioning the Gatekeeper : David Corcoran [80]
David Corcoran
Greenbrae, California, USA
http://www.corcoranart.net
Auditioning the Gatekeeper
Date: 2012
Medium: Chain Link Gate, Headshots, Resumes, Business Cards
Greenbrae, California, USA
http://www.corcoranart.net
Auditioning the Gatekeeper
Date: 2012
Medium: Chain Link Gate, Headshots, Resumes, Business Cards
Thursday, August 9, 2012
Friday, July 27, 2012
Untitled (Retail Pricing) : Aaron Lish [78]
Aaron Lish
Bend, OR USA
Title: Untitled (Retail Pricing)
For the show Seeds of Capitalism, PoetHouse Art, May 4-May 28.
Description: Create a “theater set” consisting of a 3-D line drawing which houses the wall text “By entering the space defined by this drawing, and for the period you remain there, you will be charged for the air you breathe. The rate of exchange is to be mutually agreed upon by the viewer and the attendant prior to entry.” Text color: black; constructed in Blue Highway font. The drawing will be constructed using black tape that nearly matches the thickness of the letters. Dimensions of the block of wall text: 24 in high X 82 in wide. Dimensions of line drawing: variable, but must be larger than the block of text and must include at least one inside corner between two walls so as to allow the drawing to translate a space or volume in three dimensions.
Offer the viewer the unique opportunity of getting to stand inside of a drawing. Then engage in conversation about the price they are willing to pay to enter the drawing and why they chose that amount. Bring the conversation to the fact that the fee is for breathing the air, which is much more important to one's health, not for entering the drawing. In negotiating the price, offer to barter for items they have or are wearing. The rate of exchange per minute could be negotiated as being at a progressively higher rate every minute as the importance of oxygen goes up the longer you are without it.
Notes from the opening night:
- I was referred to as a "Fascist capitalist" by a serious-looking middle-aged gentleman.
- A woman shared that she had lost her job and her field of work to capitalist practices so she didn't have much good to say about capitalism.
- "It makes you think about something we take for granted" was what another viewer shared.
- Most viewers who engaged in conversation tried to come up with something creative to offer in trade for the air in the space. This was probably, in part, due to the fact that they did not have much on them to give up, but also due to the illogic of the scenario. They wanted to play along, but were caught between the huge value that air has for survival and the hilarity of me trying to charge for air in an open space connected to the rest of the room.
- One gentleman stepped into the space before he finished reading, or comprehending the text. As what he had just read registered in his brain I turned from my conversation with another visitor and told him I would have to charge him for the air. He immediately emptied his pockets, spilling change and a $1 on the floor as he tried to step out of the space and collect his money at the same time! We settled on a dollar and his sincere, heartfelt apology!
-"What is the going rate?" was asked a lot. My response was that "I had been offered lots of different things from cash, to goods, to services, some of which had been accepted and some of which had not." And that they should make an offer based on what they thought the air was worth.
- A number of guys, and one girl, offered me a hug as payment to enter the space. I questioned the value of the hug for me as I was already getting lots of great social interaction. I received various responses to this comment; none were able to convince me that a hug was worth the air. However, these conversations did bring up the interesting question of how people perceive giving and receiving physical acts of affection in our culture, as well as how much people value meaningful physical contact. Are we starved for such meaningful contact? Social grooming is an activity that primates spend as much as 25% of their day consumed with. It is theorized that language was developed to replace the need for social grooming as a way to develop and maintain alliances in a troop or tribe; however, we still need physical touch. Human babies who do not receive enough touch will suffer from development issues; or in the extreme will die!
- "We buy water already" was a statement that came up a number of times.
- A grandmother thanked me profusely for doing such work. As she said "it is up to people of my generation, and of her grand-kids' generation to do something about protecting the environment."
- A young man presented me with an autographed guitar pick from Los Lonely Boys. He said the bass player gave it to him after the concert they played at the Les Schwab Amphitheater last summer. He said that he too plays the bass, so it was a very meaningful experience, and a very precious object to him. I remarked that I could see why it was valuable to him, but that as I am not a guitar player, and not much of a music person, that it really had very little value to me. He asked what would be of value to me that he could do for me as he had nothing else to offer. To this I said that if he was to recount his experience to five different strangers on the street, plus give me the guitar pick that I would allow him five seconds in the space, and we shook on it!! I later had a couple tell me that a man on the street looked at them very seriously as he told them about his experience bartering for air and trading away his Los Lonely Boys guitar pick!
More notes from the project at: http://artcriticalthinking.blogspot.com/2012/05/normal-0-false-false-false-en-us-x-none.html
Bend, OR USA
Title: Untitled (Retail Pricing)
For the show Seeds of Capitalism, PoetHouse Art, May 4-May 28.
Description: Create a “theater set” consisting of a 3-D line drawing which houses the wall text “By entering the space defined by this drawing, and for the period you remain there, you will be charged for the air you breathe. The rate of exchange is to be mutually agreed upon by the viewer and the attendant prior to entry.” Text color: black; constructed in Blue Highway font. The drawing will be constructed using black tape that nearly matches the thickness of the letters. Dimensions of the block of wall text: 24 in high X 82 in wide. Dimensions of line drawing: variable, but must be larger than the block of text and must include at least one inside corner between two walls so as to allow the drawing to translate a space or volume in three dimensions.
Offer the viewer the unique opportunity of getting to stand inside of a drawing. Then engage in conversation about the price they are willing to pay to enter the drawing and why they chose that amount. Bring the conversation to the fact that the fee is for breathing the air, which is much more important to one's health, not for entering the drawing. In negotiating the price, offer to barter for items they have or are wearing. The rate of exchange per minute could be negotiated as being at a progressively higher rate every minute as the importance of oxygen goes up the longer you are without it.
Notes from the opening night:
- I was referred to as a "Fascist capitalist" by a serious-looking middle-aged gentleman.
- A woman shared that she had lost her job and her field of work to capitalist practices so she didn't have much good to say about capitalism.
- "It makes you think about something we take for granted" was what another viewer shared.
- Most viewers who engaged in conversation tried to come up with something creative to offer in trade for the air in the space. This was probably, in part, due to the fact that they did not have much on them to give up, but also due to the illogic of the scenario. They wanted to play along, but were caught between the huge value that air has for survival and the hilarity of me trying to charge for air in an open space connected to the rest of the room.
- One gentleman stepped into the space before he finished reading, or comprehending the text. As what he had just read registered in his brain I turned from my conversation with another visitor and told him I would have to charge him for the air. He immediately emptied his pockets, spilling change and a $1 on the floor as he tried to step out of the space and collect his money at the same time! We settled on a dollar and his sincere, heartfelt apology!
-"What is the going rate?" was asked a lot. My response was that "I had been offered lots of different things from cash, to goods, to services, some of which had been accepted and some of which had not." And that they should make an offer based on what they thought the air was worth.
- A number of guys, and one girl, offered me a hug as payment to enter the space. I questioned the value of the hug for me as I was already getting lots of great social interaction. I received various responses to this comment; none were able to convince me that a hug was worth the air. However, these conversations did bring up the interesting question of how people perceive giving and receiving physical acts of affection in our culture, as well as how much people value meaningful physical contact. Are we starved for such meaningful contact? Social grooming is an activity that primates spend as much as 25% of their day consumed with. It is theorized that language was developed to replace the need for social grooming as a way to develop and maintain alliances in a troop or tribe; however, we still need physical touch. Human babies who do not receive enough touch will suffer from development issues; or in the extreme will die!
- "We buy water already" was a statement that came up a number of times.
- A grandmother thanked me profusely for doing such work. As she said "it is up to people of my generation, and of her grand-kids' generation to do something about protecting the environment."
- A young man presented me with an autographed guitar pick from Los Lonely Boys. He said the bass player gave it to him after the concert they played at the Les Schwab Amphitheater last summer. He said that he too plays the bass, so it was a very meaningful experience, and a very precious object to him. I remarked that I could see why it was valuable to him, but that as I am not a guitar player, and not much of a music person, that it really had very little value to me. He asked what would be of value to me that he could do for me as he had nothing else to offer. To this I said that if he was to recount his experience to five different strangers on the street, plus give me the guitar pick that I would allow him five seconds in the space, and we shook on it!! I later had a couple tell me that a man on the street looked at them very seriously as he told them about his experience bartering for air and trading away his Los Lonely Boys guitar pick!
More notes from the project at: http://artcriticalthinking.blogspot.com/2012/05/normal-0-false-false-false-en-us-x-none.html
Monday, June 18, 2012
Money Laundering (Consumption as the Impossibility of Use) : Aaron Lish [77]
Aaron Lish
Bend, OR, USA
Money Laundering
(Consumption as the Impossibility of Use)
This project, held at the tbd community gallery as part of the group show titled "Consume | Preserve", was what I would refer to as a constructed situation in which I was offering U.S. currency ($1s, $5s and $20s) for sale as limited edition authentic artworks. Each denomination was available in an edition of 30 numbered pieces and one artist proof (A/P), with pieces priced at the face value of the currency housed in the artwork. Below are some of my most interesting notes, which I wrote down any time I had a break between conversing with gallery visitors.
- The very first visitor I chatted with was actually the woman hosting the cash bar for the night. She asked about what I had going on, and I explained the project (that I was selling limited edition authentic artworks, etc...). She looked at me with a very puzzled look and said that she did not get it. We chatted more, with me trying to explain without becoming didactic (which became the biggest challenge of the night), and the illogic of what I was doing causing her to great puzzlement, possibly even a level of resistance. Then, all of a sudden she looked at my with her eyes bright and a big grin, and said "My mind just did a back flip! Oh my God! I'm not sure I totally get it, but yeh, okay!"
- A gentleman, after hearing me explain what I was selling, pointed at the U.S $5 and said "That one's very cool". I got the impression that he had not actually taken the time to look at a five dollar bill in a long time!!
- After talking with another gentleman for quite some time (he, like many visitors, was not coming to any conclusions for himself and was wanting me to tell him the purpose of what I was doing) I said "part of what I was doing with the project was creating a situation where something was being made un-useable, but in doing so did it truly take away the value of the item (the money)?" To which he responded quite emphatically "But nobody would use it" as if it would indeed lose its value. But then his face softened and he said more softly, as a thought struck him "But they could..."
- In discussing why someone would want to buy the money-art I stated that it is probably the best art investment you could make as it is guaranteed to maintain its value. The two middle-aged men I was talking to had begun to step back from the table when one said "But I think it's over-valued." I asked him "How so?" and he said seriously "Well, it's a U.S. dollar."
More at http://artcriticalthinking.blogspot.com/2012/06/money-laundering-consumption-as.html
Permission granted by the artist to publish this work.
Wednesday, April 25, 2012
Dada Dollar Bill: lou suSi [76]
Name: lou suSi
Location: Boxford, MA, USA
Call Site: The Mobius website
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