Comments on: Standing on the Shoulders of Giants http://hyperallergic.com/1204/standing-on-the-shoulders-of-giants/ Sensitive to Art and its Discontents Wed, 10 Mar 2010 05:02:15 +0000 http://wordpress.org/?v=2.9.2 hourly 1 By: corinna http://hyperallergic.com/1204/standing-on-the-shoulders-of-giants/comment-page-1/#comment-287 corinna Mon, 30 Nov 2009 14:59:58 +0000 http://hyperallergic.com/?p=1204#comment-287 What I detest about a work like the Sims-styled Eva and Franco Mattes work is that it rids itself of the anticipation and violence of the "original" work by Burden. What was integral to performance of the 1960s and 70s was immediacy and the idea that "anything could happen" and thus danger became a reality with the work. What I detest about a work like the Sims-styled Eva and Franco Mattes work is that it rids itself of the anticipation and violence of the “original” work by Burden. What was integral to performance of the 1960s and 70s was immediacy and the idea that “anything could happen” and thus danger became a reality with the work.

]]> By: adobobo http://hyperallergic.com/1204/standing-on-the-shoulders-of-giants/comment-page-1/#comment-286 adobobo Sun, 29 Nov 2009 03:50:22 +0000 http://hyperallergic.com/?p=1204#comment-286 I think another thing glossed over by An is that Acconci's original work was somewhat of a heraldic statement that glimpsed ahead at the impending age (now arrived at) of ultra surveillance. It's not just that a digital restaging need be scrupulously examined for medium appropriateness, but that it must somehow acknowledge that the artists' original work dealt with the burgeoning - yet not quite solidified - issues that the digital medium itself now presents (in the form of Google Street View, etc.). I think another thing glossed over by An is that Acconci’s original work was somewhat of a heraldic statement that glimpsed ahead at the impending age (now arrived at) of ultra surveillance. It’s not just that a digital restaging need be scrupulously examined for medium appropriateness, but that it must somehow acknowledge that the artists’ original work dealt with the burgeoning – yet not quite solidified – issues that the digital medium itself now presents (in the form of Google Street View, etc.).

]]> By: m.river http://hyperallergic.com/1204/standing-on-the-shoulders-of-giants/comment-page-1/#comment-285 m.river Thu, 26 Nov 2009 14:52:33 +0000 http://hyperallergic.com/?p=1204#comment-285 yeah empire 24/7 is one of my favs as well. yeah empire 24/7 is one of my favs as well.

]]> By: Artie Vierkant http://hyperallergic.com/1204/standing-on-the-shoulders-of-giants/comment-page-1/#comment-284 Artie Vierkant Thu, 26 Nov 2009 07:17:29 +0000 http://hyperallergic.com/?p=1204#comment-284 Indeed! Other things that did not make the cut: Wolfgang Staehle, Empire 24/7 (after Warhol) http://www.medienkunstnetz.de/works/empire24-7/ Pall Thayer, On Kawara's Twitter http://twitter.com/on_kawara (see http://www.rhizome.org/discuss/view/42463) Indeed!

Other things that did not make the cut:

Wolfgang Staehle, Empire 24/7 (after Warhol) http://www.medienkunstnetz.de/works/empire24-7/

Pall Thayer, On Kawara’s Twitter http://twitter.com/on_kawara (see http://www.rhizome.org/discuss/view/42463)

]]> By: m.river http://hyperallergic.com/1204/standing-on-the-shoulders-of-giants/comment-page-1/#comment-283 m.river Thu, 26 Nov 2009 01:07:38 +0000 http://hyperallergic.com/?p=1204#comment-283 http://www.mteww.com/update/ http://www.mteww.com/update/

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