One of the definitions given by the OED for sculpture is, “as a type of silence or absence of movement of feeling.” After 700 hours of sitting ‘still as a statue’ and silently engaging a series of 1400+ visitors at MoMA, Abramović has completed what is being hailed the longest work of performance art.
If earlier this year, we were all distraught that the chief curator of an institution calling itself the New Museum didn’t know much about the online art world, today we can all breathe a little sigh of relief as the director of the world’s foremost modern art museum, MoMA, has given what amounts to a tech-friendly endorsement of the virtual world.
Lost and hungry is not a good combination. Imagine driving in an unfamiliar place, stomach growling … many miles ago you’ve dropped all your pretenses about needing to eat all-organic food … the urgency of hunger is upon you … suddenly you see it, a huge billboard with the words: MCDONALD’S NEXT EXIT. At that moment, you’re probably not thinking about the fact that it’s typeset in Arial, has no consideration for negative space, lacks attractive colors or that it’s just not a very nice-looking billboard. No, all you see, blazing from atop the trees and urban wasteland, is a glorious sign from God telling you all you need to know at that very moment.
At its best, modern art begs the question, “Is this art?” There is a death wish that threads modernity – death of God, death of the author, death of history, even the death of the modernity itself (the post-modern) but perhaps most insistently of all, is the existential interrogation that is modern art.
There is a death wish that threads modernity — death of God, death of the author, death of history, even the death of the modernity itself (the post-modern) but perhaps most insistently of all, is the existential interrogation that is modern art … but is it true for sculpture?
This week we are pleased to publish an essay by sculptor and blogger John Powers about the relationship of death, sculpture, and modernity. The essay, titled “Art, Not Suicide,” wrestles with Rosalind Krauss and her influential essay “Sculpture in the Expanded Field,” as a starting point and asks, “What is the role of death in modern sculpture?” What he finds may surprise you.
The BP Deepwater oil spill disaster has sparked a tremendous amount of creative outrage, some of which we’ve been exploring on Hyperallergic LABS all week. In addition to various protests and performances, not to mention some satirical Twitter feeds, there have been numerous attempts to critically appropriate BP’s logo.
If you’re like me then you’re probably kicking yourself that you were unable to attend MoMA design curator Paola Antonelli’s talk as part of the Swissmiss Creative Mornings series. Thankfully Soulellis Studio blogged about the affair and shared their notes, which include some really interesting highlights …
Sometimes I have strange feelings for my computer. In the 13 years since I set up an email account, I have had a wide ranging series of emotional experiences while facing a screen. In the early days of email, I wrote long letters to friends, like the ones I used to write by hand and send through the mail. I received long letters too: messages of friendship and love and the occasional breakup, though these missives have become increasingly more brief and less frequent since Facebook …
Brent Burket (aka Heart as Arena) has a report on artist Dread Scott’s “Money to Burn” performance in front of the New York Stock Exchange on Tuesday … it included a lighter, US currency, cops, and confused tourists …
We did it! Last night’s “One Image, One Minute: Significant People Present Significant Images” event was a success. The evening raised over $1,300 for Camp Pocket Utopia in upstate New York, and thank you to everyone who donated to this worthwhile project.
There is a constant dual narrative with Warhol between reality and fantasy, the physical and the mechanical, the life lived and the life watched on a screen, and Warhol, in the end, found it all to be one in the same. This exhibit of Warhol’s late work, Andy Warhol: The Last Decade, is no exception to the contradictions and in fact reveals just about as much as it obscures.