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Beaded Lotus Flower, 2016, Czech seed beads, Charlotte true cut, size 13.
NativeTwitter  beadwork  contemporaryart  from twitter_favs
4 weeks ago by jonCates
Go Pro: The Hyper-Professionalization of the Emerging Artist -ARTnews
As the buying and selling of art has become more commercialized, so too have the artists, starting as early as their schooling. M.F.A. programs, rather than serving as sites for experimentation and refining one’s style, have evolved into monotonous trade schools and debt-generating networking clubs. (A recent survey of the most influential M.F.A. programs calculated that their average tuition came to around $38,000 per year.) Here, prospective artists perfect the studio-visit sales pitch. This has residual effects. Galleries recruit those who can afford to pay more for the top-tier programs, not because of their skills but rather because they exemplify a pedigree that can be incorporated as part of a salable package. That many M.F.A. graduates complete their training with crippling debt adds to the allure of commercial success. Once artists join a gallery’s roster, which is sometimes also called a stable (how telling that these terms evoke professional sports or horse racing), the cycle continues as business pressures lead artists to self-censor and to conform to market trends. Galleries—and often collectors themselves—encourage artists to churn out more of what works in the market.
ContemporaryArt  DanielSPalmer  ArtNews  success  career  ArtisticLife  ArtistDefinitions 
january 2019 by briansholis
Victoria Princewell, "Hear Our Voice," n+1
In her letter, Black requested that the curators of the Whitney Biennial take down Schutz’s portrayal of Emmett Till and suggested they destroy it. This much, Smith conveys. But she neither acknowledges nor engages with the bulk of Black’s rationale, which is political and cultural, critiquing the intersection of economics and society where black pain is raw material for white creativity and commerce, where white media and white artists traffic in black bodies as spectacle, where the constant sharing of video footage of black people being brutally murdered is more exploitative than empathetic.
VictoriaPrincewell  n+1  WhitneyBiennial  DanaSchutz  ZadieSmith  race  controversy  ContemporaryArt 
january 2019 by briansholis
Michael Sanchez, "2011: ART AND TRANSMISSION," Artforum, Summer 2013
"over the past few years, a set of technical innovations have arisen that have reconfigured conditions for the production and distribution of art."

"2011 was the year in which the iPhone dramatically expanded in reach and market, including within the art world, and the proliferation of the smartphone—and then the tablet—for the first time provided consumers with the ability to view high-resolution images online nearly anytime and anywhere."

"Yet this increased speed also disables the judgmental element of consensus in favor of collective attention. What had been a process of legitimation, attributable to particular institutions or critical bodies, now becomes a process of simple visibility"

"Art is no longer discovered in biennials and fairs and magazines, but on the phone."

"At once feeding back into the white walls of the gallery and rendering them more easily photographable for instantaneous distribution onto a scrolling surface, the screen brackets the gallery space from both sides."

"a geographic sprawl that began in the ’70s culminates in a truly decentralized network, the spaces getting brighter the farther they are from the exploded center."

"The near-instantaneous feedback of visual trends creates an efficient system in which all information about art is almost immediately incorporated into the production of future work. The art system, in an expanded sense, becomes a kind of self-monitoring security apparatus—autopoietically regulating images and affects into precisely the categories described above."

"the rapid feedback of art trends today is actually eliminating the lag time necessary for the artist to constitute herself as an artistic subject"

"Instead of institutions producing subjects, we have apparatuses capturing organisms. Both the informational form and the affective content of contemporary art are optimized for an apparatus that is increasingly dominated by feedback between the iPhone interface, the feed, and the aggregator, not the institutional structures of the gallery and museum."
SocialMedia  technology  ContemporaryArt  distribution 
january 2019 by briansholis
Lucy Ives, "It’s Not the Economy: An Interview with Stanley Wolukau-Wanambwa," C Magazine
I think – to clarify what this image is doing in my book – that the kind of social encounter I’m interested in by way of photography approximates one that precedes or can precipitate violence. I’m interested in the fact that people believe they know things about a person on the basis of the body that person is carrying around and are often impelled to act on the basis of that “knowledge.” I think the bulk of what informs such violent acts is broader and deeper than individual bias. The kind of power we’re reckoning with here can’t be ratcheted down to the manageable abstraction of an individual. Anti-black violence is much bigger than that.
CMagazine  ContemporaryArt  photobooks  photography  portraiture  politics  race  archives 
january 2019 by briansholis
Greg Allen, "Regarding Camille Henrot’s Elephant Child, A Book"
"Like so many others, I was utterly transfixed by *Grosse Fatigue* and remain so. It remains a remarkable, ambitious, challenging, and beautiful work, and I continue to marvel at its making. *Elephant Child* communicates that essence-and much of the content-in book form. But it also captures the multitude of overlapping systems and the many talented people assembling in the wake of Henrot’s triumphant Venice debut."
CamilleHenrot  ArtistBooks  ContemporaryArt  GregAllen  ArtistStudio 
january 2019 by briansholis
Brian Droitcour, "Broken Links: The Internet Show," Art in America
"Exhibitions like these—which from here on I’ll refer to as internet shows—all work with the same set of ideas about the circulation of images, the accelerated movement of information, and so on. Internet shows include art made in a variety of mediums, including works meant to be viewed online, though examples of net art are always outnumbered in these exhibitions by sculptures, offline videos, and paintings. Internet shows give audiences and funders the impression that the museum is taking on fresh, relevant topics, that its programming speaks to contemporary everyday experience. These are good things. But internet shows can be frustrating, too. They tell us that they examine, focus, and probe, yet they stop at the benign observation that the internet has changed the way we live without getting into the specifics of how."
BrianDroitcour  ArtInAmerica  technology  internet  ContemporaryArt  museums  2018Faves 
january 2019 by briansholis
Emily Witt, "The Life and Art of Wolfgang Tillmans," The New Yorker
"At the back of the studio, in a large and mostly unfurnished room, new photos are printed and hung on the walls in a line. Tillmans comes in occasionally to look at them. It takes time to know if a picture is good, he said, as he stood quietly looking at a photograph of the sea, and, even then, “I can’t know, I can only hope that they last. You can’t be too sure about something, because otherwise you’re too full of yourself or you can’t see if there is a weakness in the work.'"
EmilyWitt  NewYorker  WolfgangTillmans  photography  profile  ContemporaryArt 
january 2019 by briansholis
Brian Droitcour, "Open Channel: Commoning Institutional Voices," Temporary Art Review
"If you run an art organization, you can think of it as a set of editorial guidelines to be taken into consideration when writing texts for and about your space. Some of the sections here direct attention to problems of communication that often go unnoticed because they are so habitual. Many of the suggestions here are phrased as questions—the sort of questions that I, as an editor, might pose to a writer who is having a hard time determining how to say what they want to say. As an editor, I try to avoid telling people what to write, instead trying to steer writers toward the most effective articulation of their own ideas. With this document I hope to do something similar for people who run organizations."
BrianDroitcour  ArtInstitutions  voice  ContemporaryArt  2018Faves 
january 2019 by briansholis
cheyenne turions, "Thinking Again about Artist-run Culture"
"I don’t think it’s that ARCs are obsolete, but that they are living beings (of a sort), subject to succession. This metaphor has limited use-value, but like any ecology, artist-run culture requires periods of growth and periods of destruction. It’s not that I have an interest in killing off organizations per se, but there’s an undeniable stagnancy in the system."
ArtistRunCentres  CanadianArt  ContemporaryArt  ArtInstitutions  nonprofits 
january 2019 by briansholis
Brian Droitcour and William S. Smith, "The Digitized Museum," Art in America
Museumgoers text their friends or compose work emails. They consult Google for more information about an artist. They pose for photos to commemorate the visit on Facebook. So it should come as no surprise that museums have met them halfway, attempting to claim institutional authority in the field—and feeds—of online communication.
BrianDroitcour  WilliamSSmith  ArtInAmerica  museums  ContemporaryArt  technology 
january 2019 by briansholis
Mike Pepi, "Silicon Values," Art in America
“When the New Museum launches an ‘incubator’ at a moment when technology platforms aim for nothing less than the colonization of everyday life,” Pepi writes, “it should give us pause.”
MikePepi  ArtInAmerica  ContemporaryArt  technology  NewMuseum  2016Faves 
january 2019 by briansholis
Asia Art Archive - Robert H. N. Ho Family Foundation Greater China Research Grant
Asia Art Archive is calling for proposals for The Robert H. N. Ho Family Foundation Greater China Research Grant. With support from The Robert H. N. Ho Family Foundation, the grant offers one-year fellowships to study AAA’s Collection and develop historical research projects on topics relating to contemporary art in Chinese communities worldwide.

Applicants will be assessed by a jury of curators, scholars, and other experts in the field on their knowledge of contemporary art in the Greater China region, relevant experience in the field, proposed methodology, and feasibility of the proposed research.
China  HongKong  research  grant  Historic  ContemporaryArt  Academic 
october 2018 by risdgrants

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