Tuesday, 12 April 2016
The Social Turn: Collaboration and Its Discontents
I think the question of the aesthetics of a relational art should not be a question because I often think that when a project is related to the society and require a lot of people to get involved. There should be an information circulated in between the authors and the public. I often believe that it requires a certain financial support in order to make the project more systematic. As aesthetics of the art is part of the living and about the politics, it is no denial that an art project is somehow indirectly affected by the economy. While there is no immediate result of a project in terms of the visual effect and a quick transformation of a society, the return is low in a short run, therefore, not much investment in those projects.
I do think that aesthetics is affected by resources and when it has to be delivered to the public and ask them to get involved, the resources often used for information transfer to let people know, and attract them.
More than that, authors usually do not aim for a beautiful designed project over the intention of the project. Therefore, authors usually would make a decision to benefit the social return instead of the appearance of the project.
I worked in an art organization which serve the disabled people to get involved in art. The aesthetic standard was low and it almost blur the line between social service and art. I eventually quit the organization between I see myself like to pursue the aesthetics rather than serving the community.
I guess this is the difference of social workers and artists who work on social relational art.
I do think that aesthetics is affected by resources and when it has to be delivered to the public and ask them to get involved, the resources often used for information transfer to let people know, and attract them.
More than that, authors usually do not aim for a beautiful designed project over the intention of the project. Therefore, authors usually would make a decision to benefit the social return instead of the appearance of the project.
I worked in an art organization which serve the disabled people to get involved in art. The aesthetic standard was low and it almost blur the line between social service and art. I eventually quit the organization between I see myself like to pursue the aesthetics rather than serving the community.
I guess this is the difference of social workers and artists who work on social relational art.
Saturday, 9 April 2016
Seven Days in the Art World - Sarah Thornton
Art World isn't power but control _Jeff Poe
Quiet control mediated by trust.
Art is about experimenting and ideas, but it is also about excellence and exclusion.
The value of an artist and of the work. It is interesting yet
What is the position of artists in an auction world?
"Artists may be in high demand when they have a solo show at a major museum, but three years later their work may fail to reach its reserve price and suffer the indignity of being "bought in".
"Art is only worth what someone is willing to pay for it"/
The auction process is about managing confidence on all levels - confidence that the artist is and will continue to be culturally significant, confidence that the work is a good one, confidence that others will not withdraw their financial support.
Collectors support artists' works, curate shows to make sure their investment is correct and will continue to grow as the artists keep growing.
When my work was selected from a gallery to show after my graduation, gallerists concerned a lot about whether I will continue to make work and be an artist. It was an open question but also open myself up that I have the potential to continue to produce work and become an artist for a living. After showing the work in the gallery, not being sold, the gallerist asked me to make smaller work. My intention to make work was not for commercial reason. I think it is so strange.
After several years, I realized that selling works are very important if I do not have any outlet to showcase my work and treat my artistic career as a sustainable business.
Artist-entrepreneur can be successful because they could find a sustainable cycle to have space to create, to live, to grow with their business.
The ego of an artist has to heavily ground. Be able to give gallerists, collectors, auctioneers confidence to your works so that they can make sure it is the right investment.
It is a reverse of a pyramid that artist stands alone underneath and nurture the rest of the people in the art world. Everything is based on the artwork itself.
Quiet control mediated by trust.
Art is about experimenting and ideas, but it is also about excellence and exclusion.
The value of an artist and of the work. It is interesting yet
What is the position of artists in an auction world?
"Artists may be in high demand when they have a solo show at a major museum, but three years later their work may fail to reach its reserve price and suffer the indignity of being "bought in".
"Art is only worth what someone is willing to pay for it"/
The auction process is about managing confidence on all levels - confidence that the artist is and will continue to be culturally significant, confidence that the work is a good one, confidence that others will not withdraw their financial support.
Collectors support artists' works, curate shows to make sure their investment is correct and will continue to grow as the artists keep growing.
When my work was selected from a gallery to show after my graduation, gallerists concerned a lot about whether I will continue to make work and be an artist. It was an open question but also open myself up that I have the potential to continue to produce work and become an artist for a living. After showing the work in the gallery, not being sold, the gallerist asked me to make smaller work. My intention to make work was not for commercial reason. I think it is so strange.
After several years, I realized that selling works are very important if I do not have any outlet to showcase my work and treat my artistic career as a sustainable business.
Artist-entrepreneur can be successful because they could find a sustainable cycle to have space to create, to live, to grow with their business.
The ego of an artist has to heavily ground. Be able to give gallerists, collectors, auctioneers confidence to your works so that they can make sure it is the right investment.
It is a reverse of a pyramid that artist stands alone underneath and nurture the rest of the people in the art world. Everything is based on the artwork itself.
The Cuteness of the Avant Garde - Sianna Ngai
Aesthetic is collapsing - picking up the cuteness
Anti-aesthetics is not an alternative
Danity
Psychology
Big eyes
small mouth
round
Affective beauty: Vulnerable/ pity/ passiveness/ malleability
soft materials
Anti-aesthetics is not an alternative
Danity
Psychology
Big eyes
small mouth
round
Affective beauty: Vulnerable/ pity/ passiveness/ malleability
soft materials
power relationship of subject and object
elasticity, slowly regains its shape,
elasticity, slowly regains its shape,
is it because cuteness has a formula that it is not being appreciated?
what is the capacity to create under cuteness?
what is the capacity to create under cuteness?
cuteness has a role in the society
cute and identity
Merely interesting - Sianne Ngai
Is it simply that interesting is academic politesse?
why interesting is the aesthetics discourse?
bigness can rule out a judgment of something as cute.
interesting= new?
interesting= conceptual? wired? never seen?
interesting= catch the attention?
interesting= i care/ i don't care
ing
open a dialogue, communication and open a conversation between the artist and the audience.
just floating.
expand public sphere
just a dip, no commitment
icon of dull affect, low-intensity affect....ambivalent
lazy
why?
reuse it, paste it
all conceptual art just pointing at things?
artists = raise a question, not a finish sentence,
audience = finish the question by themselves, based on their background
beautiful is 'final"
interesting is in medias res, "on its way" to a "there" whose content or meaning is indeterminate.
https://www.artsy.net/article/artsy-editorial-if-you-don-t-understand-conceptual-art-it-s-not-your-fault
put the condition of society in question as well
Conceptual art is often praised or condemned for its lack of emotion, its unsentimental devotion to documentation, repetition, and dryness.
Ngai sees the precarious balance of emotional and analytical impulses that, for her, makes a piece of art “of interest.”
what’s interesting is always in danger of becoming profoundly boring.
Goldsmith’s is not without emotion (even dryness is an affect, no matter how weak) and so still open to aesthetic (feeling-based) judgments.
Aesthetic judgments, Ngai reminds us, are rarely ever interesting in themselves. It is, in the end, our attempts to explain why we feel what we feel that truly interest us — and one virtue of conceptual art lies in how it asks us to explain our reaction to it.
why interesting is the aesthetics discourse?
bigness can rule out a judgment of something as cute.
interesting= new?
interesting= conceptual? wired? never seen?
interesting= catch the attention?
interesting= i care/ i don't care
ing
open a dialogue, communication and open a conversation between the artist and the audience.
just floating.
expand public sphere
just a dip, no commitment
icon of dull affect, low-intensity affect....ambivalent
lazy
why?
reuse it, paste it
all conceptual art just pointing at things?
artists = raise a question, not a finish sentence,
audience = finish the question by themselves, based on their background
beautiful is 'final"
interesting is in medias res, "on its way" to a "there" whose content or meaning is indeterminate.
https://www.artsy.net/article/artsy-editorial-if-you-don-t-understand-conceptual-art-it-s-not-your-fault
put the condition of society in question as well
Conceptual art is often praised or condemned for its lack of emotion, its unsentimental devotion to documentation, repetition, and dryness.
Ngai sees the precarious balance of emotional and analytical impulses that, for her, makes a piece of art “of interest.”
what’s interesting is always in danger of becoming profoundly boring.
Goldsmith’s is not without emotion (even dryness is an affect, no matter how weak) and so still open to aesthetic (feeling-based) judgments.
Aesthetic judgments, Ngai reminds us, are rarely ever interesting in themselves. It is, in the end, our attempts to explain why we feel what we feel that truly interest us — and one virtue of conceptual art lies in how it asks us to explain our reaction to it.
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