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A user's guide to art-speak

A user's guide to art-speak
The Simon Lee Gallery in Mayfair is currently showing work by the veteran American artist Sherrie Levine. A dozen small pink skulls in glass cases face the door. A dozen small bronze mirrors, blandly framed but precisely arranged, wink from the walls. In the deep, quiet space of the London gallery, shut away from Mayfair's millionaire traffic jams, all is minimal, tasteful and oddly calming. Until you read the exhibition hand-out. If you've been to see contemporary art in the last three decades, you will probably be familiar with the feelings of bafflement, exhaustion or irritation that such gallery prose provokes. With its pompous paradoxes and its plagues of adverbs, its endless sentences and its strained rebellious poses, much of this promotional writing serves mainly, it seems, as ammunition for those who still insist contemporary art is a fraud. David Levine and Alix Rule do. IAE always uses "more rather than fewer words". The mention of interns is significant. Related:  Art, Culture, Aesthetics, and PicturesAesthetic Markets

chinaSMACK | Hot internet stories, pictures, & videos in China Hyperreality In semiotics and postmodernism, hyperreality is an inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced postmodern societies. Hyperreality is seen as a condition in which what is real and what is fiction are seamlessly blended together so that there is no clear distinction between where one ends and the other begins.[1] It allows the co-mingling of physical reality with virtual reality (VR) and human intelligence with artificial intelligence (AI).[2] Individuals may find themselves for different reasons, more in tune or involved with the hyperreal world and less with the physical real world. Some famous theorists of hyperreality/hyperrealism include Jean Baudrillard, Albert Borgmann, Daniel J. Boorstin, Neil Postman and Umberto Eco. Origins and usage[edit] Hyperreality can also be thought of as "reality by proxy"; simply put, an individual takes on someone else's version of reality and claims it as his or her own. Existenz

the gallerist: Diagrams from "Art Rules; Pierre Bourdieu and the Visual Arts" by Michael Grenfell and Cheryl Hardy. 2007. Berg Press. New York. So here are models that can be used to map out a cultural field. These are good starting points for our project but I think that we can develop a more sophisticated system. The maps provide: institutional positioning (eg. What's Next Failure by Design by Paul Rand Because design is so often equated with mere decoration, it is safe to assume that few people understand what design means or the role it plays in the corporate world. Graphic design pertains to the look of things — of everything that rolls off a printing press, from a daily newspaper to a box for corn flakes. It also pertains to the nature of things: not only how something should look but why, and often, what it should look like. Why then do design programs in large corporations seem to be going out of style? One rarely hears of the program that put Westinghouse on the design map. When my friend Giovanni Pintor left his company, the character and special quality of Olivetti design no longer reflected the same passion and brilliance of an almost never-ending stream of graphic design works. Without the enthusiasm of Adriano Olivetti, its founder, there might never have been a design program. But is poor design exclusively the domain of the CEO?

Sherrie Levine 2012 11 28 November 2012 – 5 February 2013 Opening: Tuesday, 27 November, 6-8PM Simon Lee Gallery is proud to present an exhibition of new work by the American artist Sherrie Levine. This body of work continues to develop the themes of reproduction, seriality and commodification, which have become the hallmarks of the artist’s practice over the past three decades. Levine has recurrently drawn on artistic antecedents to challenge the privileged status of originality which was established during the modernist era, positioning her as one of the most celebrated figures in the development of post-modernism. In this exhibition a series of twelve bronze mirrors lines the walls of the gallery, accompanied by twelve pink glass skulls displayed in vitrines. Levine refers to the ready-made by elevating a functional object of our daily routine, the mirror, to the status of artwork. Still life and vanitas paintings are ‘quoted’ in the twelve translucent pink skulls.

PSFK - News, Ideas and Trends for Inspiration Stargate and Ester Dean, Making Music Hits On a mild Monday afternoon in mid-January, Ester Dean, a songwriter and vocalist, arrived at Roc the Mic Studios, on West Twenty-seventh Street in Manhattan, for the first of five days of songwriting sessions. Her engineer, Aubry Delaine, whom she calls Big Juice, accompanied her. Dean picked up an iced coffee at a Starbucks on Seventh Avenue, took the elevator up to Roc the Mic, and passed through a lounge that had a pool table covered in taupe-colored felt. Two sets of soundproofed doors led to the control room, a windowless cockpit that might have been the flight deck of a spaceship. Tor Hermansen and Mikkel Eriksen, the team of Norwegian writer-producers professionally known as Stargate, were waiting there for Dean. Most of the songs played on Top Forty radio are collaborations between producers like Stargate and “top line” writers like Ester Dean. The top-liner is usually a singer, too, and often provides the vocal for the demo, a working draft of the song. How did this happen?

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