I overthink the whole process of writing, and have a hard time imagining that reader in concrete terms, so that I fear the unknown. If anything, the imagined reader has been a judge sitting on my shoulders whose image I have to shut out if I’m going to get any words down on the page.
Online art can be completely decontextualized from an art context or the original artist’s intent, which raises interesting questions for the creator and critic alike. How has a weakened context changed net-based art practices? How can art criticism understand this new audience, and its importance to the work? These situations can offer exciting opportunities or uncomfortable and odd clashes of different cultures.
Excerpt from Benjamin Valentine’s “Net Art in the Wild,” part of Art Practical Issue 5.2 | Readership —> http://bit.ly/1aHap5x
We must strive, in the face of the here and now’s totalizing rendering of reality, to think and feel a then and there. Some will say that all we have are the pleasures of this moment, but we must never settle for that minimal transport; we must dream and enact new and better pleasures, other ways of being in the world, and ultimately new worlds. Queerness is that thing that lets us feel that this world is not enough, that indeed something is missing.
Alicia McCarthy and Ruby Neri are the standouts. A 1996 untitled (and rare) oil painting by McCarthy draws one in with its siren call of polychromatic, wavering lines woven into a hypnotic grid.2Such Thing Countless Wondrs (1995), a group of nine works on paper by Neri, assembles a set of pictograms that seems to provide a lexicon for the rest of the show with its combination of animals, figures, and fonts. Also remarkable is the small group of Johanson’s mostly untitled acrylic-on-panel paintings from 1998. Dark sentiments about pain, failure, helplessness, and rage crowd the monochromatic works, in which figures are layered almost to the point of obliteration.
From Patricia Maloney’s review of ENERGY THAT IS ALL AROUND at SFAI’s Walter & McBean Galleries —> http://bit.ly/17RnpZs
Image (detail): Alicia McCarthy. Untitled, 1996; oil and latex on panel; 84 x 84 inches. Collection of Jeff Morris. Courtesy of the San Francisco Art Institute Walter and McBean Galleries. Photo: Johnna Arnold / SFAI.
The Anti-Eviction Mapping Project has an excellent timeline showing the eviction rates over the past sixteen years. The highest number of evictions occurs in 1998, but it is in1999 when “real estate speculators start using the Ellis Act to create TICs and Ellis evictions start to soar, going from 12 in 1998 to 435 in 2000.”
In the context of the overwhelmingly male scene represented by Space/Time/Sound, it’s perhaps unsurprising that Bonnie Sherk, Linda Montano, and Lynn Hershman all made works that raise the stakes of identity and gender inequality. In radically different ways, their works anticipate contemporary crises within those same issues. From addressing the under-diagnosed, theatrical schizophrenia of social networking to the urban farmer who both reinstates a commons and gentrifies a neighborhood, their projects questioned the traditional roles of women as providers of nourishment for men (for examples, as cooks, planters, and sex objects).
Brandon Brown on Space/Time/Sound—Conceptual Art in the San Francisco Bay Area: The 1970s (1981) at the San Francisco Museum of Modern Art —> http://bit.ly/19335kO
Image: Lynn Hershman Leeson. Roberta Multiples Looking at Roberta’s Construction Chart Seen From Behind, 1978; chromogenic print; 24 x 29 3/8 inches framed. Courtesy of the Artist and Gallery Paule Anglim, San Francisco.
They are also expelling the performance artists, the poets, the muralists, the activists, the working-class families — all these wonderful urban tribes that made this neighborhood a very special neighborhood for decades…One day…they will wake up to an extremely unbearable ocean of sameness.