ArtSlant https://www.artslant.com/ny/Articles/show en-us 40 Under the Radar: Louise Laffaille | Graham Livingston | Iliana Tosheva <table style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">ArtSlant is an open Arts community with over 200,000 free, user-generated <a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" style="color: #097ff5; text-decoration: none;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our <a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" style="color: #097ff5; text-decoration: none;">magazine</a> to our <a href="http://www.artslant.com/ny/articles/show/33747" style="color: #097ff5; text-decoration: none;">residency</a> and <a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" style="color: #097ff5; text-decoration: none;">prize</a>. Every week our editors select the best artist profiles from under the radar. </span></em></span></p> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">Follow your favorite artists to see new work and exhibitions by adding them to your <a href="http://www.artslant.com/global/articles/show/11143" style="color: #097ff5; text-decoration: none;">watchlist.</a></span></em></span></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/496164-louise-laffaille?utm_source=FeiFanZhang&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span color="#097ff5" face="georgia, palatino" size="4" style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Louise Laffaille &ndash; New York</span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1074969?utm_source=FeiFanZhang&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1074969/u3azr9/20171106141438-CC4E9E00-0318-4431-AD47-D6A5F8A17FC5.jpeg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1086814?utm_source=FeiFanZhang&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1086814/y8wnrh/20180208142910-E838F9DD-86FC-4BBE-9CFC-0E90F8A545A7.jpeg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1086818?utm_source=FeiFanZhang&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1086818/y8wnrh/20180208142921-936CDB72-1FFD-41CD-B89D-8C0E2B95CBBB.jpeg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1086821?utm_source=FeiFanZhang&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1086821/y8wnrh/20180208142923-2F2BFEF4-C43F-44D3-9C85-8890A8782E1E.jpeg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/501031-graham-livingston?utm_source=GrahamLivingston&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="font-family: georgia, palatino; font-size: large;"><span color="#097ff5" face="georgia, palatino" georgia="" large="" palatino="" size="4" style="color: #097ff5; text-decoration: none;">Graham Livingston &ndash; Chicago</span></span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1088066?utm_source=GrahamLivingston&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1088066/u3azr9/20180214045725-Stacked.gif" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1088063?utm_source=GrahamLivingston&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1088063/y8wnrh/20180214045205-Vague_Spaces_02.png" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1088062?utm_source=GrahamLivingston&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1088062/y8wnrh/20180214045152-Vague_Spaces_01.png" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1088064?utm_source=GrahamLivingston&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1088064/y8wnrh/20180214045313-Livingston_Graham__4_36_X15_.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/195239-iliana-tosheva?utm_source=IlianaTosheva&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Iliana Tosheva &ndash; London</span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1068832?utm_source= IlianaTosheva&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1068832/u3azr9/20171017113244-THE_SECRET_GARDEN.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1068833?utm_source=IlianaTosheva&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1068833/y8wnrh/20171105145221-NOT_MEANT_TO_BE.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1074827?utm_source=IlianaTosheva&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1074827/y8wnrh/20171105145719-WINTER_SECRETS.jpg" style="width: 100%;" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1068461?utm_source=IlianaTosheva&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1068461/y8wnrh/20171015113425-PRIMAVERA.jpg" width="100%" /></a></td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 24px;">ArtSlant supports thousands of contemporary artists through our outreach and exposure programs&mdash;come join the best online arts community today!</span></em></p> <p style="text-align: center;">&nbsp;</p> <table> <tbody> <tr> <td style="padding 0px;" width="25%"><a href="https://www.artslant.com/par/articles/show/8456"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20180222200008-ArtSlant_Prize_X_2018-01.png" style="width: 100%;" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.artslant.com/par/foundation?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Residency"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182447-residency-logo-300.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.artslant.com/ew/articles/show/48965-our-new-residency-is-now-accepting-applications-process-park" style="font-family: georgia, palatino;"><img src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171204002549-Process-park-logo-sq.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182549-profile-subscriptions-logo-300.jpg" width="100%" /></span></a></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Fri, 23 Feb 2018 06:33:02 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list For the Culture: Towards Curating Black Art by Aesthetic, Not Struggle <p>Unlike <a href="https://www.artslant.com/ams/articles/show/48362-sprawling-group-shows-deny-black-revolutionary-artists-the-space-and-time-they-deserve" target="_blank">recent major shows</a> that are chronological surveys of Black art in the context of political upheaval and communal struggle, the exhibition <em>Transformative Space</em> centers the aesthetics, techniques, and innovation of its artists. Now at the August Wilson Center in Pittsburgh, the exhibition magnifies the interstices of the Black experience that push against the historical watersheds that have come to over-define Black life. The onus of <em>Transformative Space</em> is not to couch Black art as a mere reaction to political oppression orchestrated by lethal white imaginations; instead, it draws on what can be revealed in Black aesthetics when we come to them as a way to animate the imagination and examine the innovative capacities and techniques of its artists. The exhibition honors Blackness not because of hardship&mdash;it honors Black artistry for Black artistry&rsquo;s sake, which is enough of a reason.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180223140124-Installation_View_01.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Installation view of <em>Transformative Space: The N&rsquo;Namdi Collection</em>, 2018, The August Wilson Center, Pittsburgh.<br /> Courtesy of the August Wilson Center</span></p> <p>&nbsp;</p> <p>The exhibition asks about the sometimes wild, sometimes shocking, narratives and methodologies that appear on the canvas as a result of a Black artist&rsquo;s passion for their process. The primary context of <em>Transformative Space</em> is not suffering, but craftsmanship and artistic enterprise. Be it Jack Whitten sculpting ravines into his tesserae pieces with an Afro-pick, Allie McGhee folding multi-hued canvases into lovely cramps of color, or Rashid Johnson turning a scan of his elbow into a work of compelling minimalist art, the show&rsquo;s gravitational center is the experimental and creative urge.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180223140432-1o__Jack_Whitten__Summit__Mixed_media_on_canvas_84_x_73in_1998.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Jack Whitten, <em>Summit</em>, 1998, Mixed media on canvas, 84 x 73 in. Courtesy of the N&rsquo;Namdi Collection, Detroit</span></p> <p>&nbsp;</p> <p><em>Transformative Space: The N&rsquo;Namdi Collection</em> brings together 29 rare works from George and Carmen N&rsquo;Namdi&rsquo;s Detroit-based collection of predominantly abstract post-war and contemporary work by artists from the African Diaspora. The 250-work collection is invaluable not only in its dedication and promotion of these artists, but also in the way its diverse assemblage speaks to a universal human experience. In this latest collection presentation, Pittsburgh-based art historian and curator Kilolo Luckett sets a new example for how to properly highlight, honor, arrange, and contextualize the works of these master artists. Although the August Wilson Center is smaller than the Brooklyn Museum or Tate Modern, which both staged surveys of Black American art in 2017, its position as an institution of Black arts provides the opportunity to transform the context in which said art is analyzed. The curatorial mandate shifts from historical justification to revealing the merit inherent in the style, experimentation, and daring. The artwork in this space can be appreciated for the dialogue it generates with the art world rather than isolated in a tokenized corner.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180223141601-4__Bob_Thompson__Caledonia_Flight__Oil_on_Canvas_77_x_57in_1963.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Bob Thompson, <em>Caledonia Flight</em>, 1963, Oil on Canvas, 77 x 57 in. Courtesy of the N&rsquo;Namdi Collection, Detroit</span></p> <p>&nbsp;</p> <p>The historical contexts for a number of prominent exhibitions of Black art recently have been <a href="https://www.brooklynmuseum.org/exhibitions/touring/we_wanted_a_revolution_black_radical_women_196585" target="_blank">revolution</a> and <a href="http://www.tate.org.uk/whats-on/tate-modern/exhibition/soul-nation-art-age-black-power" target="_blank">politics</a>, comprised of&nbsp;<a href="https://cmoa.org/exhibition/2020-studio-cmoa/" target="_blank">artworks</a> viewed through the <a href="https://www.brooklynmuseum.org/exhibitions/touring/witness_civil_rights" target="_blank">lens of their engagement</a> with the <a href="https://hammer.ucla.edu/now-dig-this/" target="_blank">sociopolitical and sociocultural ails</a> of their time. Larger art institutions seem preoccupied with this spectacle of overcoming, rather than the ways in which Black artists&rsquo; work is intricately woven within art history more broadly, and is in conversation with work by non-Black contemporaries and forebears. Bob Thompson and Henri Matisse, for example, share similar tastes in color and form: it is clear that Matisse influenced Thompson, who then distilled this influence in his own imaginative and technical manifestations. All artwork is multidimensional in its function. Yes, Black artists&mdash;like all artists&mdash;respond to their circumstances; but they also create and experiment in techniques that are new to the art world in their time.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180223140550-22__Chakaia_Booker__Pioneer__Rubber_Tire__wood__photo_collage_and_paint_19_x_12_x_7in_1995-98.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Chakaia Booker, <em>Pioneer</em>, 1995&ndash;98, Rubber Tire, wood, photo collage and paint, 19 x 12 x 7 in. Courtesy of the N&rsquo;Namdi Collection, Detroit</span></p> <p>&nbsp;</p> <p>The works in <em>Transformative Space</em> have several aesthetic values in common: layering, texture, and exploration with materials and themes. Highlighting interrelated narratives of color and form, tracing relationships between work non-chronologically, Luckett makes each artwork memorable, specific, and present in its designated space. An example of this balance and harmony is how Whitten&rsquo;s <em>Summit </em>(1998) a dynamic mosaic of black, grays, and greens, interacts with Chakaia Booker&rsquo;s sculpture,<em> Pioneer </em>(1995&ndash;1998), a pair of slippers made from tires. The slippers&rsquo; bristling textures not only call upon the tactile quality of <em>Summit</em>, but also summon sustainability and environmental themes, which were important in Whitten&rsquo;s work as well. Installed in a triangular matrix, these works hum in tune with the layered hues of Ed Clark&rsquo;s <em>The Circle </em>(1968), which shares the black and silvery undertones of Whitten and Booker&rsquo;s pieces.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180223140631-18__Ed_Clark__The_Circle__Acrylic_on_Canvas_72__Diam_1968.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Ed Clark, <em>The Circle</em>, 1968, Acrylic on canvas, Diameter 72 in. Courtesy of the N&rsquo;Namdi Collection, Detroit</span></p> <p>&nbsp;</p> <p>Characteristics such as color, line, and texture might seem like trivial formal connections on which to build curatorial relationships in 2018. Yet, few Black artists have been afforded the luxury of having their work celebrated for its formal qualities, for its technical and material experimentation. Permanent collections of museums of Modern art around the world, on the other hand, have organized work by (predominantly white male) artists using these very principles for decades. At the August Wilson Center, the N&rsquo;Namdi Collection doesn&rsquo;t need to provide an excuse to a predominantly white audience for why these works should be seen. This exhibition&rsquo;s heart is the joyous canvas that encapsulates the energy of artists pushing themselves to the creative limit to emote their interiority as people. It speaks to how Black positionality can be deeply specific and puissant, yet capable of piquing the imagination of any viewer.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180223141632-5__Vincent_Smith__In_the_Yard__Oil__sand__collage_on_canvas_48_x_70in_1972.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Vincent Smith, <em>In the Yard</em>, 1972, Oil, sand, collage on canvas, 48 x 70 in. Courtesy of the N&rsquo;Namdi Collection, Detroit</span></p> <p>&nbsp;</p> <p>An example is Vincent Smith&rsquo;s painting <em>In the Yard </em>(1972). Across the foreground of the painting are four Black men in identical prison uniforms, their faces reminiscent of the angular feminine figures in Picasso&rsquo;s <em>Les Demoiselles D&rsquo;Avignon</em>. A dark hallway opens up behind them, an opaque yellow light illuminating their house of incarceration. A barred window reinforces their looming captivity. Yet, to the left of the men, behind the grate of their cage, possibility is formed through light. Different from the yellow interior glow, the outside luminosity is built up of supple autumn reds and oranges, with lime green highlights. This is an image that portends suffering, but it is not on display because of its narrative: the work is a study in light. Its aesthetic responds to the fantasy of <em>Les Demoiselles</em>, a gorgeous, but masculine vision of femininity with the potential that the &ldquo;Africanized&rdquo; faces tickle in the white imagination. Through stylized figuration Smith reveals the realities of mass incarceration that have been with the United States since Reconstruction.</p> <p><span style="text-align: center;">On the same wall is the first work collected by the N&rsquo;Namdis: an abstract painting by Phyllis Diane Jones entitled </span><em style="text-align: center;">Stan&rsquo;s Dance</em><span style="text-align: center;"> (1968). Made of distressed mixed-media images and fields of curling black and white space, the orange-red field dominating the left-hand side of the image plays call and response with Smith&rsquo;s painting. The juxtaposition based on color and aesthetic as opposed to chronology fosters a harmonious and balanced visual relationship, enhancing the abilities and creative impulse of the artist&mdash;it allows the work to be better seen on its own terms.</span></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180223141711-19__Barbara_Chase-Riboud__The_Enigma_of_Isadora_Duncan_Monument_to_Man_Ray__Monoprint_32__x_25__2001.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Barbara Chase-Riboud, <em>The Enigma of Isadora Duncan Monument to Man Ray</em>, 2001, Monoprint, 32 x 25 in. Courtesy of the N&rsquo;Namdi Collection, Detroit</span></p> <p>&nbsp;</p> <p>Another wall lines up high contrast works with playful essences. Rashid Johnson&rsquo;s <em>Untitled (Manumission Papers Series)</em> (2000) and Leonardo Drew&rsquo;s <em>Untitled</em> (2014) share tinny, earthy palettes; they are sparse in figures, but high in texture and delicate evidence of the artists&rsquo; hands. They communicate in line and color but their subject matter tends to the idea of freedom and the endless possibilities present in minimalism. Capping this installment is a rare two-dimensional work on paper by Barbara Chase-Riboud, <em>The Enigma of Isadora Duncan Monument to Man Ray</em> (2001). We see her artistic obsessions: her handwriting is present; ropes form a girdle around draping lines, shaping an almost topographical space. Although two-dimensional, Chase-Riboud&rsquo;s sculptural sensibilities signal a palette change as well as a spatial one; it offers a bridge from Johnson and Drew&rsquo;s minimalist artworks into the louder conversation taking place between Sam Gilliam and Allie McGhee. The latter two artists paint in psychedelic brightness, shaping their canvases into three-dimensional bodies as a way to experiment with space. There is no limit to the amount of passion Luckett has unleashed in building relationships between these diverse works. The artworks, some still political in nature, are a laying bare of interiority and imagination.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180223140840-12__Allie_McGhee__Visit__Mixed_Media_on_Fiberglass_48__x_50__x_4__2015.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Allie McGhee, <em>Visit</em>, 2015, Mixed Media on Fiberglass, 48 x 50 x 4 in. Courtesy of the N&rsquo;Namdi Collection, Detroit</span></p> <p>&nbsp;</p> <p><em>Transformative Space</em> is an important signpost to remind curators and viewers alike that there is a way to curate and enjoy Black Diasporan art that eschews the reissuance of status quo gestures of tokenism, isolation, and historical stereotyping. <em>Transformative Space</em> reveals how the absolute, remarkable capacities of humanity demonstrated through artistry can be unveiled, named, and acknowledged. With in-depth and caring curation the art world can approach Black art for the sake of what has been sweat and emoted onto the canvas; for the sake of its bravery, risk, and ultimate form. It is time that Black Diasporan Art&rsquo;s place in the art historical conversation be expanded and diversified as a way to honor and match its daring.</p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/490259-jessica-lanay?tab=REVIEWS" target="_blank">Jessica Lanay</a></p> <p><em>Jessica Lanay is a poet and short story writer from the Florida Keys living in Pittsburgh. Her work can be found in Salt Hill Journal, Tahoma Literary Review, and is forthcoming in Fugue and The Common.</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top:&nbsp;</span><span style="font-size: 12px; text-align: center;">Phyllis Dianne Jones,&nbsp;</span><em style="font-size: 12px; text-align: center;">Stan&rsquo;s Dance</em><span style="font-size: 12px; text-align: center;">, 1968, Mixed Media and acrylic on canvas, 35 x 31 in. Courtesy of the N&rsquo;Namdi Collection, Detroit)</span></p> Fri, 23 Feb 2018 09:02:23 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Ultimatums <p><em><a href="https://www.artslant.com/global/artists/show/494242-ali-fitzgerald?tab=REVIEWS" target="_blank">&ldquo;City of Lights, City of Fonts&rdquo;</a>&nbsp;is a&nbsp;blog and visual diary created by ArtSlant&rsquo;s&nbsp;<a href="https://www.artslant.com/ny/foundation">Georgia Fee Artist-in-Residence</a>, Ali Fitzgerald.&nbsp;Fitzgerald will explore France&rsquo;s evolving visual relationship to propaganda, looking deeply at aesthetics of nationalism and politicized otherness.&nbsp;With sketches, writing, and graphic vignettes, she will document fonts, signage, and France&#39;s history of drawing as activism.</em></p> <p>&nbsp;</p> <p>Grayscale nuances have no place in the propagandist&rsquo;s world. Propaganda is a black tiled vision, a zero-sum game. Visually, this is portrayed with a split-image showing a dystopic landscape of foreign influence contrasted by a &ldquo;purer&rdquo; nationalist one.</p> <p>Below is my rendering of an image circulated by the National Front during the last election:</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180222090439-Artslant_5_1.jpeg" /></p> <p>On one side you see the rolling hills, flowers, and cobblestones associated with the France of Lonely Planet guidebooks. On the other, the viewer is presented with debauched, fiery Mad Max despair. The text asks the viewer to &ldquo;Choose Your France.&rdquo;</p> <p>This is literally the oldest trick in the propagandist&rsquo;s book.</p> <p>Below is a drawing of a 1943 Nazi Germany poster warning of the ravages of Bolshevism which uses the same scare tactic. The text translates to, &ldquo;Victory or Bolshevism.&rdquo; Even the fonts are similar: simple san-serifs that express an urgent call to arms.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180222090515-Artslant_5_2.jpeg" /></p> <p>The consistency in this approach reflects the heart of propaganda: to stereotype and flatten the &ldquo;other&rdquo; while characterizing ethnic nationalism as just, ethical, and necessary. Part of this involves creating a hellscape that threatens long-held institutions and portends a dark future. Consider this self-aware racist meme of Jack Nicholson that went viral during Trump&rsquo;s 2016 campaign:</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180222090541-Artslant_5_3.jpeg" /></p> <p>This represents a slightly different approach tailored for meme-spreading, but the idea is the same: foreigners are terrifying and their behavior is inextricably linked to criminality. Just last week, there was uproar over a <a href="https://www.npr.org/sections/thetwo-way/2018/02/09/584686212/albuquerque-newspaper-apologizes-for-racist-cartoon-about-dreamers" target="_blank">wildly racist cartoon</a> at the <em>Albuquerque Journal </em>which linked &ldquo;Dreamers&rdquo; to gang violence and jihadism. It&rsquo;s depressingly similar in both construction and tone to racially-charged cartoons from the early 20th century.</p> <p>Racist caricature as a tool is immediate and powerful. I&rsquo;ve often wondered: is all caricature racist? Or at least, are the roots of caricature fundamentally racist? Consider the trope of the rat. It has been employed again and again to demonize minority communities, most famously in Nazi Germany. In 2015, at the height of the refugee crisis in Europe, the cartoonist Mac published a cartoon in the <em>Daily Mail</em> *again* depicting immigrants as invasive vermin.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180222090621-Artslant_5_4.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Image <a href="https://www.theguardian.com/artanddesign/shortcuts/2015/nov/18/rats-the-history-of-an-incendiary-cartoon-trope" target="_blank">via</a></span></p> <p>&nbsp;</p> <p>Ugh. This simplified and destructive use of comics sometimes makes me question the medium as a tool that can be used for the greater good.</p> <p>France has a particularly interesting (and sometimes problematic) relationship to caricature. Next week I&rsquo;ll talk a bit more about France&rsquo;s drawn history, starting with Daumier and social satire.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180222090711-Artslant_5_5.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Image <a href="https://en.wikipedia.org/wiki/La_Caricature_(1830–1843)#/media/File:Caricature_Charles_Philipon_pear.jpg" target="_blank">via</a></span></p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/494242-ali-fitzgerald" target="_blank">Ali Fitzgerald</a></p> <p>&nbsp;</p> <p>&nbsp;</p> Thu, 22 Feb 2018 01:45:46 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Ghosts, Devils, and Advertising <p><em><a href="https://www.artslant.com/global/artists/show/494242-ali-fitzgerald?tab=REVIEWS" target="_blank">&ldquo;City of Lights, City of Fonts&rdquo;</a>&nbsp;is a&nbsp;blog and visual diary created by ArtSlant&rsquo;s&nbsp;<a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://www.artslant.com/ny/foundation&amp;source=gmail&amp;ust=1517302926405000&amp;usg=AFQjCNG2iJiiFloEnyaBex_3a9Pp4gWxdQ" href="https://www.artslant.com/ny/foundation" target="_blank">Georgia Fee Artist-in-Residence</a>, Ali Fitzgerald.&nbsp;Fitzgerald will explore France&rsquo;s evolving visual relationship to propaganda, looking deeply at aesthetics of nationalism and politicized otherness.&nbsp;With sketches, writing, and graphic vignettes, she will document fonts, signage, and France&#39;s history of drawing as activism.&nbsp;</em></p> <p>&nbsp;</p> <p>In his book, <em>A Little Guide&nbsp;to the 15th Arrondissement for the Use of Phantoms</em>, Roger Caillois examines the sleepy district in Paris where he grew up, the same district where I&rsquo;m staying now.</p> <p>I bought the book imagining a witchy, postmodern guide to my new home, but actually, Caillois&rsquo; &ldquo;phantom beings&rdquo; are symbols. They are stand-ins for immigrants and asylum-seekers, <em>&eacute;trangers</em> who were driven from their homes in the 15th Arrondissement as the Seine&rsquo;s waterfront was being developed.&nbsp;The book itself is a bizarrely fascinating take on psychic architecture and the impact of space on our memory. He&rsquo;s especially fond of narrow buildings, which are seemingly incapable of housing anything truly fleshy.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180220083812-Artslant_4_1.jpeg" /></p> <p>Caillois describes a childhood in Paris in the 20s and 30s which was covered in gigantic, painted advertisements and posters.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180220083840-Artslant_4_2.jpeg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180220083858-Artslant_4_3.jpeg" /></p> <p>With the prominence and ease of poster-making in the 20th century, France&rsquo;s former glories could suddenly be used not only to recruit people for war efforts, but also to sell products.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180220092000-Artslant_4_4.jpeg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180220092040-Artslant_4_5.jpeg" /></p> <p>The link between national icons, patriotism, propaganda, and advertising is a relatively strong one. But it brings up a foggier question: is advertising always a form of propaganda?</p> <p>Even if there were a metric to measure (dis)honesty in advertising, visuals are slippery and not beholden to the same rules as written text. It&rsquo;s pretty clear that advertising and political propaganda frequently exchange the same visual strategies: seductive women, burly men, and awakened national sentiment.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180220092121-Artslant_4_6.jpeg" /></p> <p>In <em>How Propaganda Works</em>, Jason Stanley argues that advertising is especially propagandistic when it aims to sell us products that are harmful or irrelevant. This is depressingly clear in the omnipresent promise of beautiful women in ads, or the bizarre appropriation of a Martin Luther King speech in a Dodge Ram commercial.</p> <p>Both advertising and propaganda seek to simplify: to make things black and white, good versus evil. In advertising, the perfect life awaits you at the bottom of a bottle of Pernot. In political propaganda, viewers are threatened with the loss of the old world order to something or someone &ldquo;evil.&rdquo;</p> <p>Next time, I&rsquo;ll go into this (over)simplification a bit more. In the meantime, please enjoy this belated Valentine-slash-World-War-I-propaganda-poster of the Kaiser kissing the devil.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180220092153-Artslant_4_7.jpeg" /></p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/494242-ali-fitzgerald">Ali Fitzgerald</a></p> <p>&nbsp;</p> <p>&nbsp;</p> Tue, 20 Feb 2018 08:14:03 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Jesse Farber Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/la/main/show_new_email/84518?obj_type=User&amp;re_id=85197683&amp;template_id=48823" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from <a href="https://www.artslant.com/global/artists/show/501157-jesse-farber" target="_blank">Jesse Farber</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>There is a way in which I think we are very alienated from ourselves, in trying to understand ourselves as material beings existing in the world. We learn more and more about the nature of matter and our physical systems, but it&rsquo;s still so difficult to feel in any visceral sense that this is actually happening inside us and around us&mdash;that it&rsquo;s in fact who we are, on a fundamental level. Instead, a muddle of textbook diagrams, conceptual frameworks, x-rays, family trees, religious hierarchies, and endless other schemata shapes our fragmented material identities. My work examines this confused sense, deep within us, of what we think we are made of, and therefore, who and what we are.</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>I believe artworks should change how we perceive and understand the world. Artists have the power to help us learn, grow, and expand our awareness in an infinite variety of ways. It is the artist&rsquo;s responsibility to contribute to this. In an age of cultural saturation, with aesthetic pleasure readily available, artists should demand more of themselves than making nice things to look at. Fortunately, however, even the simplest work can evoke a profound experience, if we are willing to let it teach us.</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)?</strong></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180219101031-img935-c-col-pu.jpeg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>O\s&frasl;&ordm;&frasl;&ordm;</em>, 2018, Digital print, 130 x 130 cm</span></p> <p>&nbsp;</p> <p>I always feel this way about whatever I&rsquo;ve just finished making!</p> <p>I completed this large print work called&nbsp;<em>O\s&frasl;&ordm;&frasl;&ordm;</em>&nbsp;just a few days ago, so it grabs the title for now. Really, I&rsquo;m very happy about this whole series. For me, the objects and situations in these prints are these kind of ontological puzzles, modeling our fragmented sense of our material self. They have recognizable real-world qualities, and are photographically rendered, but they are not truly identifiable.</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>I&rsquo;ve learned a lot of coding over the last several years, and recently started developing my collage prints into animated algorithmic environments. That work I will definitely make, but I could also imagine a future point at which it would be somehow possible to actually render these elements as living lifeforms, not merely as algorithmic simulations in a virtual environment. This thought repulses me, but, then again, as a fan of horror sci-fi films, I can&rsquo;t help being intrigued by it.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180219101001-20171030195146-img626-b-final.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>1gY&#39;lli</em>, 2017, C-print, 130 x 130 cm</span></p> <p>&nbsp;</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p>Joerg Simon (Frankfurt, DE)&mdash;Joerg combines the best of alienated paranoiac collage with a humanistic, personal approach. We have also collaborated on collages, and an album of soundworks. <a href="https://www.ausstellungsraum-becker.de/ausstellungen/sketch-show/" target="_blank">This link</a> is to a recent exhibition of his. You can also hear the album we did together <a href="https://www.jessefarber.com/artist/audio" target="_blank">here</a> (where a free audio player is embedded.)</p> <p><a href="https://www.facebook.com/profile.php?id=100008180257011" target="_blank">Malcolm Smith</a> (Alabama, USA)&mdash;Mind-blowing techno-mysticism. We haven&rsquo;t collaborated yet, but I hope we get to someday.</p> <p><a href="https://www.instagram.com/not_just_ice_/" target="_blank">Jasmine Justice</a> (Berlin, DE)&mdash;Painting which crystallizes the information atmosphere. Another great collaboration partner! Also check out her upcoming April show at <a href="http://www.65grand.com" target="_blank">65Grand</a> in Chicago.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: <em>l)(y&bull;k</em></span><span style="font-size:12px;">, 2017, C-print, 130 x 130 cm)</span></p> Tue, 20 Feb 2018 01:10:32 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Portrait: Katie Stout Defies Genre with Her Touchable, Usable, Body Positive Artworks <p><em>This photo portrait was originally published as a longer interview feature on </em><a href="https://www.freundevonfreunden.com/by-subverting-the-expected-brooklyn-artist-katie-stout-takes-a-welcome-humanistic-approach-to-her-art"><em>Freunde von Freunden</em></a><em>.</em></p> <p>In a vast warehouse in the Bed-Stuy neighborhood of Brooklyn, Katie Stout crafts couches out of various textiles and her signature Girl Lamps out of clay, celebrating womanhood with colors and textures in the form of functional pieces.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</p> <p>Stout&rsquo;s creative process is bold, experimental, and constantly evolving&mdash;during our studio visit she was feverishly finding a way to support a desk she was assembling out of papier-mâché and wire for an upcoming show. Katie&rsquo;s work can be intimidating because of its sheer boldness, but when you strip it down, it&rsquo;s a reflection of the woman behind the work: engaging, approachable, confident, and fun.</p> <p>Freunde von Freunden met the artist in Brooklyn to chat about her genre-defying artwork and furniture.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215144802-Freunde-von-Freunden-Katie-Stout-4616.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;I think you can spill milk on something and still treat it like a piece of art.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <p><strong>What type of work do you create?</strong></p> <p>I make art that functions as furniture but sometimes it doesn&rsquo;t. I&#39;m not totally committed to any material; I use scraps around my studio, a lot of clay, and I love papier-mâché. I tend to take any opportunity to work with a new material. I like using everything and learning about different processes and then doing things the wrong way. Love easy low-brow materials like crayons, trash, things like clay that can be mushed.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215144833-Freunde-von-Freunden-Katie-Stout-4351.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <p><strong>How did your childhood influence your creativity?</strong></p> <p>I grew up in a household where creativity was celebrated. I had a whole zone to myself where I could make a mess and there was never a shortage of art supplies. My mom also went to RISD and her mother had been a photographer. When I wanted to be a cheerleader in fourth grade, my dad said, &ldquo;No, you&#39;re going to be cheered for.&rdquo; Might be the coolest thing he&rsquo;s ever said.</p> <p>&nbsp;</p> <table width="100%"> <tbody> <tr> <td style="text-align: center;" width="50%"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215144943-Freunde-von-Freunden-Katie-Stout-4438.jpg" /></td> <td style="text-align: center;" width="50%"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215145559-Freunde-von-Freunden-Katie-Stout-4354.jpg" /></td> </tr> </tbody> </table> <p>&nbsp;</p> <p><strong>Your furniture is designed to not only be art, but also to be used as actual furniture in a household. Do you find people treat it as both after purchasing a piece, or do they covet it more like a piece of art not to be touched?</strong></p> <p>I think people are sometimes confused about how they&rsquo;re supposed to use it. It&rsquo;s a space that people feel uncomfortable in, which I love. But I think you can spill milk on something and still treat it like a piece of art. I guess art is defined by the viewer. In general I think people revere prescribed art too much and lesser known art too little. Someone spending $450 million on a painting is gross. Especially if it&rsquo;s da Vinci. I couldn&rsquo;t get out of the da Vinci show at the Met fast enough because the hype eclipsed the merits of the work.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>I want to take a more humanistic approach to art and art making, one where it can be touched and used and provides a different and more welcoming approach to how it&rsquo;s viewed and how it functions.</p> <p>&nbsp;</p> <table width="100%"> <tbody> <tr> <td style="text-align: center;" width="50%"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215145306-Freunde-von-Freunden-Katie-Stout-4372.jpg" /></td> <td style="text-align: center;" width="50%"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215150855-Freunde-von-Freunden-Katie-Stout-4356.jpg" /></td> </tr> </tbody> </table> <p style="text-align: center;"><span style="font-size:12px;">(left) Shady Lady lamps in progress</span></p> <p>&nbsp;</p> <p><strong>You explore themes around sexuality in your work. Is this a particular statement?</strong></p> <p>I was interested in exploring the objectification of women by of extreme objectification. There&rsquo;s a frenzy of conversation about sexual abuse in the media with #MeToo, Hollywood, U.S. gymnastics, Donald Trump. Women have inarguably been treated as objects to be used. By parodying the art objects of women, the ladies I create own their bodies. I imagine them holding the lampshade up as a choice they&rsquo;ve made. They defy traditional categories of what women are supposed to be by being domestic and choosing to be sexually open. Don&rsquo;t call it naughty.</p> <p>&nbsp;</p> <div> <table width="100%"> <tbody> <tr> <td style="text-align: center;" width="50%"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215145329-Freunde-von-Freunden-Katie-Stout-4443.jpg" /></td> <td style="text-align: center;" width="50%"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215150048-Freunde-von-Freunden-Katie-Stout-4455.jpg" /></td> </tr> </tbody> </table> </div> <p>&nbsp;</p> <p><strong>What is your favorite piece you&rsquo;ve ever created?</strong></p> <p>My favorite piece has been Wench Bench due partially to the unexpected and automatic nature of its actualization. I had a chainsaw artist in Duluth carve nude female forms out of pine stumps. (You know chainsaw art&mdash;like those carved bears in upstate New York?) The nude ladies were various apathetic positions lying on the floor&mdash;in fetal position after having given up&mdash;and I had them carved out of stumps into little stools. But the carvings came back much smaller than I expected and were too low to sit on. So I puzzle pieced them all together into a bench, which I called Wench Bench, which made for a far more dynamic piece than my original idea.</p> <p><strong>What is the best thing you&rsquo;ve done for your career?</strong></p> <p>The best thing I&rsquo;ve done is pursue it full-time and not really listen to people who thought I was insane.</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215150346-Freunde-von-Freunden-Katie-Stout-4497.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215150330-Freunde-von-Freunden-Katie-Stout-4433.jpg" /></p> <p>&nbsp;</p> <p><strong><em>Read the full interview and find more images of Katie Stout and her BK studio on </em></strong><a href="https://www.freundevonfreunden.com/by-subverting-the-expected-brooklyn-artist-katie-stout-takes-a-welcome-humanistic-approach-to-her-art"><strong><em>Freunde von Freunden</em></strong></a><strong><em>.</em></strong></p> <p>Adapted from text and photography by <a href="https://www.freundevonfreunden.com/tag/Erin-Little/">Erin Little</a></p> <p>&nbsp;</p> Thu, 15 Feb 2018 07:12:08 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list The ArtSlant Prize X: Apply Today + Juror Announcement! <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20180213174127-ArtSlant_Prize_X_2018-01.png" style="width: 200px; height: 200px;" /></p> <p style="text-align: center;"><b style="font-family: helvetica; font-size: large;"><i>Round 1 of the ArtSlant Prize X closes February 26th.</i></b></p> <p style="text-align: center;"><b style="font-family: helvetica; font-size: large;"><i>Apply today for your chance at $5k in prizes and an exhibition in New York during Armory Week!</i></b></p> <p style="text-align: center;"><i style="font-family: helvetica; font-size: large;"><strong>To apply</strong>, sign in to <a href="https://www.artslant.com" style="color: rgb(0, 207, 166); text-decoration-line: none;"><strong>artslant.com</strong></a>, click the menu navicon <img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170906130218-Screen_Shot_2017-09-06_at_9.01.04_AM.png" style="width: 25px;" />&nbsp;at the top and select&nbsp;<strong>ArtSlant Prize</strong>.</i></p> <hr /> <p style="text-align: center;"><font face="helvetica" size="4"><i>The&nbsp;</i><em><strong>ArtSlant Prize IX Exhibition</strong></em><i>&nbsp;will take place during Armory Week in New York at&nbsp;<strong><a href="http://www.springbreakartshow.com/" style="color: rgb(0, 207, 166); text-decoration-line: none;">SPRING/BREAK Art Show</a></strong>, March 6&ndash;12, 2018, booth 2231.&nbsp;</i></font><i style="font-family: helvetica; font-size: large;">Purchase tickets for the fair&nbsp;<strong><a href="https://www.eventbrite.com/o/springbreak-art-show-12813445625" style="color: rgb(0, 207, 166); text-decoration-line: none;">here</a></strong>.</i></p> <p style="text-align: center;"><span style="font-family: georgia; font-size:18px;"><strong><em>ROUND 1 JURORS:</em></strong></span></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180215134930-Screen_Shot_2018-02-15_at_14.41.57.png" /></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center; line-height: 30px;"><font face="georgia" size="4"><strong>Roberto Acosta Oyarzo</strong> is <a href="https://www.artslant.com/global/artists/show/500475-roberto-acosta-oyarzo" style="color: #00cfa6; tex-decoration: none;" target="_blank"><strong>printmaker</strong></a>, film maker and curator based in Valpara&iacute;so, Chile.</font></p> <p style="text-align: center; line-height: 30px;"><font face="georgia" size="4"><strong>Tiana Webb Evans</strong> is a <a href="https://www.artslant.com/global/artists/show/500995-tiana-webb-evans" style="color: #00cfa6; tex-decoration: none;" target="_blank"><strong>cultural producer</strong></a>, a marketing and communications professional, and an advocate for diversity in the arts. </font></p> <p style="text-align: center; line-height: 30px;"><font face="georgia" size="4"><strong>Margaret Clinton</strong> is the owner and director of <a href="http://koenigandclinton.com/" style="color: #00cfa6; tex-decoration: none;"><strong>Koenig &amp; Clinton</strong></a>, a gallery based in Brooklyn, NY.</font></p> <p style="text-align: center;"><em style="font-size: large;"><strong><span style="font-family: helvetica;">ARTSLANT PRIZE X</span></strong></em></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">1st Place: $3000</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">2nd Place: $1000</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">3rd Place: $1000</span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: large; line-height: 24px;">Honorable Mention</span></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170320214133-artslant-springbreak.jpg" style="width: 400px; height: 385px;" /></p> <p style="text-align: center;"><span style="font-size:10px;"><a href="https://www.artslant.com/la/articles/show/47340-announcing-the-artslant-prize-2016-winners-and-exhibition-at-springbreak-art-show" target="_blank">ArtSlant Prize 2016 Exhibition</a> at <a href="http://www.springbreakartshow.com/" target="_blank">SPRING/BREAK Art Show</a>, March 2017.</span></p> <p>&nbsp;</p> <p><span style="text-align: justify; font-family: georgia, palatino; font-size: large; line-height: 30px;">The ArtSlant Prize is an annual competition hosted by ArtSlant.com. The prize recognizes artists who critically engage with their medium and culture at large. Up for grabs are exhibition opportunities and cash prizes for selected ArtSlant Prize winners.&nbsp;Learn more&nbsp;<strong><a href="https://www.artslant.com/par/articles/show/8456" style="color: rgb(0, 207, 166); text-decoration-line: none;">here</a></strong>.</span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><span style="line-height: 21px;">Check out the latest submissions from the ArtSlant Community on our&nbsp;</span><strong><a href="http://www.artslant.com/ny/showcases/showcase" style="color: rgb(0, 207, 166); text-decoration-line: none;">Art page</a></strong><span style="line-height: 21px;">. &nbsp;</span></span></p> <p><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><span style="line-height: 21px;"><strong><a href="https://www.artslant.com/mia/showcases/showcase?listtype=showcase&amp;sublist=winners%5E2016+Winners" style="color: rgb(0, 207, 166); text-decoration-line: none;">Previous ArtSlant Prize winners</a></strong>&nbsp;have gone on to secure gallery representation and have been purchased by prominent collectors, museum directors, and personalities.</span></span></p> <p>&nbsp;</p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2017+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize IX:</a>&nbsp;</strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="https://www.artslant.com/global/artists/show/74231-david-rios-ferreira" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">David Rios Ferreira,</a>&nbsp;<a href="https://www.artslant.com/global/artists/show/472559-sabato-visconti" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Sabato Visconti,</a>&nbsp;<a href="https://www.artslant.com/global/artists/show/233356-katya-grokhovsky" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Katya Grokhovsky,</a>&nbsp;<a href="https://www.artslant.com/global/artists/show/478928-daapo-reo" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Da&agrave;P&ograve; Reo</a></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2016+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize VIII:</a>&nbsp;</strong></strong></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="https://www.artslant.com/global/artists/show/318334-brigitta-varadi" target="_blank">Brigitta Varadi</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/71495-tiffany-smith" target="_blank">Tiffany Smith</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/280850-sterling-crispin" target="_blank">Sterling Crispin</a>,&nbsp;<a href="https://www.artslant.com/global/artists/show/468710-bex-ilsley" target="_blank">Bex Ilsley,</a>&nbsp;<a href="https://www.artslant.com/global/artists/show/373164-zzin-jinhee-park" target="_blank">Jinhee Park</a></strong></span></p> <p style="text-align: center;"><strong><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2014+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize VII:</a>&nbsp;</strong></span></strong></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/global/artists/show/16146-theresa-ganz" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Theresa Ganz</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/315939-tina-tahir" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Tina Tahir</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/204298-rachel-garrard" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Rachel Garrard</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/347173-bryan-volta" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Bryan Volta</a></strong></span></p> <p style="text-align: center;"><strong><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2014+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize VI:</a>&nbsp;</strong></span></strong></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/global/artists/show/45525-edra-soto" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Edra Soto</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/246553-adam-douglas-thompson" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Adam Douglas Thompson</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/241839-anastasia-samoylova" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Anastasia Samoylova</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/378398-oren-pinhassi" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Oren Pinhassi</a></strong></span></p> <p style="text-align: center;"><strong><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2013+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize V:</a>&nbsp;</strong></span></strong></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/global/artists/show/247077-robin-kang?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Robin Kang</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/238335-maureen-meyer?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Maureen Meyer</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">,&nbsp;&nbsp;</span><a href="http://www.artslant.com/ny/artists/show/334738-alison-pilkington?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Alison Pilkington</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/311414-alexis-courtney?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Alexis Courtney</a></strong></span></p> <p style="text-align: center;"><strong><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="font-size: large; line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2012+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize IV:</a>&nbsp;</strong></span></strong></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/global/artists/show/135691-veronica-bruce" style="font-family: georgia, palatino; font-size: large; line-height: 30px;">Veronica Bruce</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/23907-steven-vasquez-lopez" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Stephen Vasquez Lopez</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/152389-susan-meyer" style="font-family: georgia, palatino; font-size: large; line-height: 30px;">Susan Meyer</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/224530-timothy-gaewsky" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Timothy Gaewsky</a></strong></span></p> <p style="text-align: center;"><strong><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="font-size: large; line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2011+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize III:</a>&nbsp;</strong></span></strong></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/global/artists/show/233718-holly-murkerson" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Holly Murkerson</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/36482-jason-irwin" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Jason Irwin</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/57515-christine-de-la-garenne" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Christine de la Garenne</a></strong></span></p> <p style="text-align: center;"><strong><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="font-size: large; line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2010+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize II:</a>&nbsp;</strong></span></strong></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/global/artists/show/18169-chantel-foretich?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Chantel Foretich</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/global/artists/show/29757-robert-minervini?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Robert Minervini</a></strong></span></p> <p style="text-align: center;"><strong><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong style="font-size: large; line-height: 30px;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2009+Winners" style="text-decoration-line: none; color: rgb(0, 207, 166);">ArtSlant Prize I:</a>&nbsp;</strong></span></strong></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;"><strong><a href="http://www.artslant.com/ny/artists/show/103857-michael-zelehoski?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Michael Zelehoski</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/46020-yo-fukui?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Yo Fukui</a><span style="font-family: georgia, palatino; font-size: large; line-height: 30px;">, </span><a href="http://www.artslant.com/ny/artists/show/10432-julie-davidow?listtype=showcase" style="font-family: georgia, palatino; font-size: large; line-height: 30px;" target="_blank">Julie Davidow</a></strong></span></p> <p style="text-align: center;">&nbsp;</p> <hr /> <p><span style="font-family: georgia, palatino; font-size: small;">**All participants in the ArtSlant Prize Showcase Series agree to ArtSlant&#39;s&nbsp;&nbsp;<a href="http://www.artslant.com/global/articles/show/5575">Terms &amp; Conditions</a>.</span></p> <p><span style="font-family: georgia, palatino; font-size: small;">**<em>Fees from the Artslant Juried Showcase competitions will be dedicated to the promotion of our prize winners and the administration of the competition.</em></span></p> Thu, 15 Feb 2018 05:51:29 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Lorna Mills Cracks The Great Code <p><em>We run an online magazine, so of course, we&rsquo;re interested in what&rsquo;s happening with art on the web. Every other Wednesday online gallerist, founder, and curator of&nbsp;<a href="http://www.digitalsweatgallery.com/" target="_blank">Digital Sweat Gallery</a>, Christian Petersen, selects a Web Artist of the Week.</em></p> <p>&nbsp;</p> <p>If you have even a passing interest in net art then you are likely familiar with the work of <a href="http://www.digitalmediatree.com/sallymckay/LornaMillsImageDump/">Lorna Mills</a>. The Toronto-based artist and curator has been hugely successful in promoting the medium to a wider audience, both through her own work and as a conduit for other artists. In her own practice, Mills works mainly in the GIF format, creating digital collages with manipulated elements of found GIFs. Her work brazenly straddles the line between &ldquo;high art&rdquo; and low (digital) culture with punkish irreverence and wicked humor.</p> <p>As a curator Mills is best known for uniting 115 digital artists in an ambitious remake of the John Berger documentary <em>Ways of Seeing</em>, which was shown as part of <em>Dreamlands: Immersive Cinema and Art</em> at the Whitney in 2017. <em>Ways of Something</em>, as Mills retitled it, not only stands as an unassailable document of the state of the digital art nation at its time of release, but also successfully proves that the truths of Berger&rsquo;s insights are as relevant today as they ever were.</p> <p>Mills famously beamed her&nbsp;<em>Mountain Light/Time</em>&nbsp;GIF on giant screens around New York&rsquo;s Times Square in 2016, cementing her reputation as one of the most significant contemporary new media artists. The artist&nbsp;has a longstanding relationship with New York&rsquo;s Transfer gallery, where she&rsquo;s just opened her latest solo show, <em><a href="https://www.artslant.com/ny/events/show/463002-the-great-code" target="_blank">The Great Code</a></em>. The exhibition, which Mills says she&rsquo;s been working on for the last 15 years and includes the covers of some 3,075 books the artist has read, plays with the definition of &ldquo;code&rdquo; and suggests that &ldquo;the order of knowledge has been collapsed and compressed.&rdquo;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214152216-Vancouver_5_4.gif" /></p> <p><strong>Christian Petersen: What were you like as a kid?</strong></p> <p><strong>Lorna Mills:</strong> I was a precocious reader, manic, rude, and very irritating (some adults were charmed by this, but not the adults in my family). I am still a reader, less rude perhaps, but still irritating.</p> <p><strong>CP: When did you first use a computer creatively?</strong></p> <p><strong>LM:</strong> 1993&ndash;94, delivery was on floppy disks and CD-roms.</p> <p><strong>CP: What did you make?</strong></p> <p><strong>LM:</strong> A CD interactive environment/portrait of a musician friend titled <em>The Man They Couldn&rsquo;t Deconstruct Because He Knew Too Much</em>.&nbsp;When he saw it he said, &ldquo;This is more about you than it is about me,&rdquo; ...well, yeah.&nbsp; A few other hard to describe things, all done in Director, so the images were very rich, but I suspect that all the early stuff is unplayable now. I never set max speeds on the animations so on my current system, everything whips by super fast in those early pieces.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214152139-Prison_7.gif" /></p> <p style="text-align: center;">&nbsp;</p> <p><strong>CP: </strong><strong>When did you first become aware of the GIF format?</strong></p> <p><strong>LM:</strong> Mid-90s, but they were all graphics and I didn&rsquo;t like drawing tools.&nbsp;At that point I had been programming children&rsquo;s educational games in Director and later in Flash, working with illustrators and basically making things come alive in an interactive setting. It was something I really enjoyed professionally because I had good timing (and a real respect for other people&rsquo;s drawing skills.)</p> <p><strong>CP: When did you first recognize its creative possibilities?</strong></p> <p><strong>LM:</strong> The creative possibilities for my own work didn&rsquo;t crystalize until I saw what <a href="http://www.sallymckay.ca/" target="_blank">Sally McKay</a> was doing with GIFs using photographic sources, so early to mid-2000s.&nbsp;At that point there was a lot more activity online from people posting video-sourced GIFs, so I was making GIFs from my own video footage and looking at existing animations made by people who didn&rsquo;t position themselves as artists.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214154641-river3.gif" /></p> <p>&nbsp;</p> <p><strong>CP: When does a GIF become a piece of art? Does the maker have to</strong> <strong>identify as an artist?</strong></p> <p><strong>LM:</strong> I don&rsquo;t know the answer to that question, generally art comes from people who do declare themselves artists, but there are always exceptions. It&rsquo;s not something I worry about.</p> <p><strong>CP: How has your relationship with the internet evolved since you first used it?</strong></p> <p><strong>LM:</strong> I was attracted to aggregate sites from the beginning&mdash;I was never a good surfer. I also participated in the heydays of blogging;&nbsp;the audiences were small and the conversations were exciting. Later on, social media was comfortable for me because I had already defined an online persona that I was comfortable with.&nbsp;</p> <p>On Facebook and Twitter, I have the endearing belief that total strangers are delighted to hear from me. This is probably a major error on my part.&nbsp;&nbsp;</p> <p>I prefer my important conversations IRL now.&nbsp;The potential for ridiculous misunderstandings on social media is too high and I don&rsquo;t want to spend my time defining all my terms to strangers or defending misreadings of what I am trying to say.&nbsp;So now I only post images of my giant dog and my animated GIFs. I spend a lot more time reading other people&rsquo;s posts. I&rsquo;m a major lurker and liker.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214153454-1360_9_sm.gif" /></p> <p>&nbsp;</p> <p><strong>CP: When did you first realize there was a scene building around &ldquo;Internet Art&rdquo;?</strong></p> <p><strong>LM:</strong> Aside from Sally&rsquo;s work, I was attracted to the artists in the surf clubs, so mid-2000s. (I was a major fan of Guthrie Lonergan and Chris Ashley.)</p> <p><strong>CP: </strong><strong>What were the surf clubs and what attracted you the them?</strong></p> <p><strong>LM:</strong> You don&rsquo;t know about <a href="https://en.wikipedia.org/wiki/Surfing_club">surf clubs</a>???? Google!&nbsp;Nasty nets and <a href="http://www.loshadka.org/">Loshadka</a> were a couple of the places where all the net art kids were playing together.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214153526-SPAMM_sm.gif" /></p> <p>&nbsp;</p> <p><strong>CP: Can you talk a little about your process when making a GIF?</strong></p> <p><strong>LM:</strong> My process is very congenial.&nbsp;(It&rsquo;s a nice way to live. I&rsquo;m very lucky.) I spend every day looking and downloading animated GIFs while watching Netflix or BBC and then spend countless hours cutting them up frame by frame, again while watching Netflix or BBC.&nbsp;(I&rsquo;m very good at mindless tedious tasks.)</p> <p>Once I have all the raw materials on hand, the collage work&mdash;the combination and placement of GIFs onto a picture plane&mdash;comes very quickly and instinctively, and that is when I get to surprise myself. (I admire conceptual artists mostly because I will never be one myself.)</p> <p><strong>CP: How obsessive are you?</strong></p> <p><strong>LM:</strong> I&rsquo;m focused and driven, but I don&rsquo;t mind the term obsessive applied to me.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214154042-Histokay_sm.gif" /></p> <p>&nbsp;</p> <p><strong>CP: Humor is often a big part your work.</strong></p> <p><strong>LM:</strong> I have a well-honed sense of the ridiculous, I can&rsquo;t ignore it.&nbsp;I&rsquo;d rather feel alive in my work with all its profanity. I don&rsquo;t aspire to be relentlessly transcendent, lofty, minimal, or sacred.&nbsp;</p> <p><strong>CP: Are you funny IRL?</strong></p> <p><strong>LM:</strong> Hell yeah. (Sometimes funnier than I mean to be.)</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214154241-Prison_6.gif" /></p> <p>&nbsp;</p> <p><strong>CP: Can you talk a little about your art school experience and what influence</strong> <strong>it&rsquo;s had on your ongoing practice?</strong></p> <p><strong>LM:</strong> I went to small independent art schools that no longer exist and I was trained as a painter.&nbsp;That early training manifests itself in the formal undercurrents of my work. I learned that visual art should be interesting to look at.&nbsp;It&rsquo;s such a simple requirement, yet many artists fail.</p> <p><strong>CP: What does &ldquo;post internet&rdquo; mean to you?</strong></p> <p><strong>LM:</strong> It&rsquo;s not something I worry about. (Why do people keep on asking me that?)</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214153939-Boom.gif" /></p> <p>&nbsp;</p> <p><strong>CP: I read that you have an interest in Nazi art&mdash;what draws you to that subject?</strong></p> <p><strong>LM:</strong> WTF???????&nbsp;LOL,&nbsp;art in the service of a totalitarian state is not generally great art. I&rsquo;m only interested in Leni Riefenstahl who is problematic because she was a force of nature, a genius and a Nazi, though she claims she wasn&rsquo;t.&nbsp;And if she wasn&rsquo;t, she&rsquo;d have to be the most mind-numbingly ambitious artist in the history of the universe to align herself with the Nazis so she could make her films.&nbsp;</p> <p>Leni&rsquo;s two most famous films are <em>Triumph of the Will</em> about the 1934 Nazi Party Congress in Nuremburg, and <em>Olympia</em>, a documentary on the 1936 Olympics in Berlin. b/t/w in later life she claimed that <em>Triumph</em> was about &ldquo;jobs and peace.&rdquo;&nbsp;These films are acknowledged as masterpieces and in the 30s she was recognized as a brilliant but contentious artist worldwide (also much admired by many American film makers, especially Walt Disney, who also knew a thing or two about the enthralling grip of Mythologies.) (Uncle Walt was a fascist too.)</p> <p>She believed that art was something pure and beautiful. Of course, after WWII she was demoted from artist to propagandist by people who also think that art is something pure and beautiful.</p> <p>I have no use for purity.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214152342-DSC_2914-1.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Courtesy of Transfer Gallery</span></p> <p>&nbsp;</p> <p><strong>CP: How did your association with Transfer Gallery begin?</strong></p> <p><strong>LM:</strong> I met Kelani Nicole at <a href="http://gli.tc/h/">gli.tc/h</a> festival in Chicago in 2012. She told me that she had just moved to NYC and was going to open a gallery and would I like a show? I said yes.&nbsp;&nbsp;</p> <p><strong>CP: Can you talk a little about the importance of Transfer Gallery on the wider digital art scene?</strong></p> <p><strong>LM:</strong> Kelani expanded the gallery scene for digital art and has tirelessly promoted emergent practices that very few other galleries were interested in or even aware of five years ago.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214152511-Detail_4.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: What was the genesis of the idea for your new show <em>The Great Code</em>?</strong></p> <p><strong>LM:</strong> <em>The Great Code</em> is a title I stole from the writer Northrop Frye. (The title of my previous show <em>At Play in the Fields of the Lord</em> was stolen from the writer Peter Matthiessen.)</p> <p>I wanted to play with the many definitions of code by showing a print installation that consists of about 3,075 small glazed images of book covers.&nbsp;I&rsquo;ve been working on this project for about 15 years and plan to continue it as long as I live.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214154952-Detail_2.jpg" /></p> <p>&nbsp;</p> <p>Right after 9-11, a now expired section of the Patriot Act required libraries to hand over records&mdash;without a warrant&mdash;if requested by law enforcement (they also weren&rsquo;t allowed to inform library patrons that their records had been reviewed). Of course the American Library Association fought it in court, because unlike most legislators, librarians have spines. (Apparently many libraries had signage that read, &ldquo;The FBI has not been here. (Look very closely for the removal of this sign.)&rdquo;) So it was in this climate that I decided to do a big beautiful data-dump of every book I can remember reading in my life, highbrow, lowbrow, and everything in between (I read fast and retain very little).</p> <p>It&rsquo;s a giant, brightly lit, shiny pile of prints on a seven by seven foot table. Openness about my reading habits was not a motivation&mdash;the volume of prints prevents a viewer from really seeing much more than what is sitting on top&mdash;and since I install the work, I get to choose what you actually can see. I&rsquo;m a deceptive creature.</p> <p>I also included an installation of six animated GIF collages with even more mixed messaging.&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" mozallowfullscreen="" src="https://player.vimeo.com/video/105731173?byline=0&amp;portrait=0" webkitallowfullscreen="" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:12px;"><a href="https://vimeo.com/105731173" target="_blank">Ways of Something - Episode 1</a></span></p> <p>&nbsp;</p> <p><strong>CP: What did you learn from curating/overseeing the <em><a href="https://vimeo.com/105731173" target="_blank">Ways of Something</a> </em>project? What was the best thing about it being shown at the Whitney?</strong></p> <p><strong>LM:</strong> I learned the limitations of an artist-curated project.&nbsp;When artists curate, they bring their own set of blindness and insight to a project.&nbsp;I may tackle something like that again if I come up with an engaging idea and a different format, but I don&rsquo;t plan to apply that particular formula again.&nbsp;</p> <p>The best thing about showing at the Whitney was bringing over 115 people to show with me. I also enjoyed sending out the announcement with a two-word cover letter: FUCK YEAH.&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214153723-timessquare.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: Can you describe you emotions when you saw your work being shown on giant screens in Times Square?</strong></p> <p><strong>LM:&nbsp;</strong>It was disconcerting because I&rsquo;ve never shown at that scale without knowing what it would look like beforehand. It was bewildering so I didn&rsquo;t feel like celebrating, and being Canadian, I thought that I should apologize: &ldquo;Sorry, just a big &rsquo;ole yellow GIF.&rdquo; A few nights later, I saw it a second time and realized that it was really good.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214153824-Mt_Light_sm.gif" /></p> <p>&nbsp;</p> <p><strong>CP: The internet and digital art have become a popular medium for the expression of feminist ideas&mdash;why do you think that is?</strong></p> <p><strong>LM:</strong>&nbsp;The internet is where misogyny thrives, so the battle has to take place there.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180214154507-CRT_20.gif" /></p> <p><strong>CP: What else do you have coming up this year?</strong></p> <p><strong>LM:</strong> In mid-March I will be showing a multi-projection and multi-monitor GIF installation full of gratuitous internet filth at at Festspielhaus Hellerau in Dresden for the <em><a href="http://www.digitalfeminism.net/2018/">dgtl fmnsm</a></em> festival. On March 24, Transfer will be launching my catalog with an essay by Seth Watter as well as celebrating the 5th anniversary of the gallery. Then the next day, the 25th, at 3pm, all four episodes of <em>Ways of Something</em> will be screened at the Museum of the Moving Image in New York.</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/441718-christian-petersen?tab=REVIEWS">Christian Petersen</a></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Courtesy of the artist and Transfer Gallery)</span></p> Wed, 14 Feb 2018 09:03:38 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list What Makes Up the Parisian Mystique? Part Two <p><em><a href="https://www.artslant.com/global/artists/show/494242-ali-fitzgerald?tab=REVIEWS" target="_blank">&ldquo;City of Lights, City of Fonts&rdquo;</a>&nbsp;is a&nbsp;blog and visual diary created by ArtSlant&rsquo;s&nbsp;<a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://www.artslant.com/ny/foundation&amp;source=gmail&amp;ust=1517302926405000&amp;usg=AFQjCNG2iJiiFloEnyaBex_3a9Pp4gWxdQ" href="https://www.artslant.com/ny/foundation" target="_blank">Georgia Fee Artist-in-Residence</a>, Ali Fitzgerald.&nbsp;Fitzgerald will explore France&rsquo;s evolving visual relationship to propaganda, looking deeply at aesthetics of nationalism and politicized otherness.&nbsp;With sketches, writing, and graphic vignettes, she will document fonts, signage, and France&#39;s history of drawing as activism.&nbsp;</em></p> <p>&nbsp;</p> <p>Last week <a href="https://www.artslant.com/par/articles/show/49102-what-makes-up-the-parisian-mystique-part-one" target="_blank">I asked</a> what decorative beauty inspires in us. This week, I felt the overwhelming power of ornamentation as I walked around the Notre Dame Cathedral.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180213155104-Artslant_3_1.jpeg" /></p> <p>The mouths of its infamous gargoyles were swollen with icicles because of a recent snowstorm. I wondered: besides being grotesquely cute, what is the purpose of gargoyles?</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180213161235-Artslant_3_2.jpg" /></p> <p>Architecture and built structures have often been used as propaganda to alter the attitudes and ideals of citizens. Giant towers and buttresses are church- or state-sponsored shows of power through built beauty. Some structures inspire awe, some reverence, others fear. Sometimes, like with soviet statues, their sheer grandiosity is meant to compel an emotional response.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180213155143-Artslant_3_3.jpeg" /></p> <p>On Sunday I traversed the Place de R&eacute;publique, a square centered around a triumphant monument of Marianne. She loomed over teenagers as they smoked and shuffled and exchanged tentative first kisses.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180213160339-Artslant_3_4.jpeg" /></p> <p>Marianne is an overt appeal to patriotism carved in stone, but there are also less tangible threads of manipulative artistry around Paris. How do the light and air and presentation of things affect us?</p> <p>On my street alone I marvel at orderly rows of curated shrimp, bright macarons, and well-manicured trees.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180213155233-Artslant_3_5.jpeg" /></p> <p>This ambient beauty is a part of the Parisian mystique, a fantasy used to entice, convince, and laud quintessential &ldquo;Frenchness.&rdquo;&nbsp;</p> <p>Sometimes this feeds into traditional notions of European beauty co-opted by political parties to stir patriotism alongside artistic appreciation.</p> <p>For instance, the National Front often employs a blue rose, its delicate beauty obscuring darker exclusionary aims. The Bloc Identitaire, an anti-Islam group in France, employs traditional French symbols like medieval shields to underline a preferred ancestry.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180213155257-Artslant_3_6.jpeg" /></p> <p>Marveling at and questioning the links between French beauty and identity is a great way to spend a February snow week in my humble opinion.</p> <p>Next time I&rsquo;ll write a little about advertising as propaganda and look at Roger Caillois&rsquo; visions of a mid-century Paris covered with posters. Here&rsquo;s a busty preview:</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180213155327-Artslant_3_7.jpeg" /></p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/494242-ali-fitzgerald">Ali Fitzgerald</a></p> <p>&nbsp;</p> Thu, 22 Feb 2018 01:23:35 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Announcing the ArtSlant Prize IX Winners <table align="center" border="0" style="width: 100%; float: center;"> <tbody> <tr> <td> <table align="center" border="0" style="line-height: 30px; width: 100%; float: center;"> <tbody> <tr> <td> <p>We are very excited to announce the ArtSlant Prize IX Winners. Thank you all the <a href="https://www.artslant.com/ny/articles/show/8456">jurors</a> from the ArtSlant Prize IX showcase and congratulations to all our <a href="https://www.artslant.com/ny/showcases/showcase?listtype=showcase&amp;sublist=juried%5E2017+Winners">juried winners</a>! It is from this pool of juried winners that ArtSlant&rsquo;s Editorial Board selected the ArtSlant Prize Winners. The ArtSlant Prize IX Exhibition will take place during Armory Week in New York at <a href="http://www.springbreakartshow.com/">SPRING/BREAK Art Show</a>, March 6&ndash;12, 2018, booth 2231. Purchase tickets for the fair&nbsp;<a href="https://www.eventbrite.com/o/springbreak-art-show-12813445625">here</a>.</p> </td> </tr> <tr> <td colspan="2"> <p>SPRING/BREAK Art Show is an internationally recognized exhibition platform transforming underused, atypical, and historic New York City exhibition spaces to activate and challenge the traditional cultural landscape of the art market. The seventh annual fair will be held&nbsp;from March 6&ndash;12, 2018, at 4 Times Square.&nbsp;</p> <p style="text-align: center;"><em style="text-align: center;"><font face="helvetica" size="4">&nbsp;</font></em></p> </td> </tr> </tbody> </table> </td> </tr> <tr> <td colspan="2" style="text-align: center;"> <p><span style="font-family: helvetica; font-size: large; text-transform: uppercase; background-color: #00cfa6; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none;">ArtSlant Prize IX Winners:</span></p> </td> </tr> <tr> <td colspan="2">&nbsp;&nbsp;</td> </tr> <tr> <td colspan="2"> <p><a href="https://www.artslant.com/global/artists/show/74231-david-rios-ferreira"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1001144/u3azr9/20160731001832-Untitled2016_02sized.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> &nbsp; <p style="text-align: left;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><span style="font-size: large;"><span style="font-family: helvetica; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">FIRST PLACE: $3,000</span>&nbsp;</span>&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/74231-david-rios-ferreira" style="color: #000000;">David Rios Ferreira</a></span></p> </td> </tr> <tr> <td colspan="2">&nbsp;&nbsp;</td> </tr> <tr> <td colspan="2"> <p><a href="https://www.artslant.com/global/artists/show/472559-sabato-visconti"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1080434/u3azr9/20171216224650-dacalog_04_13_med.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> &nbsp; <p style="text-align: left;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">SECOND PLACE: $1,000</span>&nbsp;</p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/472559-sabato-visconti" style="color: #000000;">Sabato Visconti</a></span></p> </td> </tr> <tr> <td colspan="2">&nbsp;&nbsp;</td> </tr> <tr> <td colspan="2"> <p><a href="https://www.artslant.com/global/artists/show/233356-katya-grokhovsky"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1079249/u3azr9/20171206044830-1.KatyaGrokhovskyBadWoman.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> &nbsp; <p style="text-align: left;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">THIRD PLACE: $1,000</span>&nbsp;&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/233356-katya-grokhovsky" style="color: #000000;">Katya Grokhovsky</a></span></p> </td> </tr> <tr> <td colspan="2">&nbsp;&nbsp;</td> </tr> <tr> <td colspan="2"> <p><a href="https://www.artslant.com/global/artists/show/478928-daapo-reo"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1067597/u3azr9/20171010035810-daaPo_reo_01.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> &nbsp; <p style="text-align: left;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase; color: #ffffff; padding: 5px; letter-spacing: 2px; text-decoration: none; background-color: #00cfa6;">HONORABLE MENTION:</span>&nbsp;&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: large; text-transform: uppercase;"><a href="https://www.artslant.com/global/artists/show/478928-daapo-reo" style="color: #000000;">Da&agrave;p&ograve; Reo</a></span></p> </td> </tr> <tr> <td colspan="2">&nbsp;&nbsp;</td> </tr> <tr> <td colspan="2"> <table> <tbody> <tr> <td colspan="2"> <p>The ArtSlant Prize is an annual competition hosted by ArtSlant.com. The prize recognizes artists who critically engage with their medium and culture at large. Up for grabs are exhibition opportunities and cash prizes for selected ArtSlant Prize winners.&nbsp;Learn more <a href="https://www.artslant.com/par/articles/show/8456">here</a>.</p> <p>Check out the latest submissions from the ArtSlant Community on our&nbsp;<a href="http://www.artslant.com/ny/showcases/showcase">Art page</a>. &nbsp;</p> <p><a href="https://www.artslant.com/mia/showcases/showcase?listtype=showcase&amp;sublist=winners%5E2016+Winners">Previous ArtSlant Prize winners</a> have gone on to secure gallery representation and have been purchased by prominent collectors, museum directors and personalities.</p> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Mon, 12 Feb 2018 13:44:37 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list What’s Lost in the Art World’s Fixation on Price? <p><em>Red is good &ndash; brown is bad &ndash; and nothing with fish</em>. So goes our education in the alchemy of divining an artwork&rsquo;s appeal, as delivered by one of the collectors featured in Nathaniel Kahn&rsquo;s new documentary <em>The Price of Everything</em>. Through candid interviews with artists and industry specialists the film takes us on a pacey journey through the high end of the commercial art world. What does our current relationship with art, creativity, and the commercial structures we have built around them really say about our appreciation of value?</p> <p>With record sales happening left, right, and center, a huge part of popular discourse about art focuses on its price tag. And at the heart of the film are the complex dynamics&mdash;sometimes harmonious, sometimes uneasy&mdash;between commerce and creativity. &ldquo;Art and money have always gone hand in hand,&rdquo; says auctioneer and collector Simon de Pury. &ldquo;It&rsquo;s very important for good art to be expensive. You only protect things that are valuable. If something has no financial value, people don&rsquo;t care.&rdquo; Meanwhile artist Larry Poons asserts that &ldquo;art and money have no intrinsic hook up,&rdquo; and Gerhard Richter asks if it really adds up for a painted canvas to cost more than a house. The film&rsquo;s title evokes Oscar Wilde&rsquo;s definition of a cynic, who &ldquo;knows the price of everything and the value of nothing.&rdquo; Even the most na&iuml;ve art lover knows the &ldquo;value&rdquo; of an artwork has very little to do with any intrinsic material worth. But is our fascination with price in the world of contemporary art causing us to lose sight of true value? And what are the costs of the excesses of a soaring art market?</p> <p>Today the contemporary art sector dominates all other categories of fine art in a market fuelled not only by passionate collectors but by speculation and buying for investment purposes. As the supply of Old Masters and Modern artworks diminished, a young, wealthy set of collectors turned to collecting living artists. The Robert C. Scull auction in 1973 is considered the start of the bullish contemporary art market. The film includes archival footage (including a tense exchange between Scull and Robert Rauschenberg about the profit enjoyed by the former on the sale of a work by the latter), linking early speculative investment in art and the relationship of the secondary market to living artists. Edward Dolman, Chairman and Chief Executive Officer of Phillips, remembers strong initial resistance from auction houses to the new, unproven, seemingly risky sale category that now accounts for more than half the value of the entire art market<a href="#_ftn1" name="_ftnref1" title="">[1]</a>.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180206171717-the-price-of-everything---still-3_38479095784_o.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Collector Stefan Edlis appears in&nbsp;<em>The Price of Everything</em>&nbsp;by Nathaniel Kahn, an official selection of the U.S. Documentary Competition at the 2018 Sundance Film Festival. Courtesy of Sundance Institute | photo by US Four Productions</span></p> <p style="text-align: center;">&nbsp;</p> <p>In the ensuing years the top end of contemporary art has become synonymous with luxury. <em>The Price of Everything </em>takes us inside multi-million-dollar auction sales, as well as the vast studio of Jeff Koons, where an army of assistants manages the physical production of artworks while the artist discusses $25-35 million commissions, and we&rsquo;re introduced to an exclusive collaboration with Louis Vuitton handbags. The question of &ldquo;value&rdquo; in these vignettes seems to square firmly with the notion of art as commodity, or even as brand. But this high-level system of production strikes a strong contrast with other artists in the documentary, whose style and working processes are less fitting with the lavishness of the current market.</p> <p>Despite the fact that collectors are clamoring for work by living artists, the market can be surprisingly disconnected from the creators themselves. The film follows MacArthur Foundation Grant Award-winning artist Njideka Akunyili Crosby as she watches one of her works get &ldquo;flipped&rdquo; and sold for a huge profit at auction&mdash;none of the resale value is transferred to her, and there is a risk that the new leap in price may set a difficult precedent for her to follow. Akunyili Crosby&rsquo;s artistic process is labor-intensive and time-consuming and, despite demand, her output is limited to around 12 works a year. Her response to the sale is surprise, disappointment, acceptance. Could the heat of the art market be at the expense of artists themselves?</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180206171644-the-price-of-everything---still-1_37990467434_o.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Artist Larry Poons appears in&nbsp;<em>The Price of Everything</em>&nbsp;by Nathaniel Kahn, an official selection of the U.S. Documentary Competition at the 2018 Sundance Film Festival. Courtesy of Sundance Institute | photo by Bob Richman</span></p> <p>&nbsp;</p> <p>Another unexpected casualty of the market&rsquo;s influence may be the evolution of an artist&rsquo;s oeuvre over time. Under growing expectations to produce more&mdash;and more similar&mdash;work, it may be harder than ever for emerging artists to aim towards traditional career development, forming a full range of early, developing, and mature styles. This is by no means a new calculation, however. Larry Poons, an 80-year-old American abstract painter who came to prominence in the 1960s but did not follow an expected career trajectory, emerges as the film&rsquo;s hero of non-conformity. He challenged critical and commercial expectations, refusing to continue producing work in his early op art style. The implication is that Poons did so at the expense of the greater success conferred upon his peers. The flipside, however, is that he has achieved longevity: in his rural, snowy farmhouse studio he prepares large-scale abstract works for an upcoming show. Other artists react differently. George Condo works quickly, almost despite the market, virtually producing a finished artwork before our eyes and happily recreating a character form he has used in previous works. He says that although there is no need to sell everything, it is important not to ignore a creative impulse.</p> <p>The commodification of art is not a new phenomenon. In a Q&amp;A, director Nathaniel Kahn made the point that, viewing the art world as a microcosm of the wider world, what we spend money on reveals our values as a society. In this respect, on some level the surging interest in contemporary art could be seen as positive: by focusing appreciation on the work of living artists, collectors are supporting and embracing a diversity of voices for the benefit of future generations.</p> <p>But in a world where appreciation is as market-based, and the values are so noteworthy&mdash;as the film&rsquo;s closing shot of Leonardo da Vinci&rsquo;s <em>Salvator Mundi</em> selling for $450 million reminds us&mdash;we must be mindful of the effects of a top-heavy market on the lower and mid levels of the industry and on the creative processes and livelihoods of artists in particular. As art writers, readers, art lovers and appreciators, we can also aim to push a discourse which consciously focuses on the creative, cultural, intellectual, and emotional values of contemporary art, not solely the financial spectacle.</p> <p><a href="http://thepriceofeverything.com/" target="_blank"><em>The Price of Everything</em></a><em> premiered at the </em><em>2018 Sundance Film Festival, January 18-28, Park City, Utah. It </em><em>will open in theaters in at least a dozen U.S. markets before debuting on HBO.</em></p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/414240-antonia-ward?tab=REVIEWS" target="_blank">Antonia Ward</a></p> <p><em>Antonia Ward is a Los Angeles-based writer, and regional liaison for global art membership organization The Cultivist.</em></p> <p>&nbsp;</p> <div> <hr align="left" size="1" width="33%" /> <div id="ftn1"> <p><span style="font-size:14px;"><a href="#_ftnref1" name="_ftn1" title="">[1]</a> The Art Basel and UBS report &ldquo;<a href="https://d33ipftjqrd91.cloudfront.net/asset/cms/Art_Basel_and_UBS_The_Art_Market_2017.pdf" target="_blank">The Art Market 2017</a>&rdquo; found that in 2016 post war and contemporary art accounted for as much as 52% of total sales by value.</span></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top:&nbsp;Jeff Koons appears in&nbsp;<em>The Price of Everything</em>&nbsp;by Nathaniel Kahn, an official selection of the U.S. Documentary Competition at the 2018 Sundance Film Festival. Courtesy of Sundance Institute | photo by US Four Productions)</span></p> </div> </div> Tue, 06 Feb 2018 14:11:56 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Peddling Patriarchy, Profiting from Pain: The Art World’s Funding Problem <p>In October 2017, <a href="http://www.esquire.com/news-politics/a12775932/sackler-family-oxycontin/" target="_blank"><em>Esquire</em></a> and <a href="https://www.newyorker.com/magazine/2017/10/30/the-family-that-built-an-empire-of-pain" target="_blank">the <em>New Yorker</em></a> published penetrating articles linking the Sackler family, known to most as patrons of the arts, with the growing opioid crisis in America. The unsympathetic accounts described a family whose empire was built on the aggressive marketing of painkillers, particularly OxyContin; a family that has for decades gone out of their way to keep their name separate from the drug company, Purdue Pharma, and associated activities from which they derived their wealth.</p> <p>These revelations should have rocked the art world. The Sackler name is plastered on art institutions and universities across the globe. Would the family&rsquo;s ties to the opioid epidemic be a new rallying cry in institutional critique?</p> <p>Hardly. At least not yet. The articles, predated by a <a href="https://www.forbes.com/sites/alexmorrell/2015/07/01/the-oxycontin-clan-the-14-billion-newcomer-to-forbes-2015-list-of-richest-u-s-families/#1cefe28975e0" target="_blank">2015 <em>Forbes</em> report</a> on the U.S.&rsquo;s richest families and a 2011 piece in <a href="http://fortune.com/2011/11/09/oxycontin-purdue-pharmas-painful-medicine/" target="_blank"><em>Fortune</em></a>, came and went with few ripples on the art front until January when <em>Artforum</em> published <a href="https://www.artforum.com/inprint/issue=201801&amp;id=73181" target="_blank">a personal account</a> by photographer Nan Goldin. The essay divulges her years-long addiction to OxyContin and hard-fought recovery, concluding with the announcement of P.A.I.N. (Prescription Addiction Intervention Now), a group and <a href="https://www.change.org/p/hold-the-sackler-family-and-purdue-pharma-accountable-for-the-opioid-crisis" target="_blank">petition</a> organized to hold the Sackler family accountable for their role in the opioid crisis.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BeQuSwCF-EE/" data-instgrm-version="8" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" margin:8px 0 0 0; padding:0 4px;"><a href="https://www.instagram.com/p/BeQuSwCF-EE/" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Story of my addiction to OxyContin and the Sackler family who are filthy rich off them. SIGN THE PETITION AGAINST THEM. Link in bio. @sacklerpain</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/nangoldinstudio/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Nan Goldin</a> (@nangoldinstudio) on <time datetime="2018-01-22T18:10:26+00:00" style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;">Jan 22, 2018 at 10:10am PST</time></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p>Goldin has been widely commended for her initiative, most recently by philanthropist Elizabeth Sackler herself, who offered solidarity and support. &ldquo;I admire Nan Goldin&rsquo;s commitment to take action and her courage to tell her story,&rdquo; <a href="https://hyperallergic.com/422738/elizabeth-sackler-nan-goldin-opioid-epidemic/" target="_blank">she told Hyperallergic</a> in a statement last month. &ldquo;I stand in solidarity with artists and thinkers whose work and voices must be heard.&rdquo;</p> <p>What sounds like an opportunity to make amends, however, quickly shifts gears when Sackler denies her father&rsquo;s, and by extension her own, culpability in the opioid epidemic: &ldquo;My father, Arthur M. Sackler, died in 1987, before OxyContin existed and his one-third option in Purdue Frederick was sold by his estate to his brothers a few months later.&rdquo;</p> <p>It&rsquo;s true that Elizabeth Sackler&rsquo;s branch of the family does not currently benefit from Purdue Pharma, and they are, as <em>Esquire</em> describes them, &ldquo;mere multi-millionaires&rdquo; to their billionaire cousins. What she leaves out of this refutation, however, is the fact that her inherited wealth stems from something equally sinister.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180205172446-valium-1971.gif" /></p> <p style="text-align: center;"><span style="font-size:12px;"><a href="https://prescriptiondrugs.procon.org/view.resource.php?resourceID=005642" target="_blank">Valium advertisement</a>, 1971</span></p> <p>&nbsp;</p> <p><strong>Drug Addiction Is a Feminist Issue</strong></p> <p>Arthur Sackler&rsquo;s work in drug advertising ultimately paved the way for a groundbreaking painkiller to become a deadly epidemic. He was not a drug developer, but a peddler, responsible for developing and establishing norms for some of the most unethical and predatory practices in drug marketing today, like marketing directly to physicians. Arthur, a psychiatrist, got rich promoting the tranquilizers Librium and Valium during the sixties, largely as an addictive panacea for shifts in gender relations. &ldquo;Most of the questionable practices that propelled the pharmaceutical industry into the scourge it is today can be attributed to Arthur Sackler,&rdquo; proposes Allen Frances, former chair of psychiatry at Duke University School of Medicine in the <em>New Yorker</em> expos&eacute;. Speaking about Elizabeth Sackler&rsquo;s statement, Goldin told <a href="https://www.theguardian.com/artanddesign/2018/jan/22/nan-goldin-interview-us-opioid-epidemic-heroin-addict-oxycontin-sackler-family" target="_blank">the <em>Guardian</em></a> recently, &ldquo;She&rsquo;s not off the hook.&rdquo;</p> <p>Drug addiction&mdash;particularly to prescription painkillers and tranquilizers&mdash;has long been a feminist issue. Women have been <a href="https://www.vice.com/en_us/article/gqmx9j/here-lady-take-some-pills-for-your-hysteria-253" target="_blank">liberally fed pills</a> for their anxiety, depression, and pain for over a century. At one point, the former First Lady of the United States, Betty Ford, undertook addiction treatment for, among other things, tranquilizer abuse. Librium and Valium &ldquo;<a href="http://www.nejm.org/doi/full/10.1056/NEJMbkrev0809177" target="_blank">were unabashedly promoted as wonder drugs</a> that could be used to help manage an enormous range of life problems, ranging from tension, nerves, and irritability to menopause, juvenile delinquency, family and marital difficulties, and problems at work.&rdquo; Arthur Sackler&rsquo;s advancement of these tranquilizers as a means of maintaining patriarchal harmony in the modern home cost how many women&rsquo;s lives? These drugs&rsquo; commercial success (Valium was the first $100 million drug in the U.S.) shaped the aggressive marketing template replicated by drug companies to this very day. It is the greatest irony that fifty years after <a href="https://www.amazon.com/dp/B001P2NI38/ref=dp-kindle-redirect?_encoding=UTF8&amp;btkr=1" target="_blank">feminists united against Valium</a> (which they were prescribed <a href="https://www.alternet.org/drugs/falling-love-again-amazing-history-marketing-and-wide-legal-use-todays-dangerous-drugs" target="_blank">twice as often</a> as men), the grand matron of feminist art&rsquo;s wealth comes from the marketing of that very drug. No, it&rsquo;s not OxyContin, but it&rsquo;s not irrelevant either.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180205172619-femsingle.gif" /></p> <p style="text-align: center;"><span style="font-size:12px;"><a href="https://prescriptiondrugs.procon.org/view.resource.php?resourceID=005637" target="_blank">Valium advertisement</a>, 1970</span></p> <p>&nbsp;</p> <p>Elizabeth Sackler&rsquo;s shallow display of solidarity and denial of culpability raises thorny questions that implicate not only her family, but all of us: Who is to blame in a problem as intricate and diffuse as the opioid epidemic: the drug makers or the hustlers? Are inheritors responsible for their parents&rsquo; sins? Can &ldquo;solidarity&rdquo; exist without remorse? What do we want to know about the money undergirding our art institutions? Are we, as makers, consumers, and lovers of art, also &ldquo;not off the hook&rdquo;?</p> <p>&nbsp;</p> <p><strong>Our Problematic Faves</strong></p> <p>One of the most troubling outcomes of Sackler&rsquo;s solidarity statement is how quickly the art world appeared to breath a sigh of relief. In comments across social media people seemed thankful that they didn&rsquo;t have to address their discomfort over a beloved scholar and benefactor&rsquo;s relationship to a deadly epidemic. People seem not only ready and willing, but <em>grateful</em> to be able to give Elizabeth Sackler a pass. She&rsquo;s largely been taken at her word, a luxury we are more than happy to afford this rich woman rather than confront our own uneasy feelings about enjoying the fruits of her wealth.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180205172904-Sackler_comments_6.png" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180205172950-Sackler_comments_5.png" /></p> <p>&nbsp;</p> <p>In the wake of Goldin&rsquo;s <em>Artforum</em> essay, Hyperallergic published <a href="https://hyperallergic.com/419850/our-incomplete-list-of-cultural-institutions-and-initiatives-funded-by-the-sackler-family/">a list of institutions</a> funded by the Sacklers. However, satisfied by a promissory note documenting the sale of Arthur Sackler&rsquo;s Purdue Frederick stock options to his brothers, Mortimer and Raymond, Hyperallergic removed all institutions that received donations by Elizabeth and Arthur Sackler from their list. There was no interrogation of the money those institutions were funded with.</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180205173115-Sackler_comments_1.png" /><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180205173057-Sackler_comments_3.png" /></p> <p>&nbsp;</p> <p><a href="https://news.artnet.com/opinion/discussion-sacklers-oxycontin-facts-elizabeth-a-sackler-1203458" target="_blank">This artnet op-ed</a> even better describes the mental gymnastics some are taking to ignore the truth about their problematic faves. Natalie Frank, an artist and member of the Council for Feminist Art at the Brooklyn Museum&rsquo;s Elizabeth A. Sackler Center for Feminist Art, makes the argument that we shouldn&rsquo;t implicate Arthur or Elizabeth Sackler because it &ldquo;jeopardizes their legacies.&rdquo; The Sackler Center&rsquo;s &ldquo;mission is important,&rdquo; Frank urges, going on to praise the museum&rsquo;s pivotal exhibitions and Elizabeth Sackler&rsquo;s unapologetic use of the word &ldquo;feminist.&rdquo;</p> <p>&nbsp;</p> <p><strong>So, Can I Still Go to My Favorite Museum?</strong></p> <p>Good deeds do not cancel out bad ones, but do bad ones discredit the good? It&rsquo;s not a zero sum game. The Sacklers can do tremendous things for the arts <em>and</em> have skeletons in their closets. But let&rsquo;s confront that dynamic at least, not let Sackler and her representatives take control of the narrative. The editorial board of the <em>Harvard Crimson</em> penned <a href="http://www.thecrimson.com/article/2018/1/26/editorial-harvard-oxycontin/">a piece</a> last month urging the University to investigate the intricacies of the Sackler family, &ldquo;its finances, ethics, and societal influence,&rdquo; and consider severing ties with the extended family (including the descendants of Arthur). We must ask the same of our institutions, however uncomfortable that makes us.</p> <p>The Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum has done incredible work in exhibitions and programming to honor women and their artwork. Sackler herself is lauded as a prominent feminist cultural historian and philanthropist. But it is the worst face of white feminism to fight for your right to oppress others while simultaneously denying the harm you are doing. It&rsquo;s clear that the art world wants her money; but you know who else could use that money? Prescription drug and heroin addicts, needle exchange programs, rehabilitation centers, education programs.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BdifKbLBrc6/" data-instgrm-version="8" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" margin:8px 0 0 0; padding:0 4px;"><a href="https://www.instagram.com/p/BdifKbLBrc6/" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Nan Goldin with Alex Sturrock, Sackler Grid, 2017</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/sacklerpain/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Sackler PAIN</a> (@sacklerpain) on <time datetime="2018-01-04T19:13:09+00:00" style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;">Jan 4, 2018 at 11:13am PST</time></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p>To make those sort of amends would be tantamount to admitting guilt, however, and the descendants of Arthur Sackler appear unready to confront the dark side of their privilege. It&rsquo;s much easier to condemn others (one&rsquo;s own family, even!), than to try to make things right in any meaningful way. And that extends to us, the artists and writers and art lovers who benefit from cultural philanthropy. Drug overdoses are currently the leading cause of death for Americans under 50, taking some <a href="https://www.cdc.gov/drugoverdose/epidemic/index.html" target="_blank">115 lives</a> a day. Sure, we&rsquo;d rather enjoy our museums without thinking about death and suffering, but we must examine the connection, even if we can&rsquo;t agree on an easy solution.</p> <p>Being an ethical human being is hard. We all draw our own lines of acceptability, and we get it wrong, constantly. What we must not do is turn a blind eye to avoid the uncomfortable work of drawing those lines. You can enjoy the Met, or the Brooklyn Museum, or the Serpentine Sackler, and still demand they do better&mdash;whether you want them to investigate the connections between their donors and the opioid crisis; fully divest themselves of drug-related money; rename their rooms, and escalators, and institutes; sponsor educational programming related to opioid addiction; host fundraisers or give something back to affected communities across the nation.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BdltuvPFalb/" data-instgrm-version="8" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" margin:8px 0 0 0; padding:0 4px;"><a href="https://www.instagram.com/p/BdltuvPFalb/" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">@sacklerpain</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/nangoldinstudio/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Nan Goldin</a> (@nangoldinstudio) on <time datetime="2018-01-06T01:18:10+00:00" style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;">Jan 5, 2018 at 5:18pm PST</time></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>From Dirty Money, Restitution</strong></p> <p>Can ill-gotten money ever be disconnected from its source? This is a perennial question. It pops back into our consciousness every time we are reminded of the ties between capitalism and the arts: when a performance space in Lincoln Center is <a href="https://davidhkochtheater.com/" target="_blank">renamed after a Koch brother</a>, when a company running asylum seeker detention centers <a href="https://www.theguardian.com/commentisfree/2014/mar/11/sydney-biennale-boycott-victory-shows-that-divestment-works" target="_blank">sponsors a biennial</a>, when our museums are &ldquo;<a href="https://vimeo.com/76011774" target="_blank">battlefields</a>&rdquo; bankrolled by weapons manufacturers. Our <a href="https://www.widewalls.ch/9-billionaire-art-patrons-backing-presidential-candidates/larry-ellison-2/" target="_blank">billionaire arts benefactors have political points-of-view</a>, naturally, and their money comes from industries we may not always be comfortable with. Allow me this brief, but important tangent: As long as our arts institutions have little or no public funding, we will continue to confront these unsettling questions. Can we envision a system that doesn&rsquo;t rely on the obscenely wealthy using arts as a rebranding strategy? A system where institutions are accountable not to trustees and tourists, but their local constituents? A system that truly believes the arts are in the public interest?</p> <p>Descendents are not inherently guilty of their ancestors&rsquo; misdeeds but, in some cases, they do benefit from them. Elizabeth Sackler has done admirable philanthropic work in the arts but her wealth originated in the drug-based maintenance of patriarchal norms. Does the permanent installation of Judy Chicago&rsquo;s <em>The Dinner Party </em>absolve her? No. When stories about her family&rsquo;s connections to the opioid epidemic began to circulate, she could have said nothing, simply maintaining a status quo that has long worked in her favor. But her denial of the ways her privilege stems from the death and suffering of others, those in poverty and pain, belies her message. It marks her statement as the hollow virtue signaling it is. We must not reward her for that.</p> <p>On Thursday, Elizabeth Sackler <a href="https://www.artforum.com/inprint/issue=201802&amp;id=73656" target="_blank">responded in <em>Artforum</em></a> to Nan Goldin&rsquo;s <a href="https://www.change.org/p/hold-the-sackler-family-and-purdue-pharma-accountable-for-the-opioid-crisis" target="_blank">petition</a>. Instead of using this platform to outline the shape her solidarity would take, she took the opportunity to reiterate her innocence. Much more interesting was Goldin&rsquo;s response, published beneath Sackler&rsquo;s statement, welcoming Sackler as an ally and detailing tangible ways her family&rsquo;s wealth and influence can stem the tide of the opioid crisis. Elizabeth Sackler can stand in true solidarity with survivors and victims by using her money and the goodwill she clearly has in the arts community to fund addiction treatment and education. She must encourage her extended family to do the same. Real solidarity begins with restitution.</p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/95201-andrea-alessi?tab=REVIEWS" target="_blank">Andrea Alessi</a></p> <p><em>Andrea Alessi is the Managing Editor of ArtSlant.</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: <a href="https://nyamcenterforhistory.org/2013/01/09/symbols-in-a-life-of-psychic-tension/" target="_blank">Valium advertisement</a>, 1970)</span></p> Mon, 05 Feb 2018 14:07:44 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Doraelia Ruiz Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ams/articles/show_as_email/46511-under-the-radar-doraelia-ruiz-joseph-gurka-elisabeth-wedenig" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from <a href="https://www.artslant.com/global/artists/show/465743-doraelia-ruiz" target="_blank">Doraelia Ruiz</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>Wow this question, for me, is really loaded. As an artist I try my best to communicate my experience as a human being living in this time and age. I&#39;ve done work about everything from heartbreak to social class to mass commercialization&mdash;you name it. In the end I always work from a place of passion. What might make me passionate today might make me apathetic tomorrow. My paintings can sometimes &ldquo;die out&rdquo; because I look at them and only see that moment in time. Like looking at an old photograph of yourself: you know it&rsquo;s you but sometimes it&rsquo;s unrecognizable.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180205134038-20170416061034-Other_Half.jpg" /></p> <p>&nbsp;</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>I don&rsquo;t think an artist has a responsibility to anyone but themself. The idea of &ldquo;responsibility&rdquo; stopped me from being an artist for many years. It really isn&rsquo;t every parent&rsquo;s dream for their child to become a starving painter living in a tiny studio in Hollywood. I believed I owed the opportunities I was given at Brown to pursue a more steady career. I realized years later I put those responsibilities on myself, needlessly. So I am not much of a believer in responsibility. Art is an incredibly selfish profession and it needs to be; you should never do art for anyone but yourself. So I guess if an artist has any responsibility, it is to make sure they are being true to themself. That&rsquo;s the only way any authentic work can be made.</p> <p><strong>Show us the greatest thing you ever made (art or not)?</strong></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180205134000-Solo_MFA_thesis_Show_2016.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <p>Probably the installation for my MFA thesis show. In the weeks leading up to the show, I worked harder than I ever have before and became addicted to the drama of it.&nbsp;I was able to splurge on materials and make the large-scale works I have always wanted. Together with my father, his girlfriend, and my best friend we installed the show in a way we felt was perfect. The result was a fantastic failure. The installation infuriated my core faculty who felt the layout undermined the work. I spent the hours before my opening arguing tooth and nail for my vision. They asked me to change the installation one hour before opening, and they weren&rsquo;t sure they were going to sign off on my thesis. I was shell-shocked. When it came time for my opening talk, I hadn&rsquo;t even had any time to prepare. I barely had time to get dressed after the arguing had extended into hours. So I walked up and I gave the most passionate and driven talk about what that show meant to me. I wouldn&rsquo;t have been able to really know what my work meant, what my installation meant, or what I meant as an artist had I not had that terrible crit right before. I am still really proud of that epic failure.</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>Never say never! Seriously though, there&rsquo;s nothing that I haven&rsquo;t thought about that I would resign to say it would never happen. Finances change, technology changes, personal interests change. I am living in a reality I once thought would &ldquo;never&rdquo; happen.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180205134340-20160908051229-image.jpeg" /></p> <p>&nbsp;</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p>I can&rsquo;t say for sure you wont know them but:</p> <p><a href="http://www.mekajean.com/" target="_blank">Tameka Jenean Norris</a> is an amazing artist working around concepts of race, class, and education. She uses almost any medium. When I am sad, and often when I was abroad for my work and lonely, I would listen to her album <em>Ivy League Ratchet</em>, and lyrics like &ldquo;I&rsquo;m so strong, I&rsquo;m all alone&rdquo; and &ldquo;can&rsquo;t shit on my dreams cuz I got a yale degree&rdquo; really resonated with me. I love how she embraces both the worlds of being low-income and being an Ivy League graduate openly.&nbsp;</p> <p><a href="http://www.meganstclair.com" target="_blank">Megan St. Clair</a> is a wonderful mixed media artist I met in grad school. I saw Megan&rsquo;s path differ from mine: she came in as a conceptual artist and left grad school with a messy painter&rsquo;s studio. I saw her just give in to her passion and voice as an artist and release any preconceived notions of &ldquo;should.&rdquo; Megan now runs Softcore LA, a pop-up gallery for emerging artists, and has written for Hyperallergic, Fresh Paint Magazine, and more. She is one of the hardest working, most ethical, and talented artists I know. I am definitely extremely proud to be in her cohort. She is one of the few artists that make me continue to believe in art.</p> <p><a href="http://www.sallybruno.com/" target="_blank">Sally Bruno</a> was a year ahead of me in graduate school and is one of the best painters I have ever met. The photos of her work do not do justice to their texture and flow of color. It&rsquo;s as if they freeze solid while turning 3D and the colors just mind-glowingly blend, flow, and fight together in the most nonsensical ways.&nbsp;</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(All images: Courtesy of Doraelia Ruiz)</span></p> Mon, 05 Feb 2018 10:24:03 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Genevieve Goffman Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ams/articles/show/48765-under-the-radar-genevieve-goffman-katrina-majkut-sheelah-mahalath-bewley" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from</em><em> <a href="https://www.artslant.com/global/artists/show/490681-genevieve-goffman" target="_blank"><em>Genevieve Goffman</em></a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>I demonstrate how narratives both outline the path of and frequently propel the distribution of power. How dominant power structures parabolize history, co-opt memory, and distort perceptions of current events. I am mildly obsessed with charting how states or political movements use memorialization as tool to manipulate communal memory and weaponize emotions. On the flip side, I&rsquo;m also committed to highlighting narrative details and fragments that fall through the cracks. I&rsquo;m interested in the ways individuals use tropes from stories, especially fantasy stories, to create narratives that empower them to sidestep rigid structures of value, toxic relationship forms, or allow them to escape the expectations of capital.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180129132945-20180117225951-_MG_7297edit.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>Genevieve and the Hydra</em> (detail),&nbsp;2017, Offset Lithograph print on newspaper, 20 x 29 inches</span></p> <p>&nbsp;</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>I think that different artists have different responsibilities. As an artist with my specific privileges, opportunities, and skills I have a specific set of responsibilities.&nbsp;&nbsp;</p> <p>I am committed to seriously exploring the pedagogical role of art. Art has a tremendous potential to make information available through nontraditional methods that could be more accessible and appealing than traditional education. Part of this power is the unique role art can play in encapsulating contradictions. If there are two truths that contradict each other, they can both be presented together undamaged.</p> <p>That said, I am not interested in making propaganda. I am fascinated by the German Anti-Monumentalists, such as Esther and Jochen Gerz who struggled with the concept of making anti-fascist monuments, give the fascist connotations of monuments in and of themselves. I think that art, especially public art, can be dictatorial and co-opt emotions. It is not the responsibility of artists to engage in emotional extortion or spell out how people should perceive the stories around them, but I do think we can lay out information, narratives, and histories while making space for the audience to develop their own.</p> <p><strong>Show us the greatest thing you ever made (art or not)?</strong></p> <p>I think the best things I make are often screen shots or little artifacts I find online. But I guess one time I did Photoshop my friend&rsquo;s face on to Jacques-Louis David&rsquo;s <em>The Death of Marat. &nbsp;</em>I thought that was pretty clever.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180129132641-Screenshot_2018-01-17_20.06.16.png" /></p> <p>&nbsp;</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>I am never going to direct or star in a music video, that&rsquo;s sort of the dream, right? I used to fantasize about it when I was younger. I love the music video as a concept. But I honestly don&rsquo;t know how to make videos. And honestly, I mostly fantasized about being like the love interest so maybe that&rsquo;s not the most inspiring dream. Also I&rsquo;m never going to build a boat. That would be dangerous and I don&rsquo;t actually even know if I want to.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180129133104-20170916202843-111316_GGoffman-31.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>Exfantasy</em> (curtain 2 of 5),&nbsp;2016, Digital Print on Fabric, 35 x 64 inches</span></p> <p>&nbsp;</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p><a href="https://www.imanie.info/" target="_blank">Imani Elizabeth Jackson</a> is a poet and artist from Chicago, who also makes beautiful zines and books. I love her and everything she does.</p> <p><a href="http://www.tabithanikolai.com/" target="_blank">Tabitha Nikolai</a> is an artist and professor from Portland. She just makes the most crazy inspired sculptures and virtual reality projects. Just like the best of geek culture, video games, fantasy, etc., but also deeply grounded in historical research and like material mastery. She recently did a show in Tokyo and the clothing she made, I don&rsquo;t even know if I can describe it as clothing, but you should check it out.</p> <p>I also really like <a href="http://www.ginawynbrandt.com/" target="_blank">Gina Wynbrandt</a>&rsquo;s comic books about sex. I don&rsquo;t like most art about sex at all, but these are good.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: <em>Genevieve and the Hydra (print),&nbsp;</em>2017, Inkjet on canvas, 20 x 30 inches)</span></p> Mon, 29 Jan 2018 05:35:17 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Emmanuel Monzon | Irina Raffo | FeiFan Zhang <table style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">ArtSlant is an open Arts community with over 200,000 free, user-generated <a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" style="color: #097ff5; text-decoration: none;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our <a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" style="color: #097ff5; text-decoration: none;">magazine</a> to our <a href="http://www.artslant.com/ny/articles/show/33747" style="color: #097ff5; text-decoration: none;">residency</a> and <a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" style="color: #097ff5; text-decoration: none;">prize</a>. Every week our editors select the best artist profiles from under the radar. </span></em></span></p> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">Follow your favorite artists to see new work and exhibitions by adding them to your <a href="http://www.artslant.com/global/articles/show/11143" style="color: #097ff5; text-decoration: none;">watchlist.</a></span></em></span></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/428889-emmanuel-monzon?utm_source=EmmanuelMonzon&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="font-family: georgia, palatino; font-size: large;"><span color="#097ff5" face="georgia, palatino" georgia="" large="" palatino="" size="4" style="color: #097ff5; text-decoration: none;">Emmanuel Monzon &ndash; Seattle</span></span></a></p> <p><a href="https://www.artslant.com/ams/works/show/1015329?utm_source=EmmanuelMonzon&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1015329/u3azr9/20161104185815-emmanuel_monzon_1.jpg.JPG" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1015330?utm_source=EmmanuelMonzon&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1015330/mf2ji7/20161104185924-emmanuel_monzon_3.jpg.JPG" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1015333?utm_source=EmmanuelMonzon&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1015333/mf2ji7/20161104190035-emmanuel_monzon_5.jpg.JPG" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1015334?utm_source=EmmanuelMonzon&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1015334/mf2ji7/20161104190052-emmanuel_monzon_9.jpg.JPG" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/494373-irina-raffo?utm_source=IrinaRaffo&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Irina Raffo &ndash; Buenos Aires &amp; Montevideo</span></a></p> <p><a href="https://www.artslant.com/ams/works/show/1073681?utm_source= IrinaRaffo&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1073681/u3azr9/20171101153043-Irina_Raffo_008_W.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1073683?utm_source=IrinaRaffo&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1073683/mf2ji7/20171101153045-Irina_Raffo_010W.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1073680?utm_source=IrinaRaffo&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1073680/mf2ji7/20171101153038-Irina_Raffo_004_W.jpg" style="width: 100%;" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1073684?utm_source=IrinaRaffo&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1073684/mf2ji7/20171101153046-Irina_Raffo_011W.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/494363-feifan-zhang?utm_source=FeiFanZhang&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span color="#097ff5" face="georgia, palatino" size="4" style="color: #097ff5; font-family: georgia, palatino; font-size: large;">FeiFan Zhang &ndash; Chicago</span></a></p> <p><a href="https://www.artslant.com/chi/works/show/1071881?utm_source=FeiFanZhang&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1071881/u3azr9/20171030081216-1272_Fixed_5-S_44x55in_240dpi_18_sm_copy_copy.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1071887?utm_source=FeiFanZhang&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1071887/mf2ji7/20171030081829-_No_Man_s_Land___No.1284__2017.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1071883?utm_source=FeiFanZhang&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1071883/mf2ji7/20171030081219-1281_4_cleaner-S_44x55in_240dpi_30_sm_copy_copy.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1071885?utm_source=FeiFanZhang&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1071885/mf2ji7/20171030081224-1278_7_Fixed-S_44x55in_240dpi_15_sm_copy_copy.jpg" width="100%" /></a></td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 24px;">ArtSlant supports thousands of contemporary artists through our outreach and exposure programs&mdash;come join the best online arts community today!</span></em></p> <p style="text-align: center;">&nbsp;</p> <table> <tbody> <tr> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170213165906-ArtSlant_Prize_IX_2017-01.jpg" style="width: 100%;" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.artslant.com/par/foundation?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Residency"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182447-residency-logo-300.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.artslant.com/ew/articles/show/48965-our-new-residency-is-now-accepting-applications-process-park" style="font-family: georgia, palatino;"><img src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171204002549-Process-park-logo-sq.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182549-profile-subscriptions-logo-300.jpg" width="100%" /></span></a></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Thu, 15 Feb 2018 06:57:06 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list A Dog in the Fight: The Exploitation of Animals in Art <p>We kill them, hunt them, destroy their habitats and communities, display them, wear, buy, use, and discard them. Occasionally we attempt to save them from what we&#39;ve done. Animals are the original victims of helotry, oppressed and wherever possible forced into servitude in pursuit of humankind&rsquo;s betterment. Our presumption of ownership, and mistreatment in the name of religious rituals, clothing, entertainment, or work is the eternal hallmark of our depravity. In the art world, animals, dead and alive, are too often procured as raw material, justified by inauthentic claims of raising issues regarding their plight, or as metaphors for our own appetites. In the most egregious cases, they are not more than tortured vehicles, driven hard in pursuit of undeserved attention.</p> <p>Art is supposed to be out in front of its society, a clarion vision of what is coming. Or, it responds to what is, or has recently happened, elucidating problems that might otherwise slip beneath the streaming, digital sludge that is visual life today. Animal abuse is never <em>out</em> of the news, and nobody can assert ignorance of it unless willfully. So what points are artists who inflict it, flirt with it, or denigrate an animal&rsquo;s dignity, adding to our collective consciousness? Most often they expose only their own limitations by placing art behind the curve, at the back of the conversation, chasing, rather than alerting.</p> <p>&nbsp;</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>Art is supposed to be out in front of its society... artists who abuse animals place art behind the curve, at the back of the conversation.</em></span></p> </td> </tr> </tbody> </table> <p>&nbsp;</p> <p><strong>Physical Harm</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180126094853-helena.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Marco Evaristti,&nbsp;<em>Helena</em>. Courtesy of <a href="https://www.evaristti.com/helena-el/" target="_blank">the artist</a></span></p> <p>&nbsp;</p> <p>Rightfully, there is little tolerance for artists who have most shockingly pained or executed animals. Among them is Tom Otterness, who once shot and <a href="https://www.huffingtonpost.com/2011/09/19/tom-otterness-central-subway-contract_n_970040.html" target="_blank">killed a dog</a> and is now reduced to littering subway stations with his asinine, gnomish globules straight from the clearance shelves of a Christmas store in January. So lurid is the shadow of his action that even creative <a href="http://gothamist.com/2014/09/05/otterness_shot_dog_statue.php" target="_blank">responses</a> to his shame seem smug and predictable; Jesse Power, and his cohorts hanged, slit the throat of, and <a href="http://www.nytimes.com/2005/04/27/movies/a-selfproclaimed-artist-and-an-inexplicable-act-of-cruelty.html" target="_blank">disemboweled a cat</a>, apparently as some form of artistic investigation; the infantile antics of Marco Evaristti include inviting his audience to <a href="http://news.bbc.co.uk/2/hi/3040891.stm">liquefy goldfish</a> (two were killed); while <a href="https://en.wikipedia.org/wiki/Tinkebell" target="_blank">Katinka Simonse</a>&nbsp;(Tinkebell), <a href="https://www.theguardian.com/artanddesign/2008/mar/30/art.spain" target="_blank">Guillermo Vargas</a>, <a href="http://www.nathaliaedenmont.com/change/" target="_blank">Nathalia Edenmont</a>, and many others are gratingly coy in acknowledging the veracity of their processes or one-liner art, garnering them notoriety, without quite proving the amorality or illegality of their actions.</p> <p>As was widely reported over the last few months, several works in the Guggenheim&rsquo;s recent exhibition <em><a href="https://www.guggenheim.org/exhibition/art-and-china-after-1989-theater-of-the-world" target="_blank">Art and China After 1989: Theater of the World</a></em> stirred public consternation, causing several pieces to be withdrawn. Huang Yong Ping&rsquo;s titular piece consists of a domed, gladiatorial arena containing insects, arachnids, and reptiles, imprisoned in unnatural proximity, and left to consume each other in bloody combat. The piece has <a href="http://www.cbc.ca/news/entertainment/vancouver-insect-art-exhibit-removed-1.658916" target="_blank">faced controversy before</a>. Coming into the Guggenheim, artist and museum both knew the reactions they would receive, but crept ahead anyway behind that insufferable shield of artistic license.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="394" src="https://www.youtube.com/embed/a-vxuesH75w" width="700"></iframe></p> <p>&nbsp;</p> <p>Other banished works include a video of Sun Yuan and Peng Yu&rsquo;s 2003 work&nbsp;<em>Dogs That Cannot Touch Each Other</em>&nbsp;featuring pairs of pit bulls leashed to treadmills, facing each other, snarling and agitated just beyond each other&rsquo;s reach, and&nbsp;Xu Bing&rsquo;s 1994 film&nbsp;<em>A Case Study of Transference</em>&nbsp;depicting&nbsp;two swine having sex, stamped with English and Chinese textual motifs.</p> <p>This is not to infer that artists best avoid utilizing animals within, or as, art <em>at all.</em> Whether an artist <em>ought </em>to make an artwork is a quite different conversation from demanding that they <em>mustn&rsquo;t. </em>But if we do not expect artists to move past our basest urges, if we cannot require them to be clever enough to surpass sophomorism and exalt discourse, then the societal potential of art is surrendered to self-indulgence and grotesque snuff tactics.</p> <p>Perhaps no occasion illuminates the point more vividly than deranged animal abuser and all-star sociopath Kim Jones&rsquo; repellent 1976 crime <em>Rat Piece</em>, which comprised the burning alive of three male rats. Set to their agonized, screaming deaths, the artist romped about covered in mud as a toddler might. While it doesn&rsquo;t merit critical attention as art, it reverberates as much for the selfishness of his response, as his unhinged cruelty.</p> <p>&ldquo;People still get upset about it,&rdquo; Jones <a href="https://books.google.nl/books?id=-Y4AAwAAQBAJ&amp;pg=PT145&amp;lpg=PT145&amp;dq=%25E2%2580%259CI+can+understand+that+because+I+tortured+the+animals+to+death,+but+it+was+important+for+me+to+have+that+experience+as+an+art+piece.%25E2%2580%259D&amp;source=bl&amp;ots=2XTh9Y_-yP&amp;sig=Xws1yG0PD1-kZyUYGdk9BwIS9Rw&amp;hl=en&amp;sa=X&amp;ved=0ahUKEwiz7vCu5_DYAhXSIlAKHXRgCpgQ6AEIKTAA%23v=onepage&amp;q=%25E2%2580%259CI%2520can%2520understand%2520that%2520because%2520I%2520tortured%2520the%2520animals%2520to%2520death%252C%2520but%2520it%2520was%2520important%2520for%2520me%2520to%2520have%2520that%2520experience%2520as%2520an%2520art%2520piece.%25E2%2580%259D&amp;f=false" target="_blank">has said</a>. &ldquo;I can understand that because I tortured the animals to death, but it was important for me to have that experience as an art piece.&rdquo;</p> <p>&nbsp;</p> <p><strong>Less Extreme Use of Animals and Dignity Infringement</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180126093214-6889090241_423090e11e_b.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Darren Bader installation at MoMA PS1, 2012. Photo: <a href="https://www.flickr.com/photos/garrettziegler/6889090241/" target="_blank">Garrett Ziegler</a></span></p> <p>&nbsp;</p> <p>In relatively benign cases such as Naveen Thomas&rsquo;s <a href="https://www.hindustantimes.com/india/artiste-in-soup-for-confining-pigeons/story-uav2W3ytGVPLxRRjD0VQHL.html" target="_blank">pigeon and copper wire installation</a>, or Miru Kim&rsquo;s laughable Beuys homage, <em><a href="http://www.miaminewtimes.com/news/miru-kims-nude-art-with-pigs-made-them-sick-activist-says-6385782" target="_blank">I Like Pigs and Pigs Like Me</a></em>, welfare remains of concern, if not perhaps, outright alarm. There is another concern though: the abuse of art itself through the meritless futility of such pathetically superficial artworks.</p> <p>The vapidness of many animals-as-artworks further erodes the public&rsquo;s already tenuous relationship with contemporary art as anything relatable or substantive, because while it is relatively easy to make work with animals, it is exceedingly difficult to make <em>successful</em> work with animals. It requires a balancing of the affection in which animals are held generally, a note of humility and extreme care, with simply stated commentary on universally accessible experiences that may be highlighted by the animals&rsquo; presence.</p> <p>&nbsp;</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>Just because a gallery gives you enough room to swing a cat doesn&rsquo;t mean it&rsquo;s advisable.</em></span></p> </td> </tr> </tbody> </table> <p>&nbsp;</p> <p>Darren Bader <a href="http://observer.com/2012/04/when-is-a-cat-not-a-cat-when-its-a-sculpture/" target="_blank">displayed cats</a> in a gallery, and referred to them as artworks. They were not artworks; they were cats. Bader&rsquo;s sanctimonious, semantic aggrandizing is the kind of hollow gesture that critics behold with glee for its attempted subversion of staple terms. But just because a gallery gives you enough room to swing a cat doesn&rsquo;t mean it&rsquo;s advisable. It was a clumsy lurch at the boundaries of material definition, but at least the cats were presumably well cared for&mdash;if not entirely comfortable&mdash;and available for adoption. The employment of art world terms to describe matter that is jarringly incongruous to that assertion can be a sign of a marketing-savvy artist, but one in creative disarray. Wim Delvoye submitted to the same tactic, when he referred to <a href="https://wimdelvoye.be/work/art-farm/tattooed-pigs-1/" target="_blank">his tattooed pigs</a>, as &ldquo;canvasses.&rdquo;</p> <p>Additionally, a great handicap of using live creatures is that animals are more intriguing and captivating in and of themselves, than anything an artist might try to say <em>through</em> them. The audience then is engaged by the natural wonder of proximity to even a relatively common animal. At that juncture art&rsquo;s feebleness in surmounting such fascination is exposed, and its messaging is lost. Here, the zookeeper is of greater value than the artist.</p> <p>Jannis Kounellis&rsquo;&nbsp;<em><a href="http://www.artnews.com/2015/06/25/kounellis-horses-have-first-u-s-showing-at-gavin-browns-enterprise/" target="_blank">Untitled (12 Horses)</a></em> might have set up a lovely experience, but that is because horses are marvelous, not because Gavin Brown says they are art. Artists then must be aware of these challenges and be capable of managing them; most aren&rsquo;t. Instead they succumb to the lure of the quick buck of notice that animals can bring. Perhaps museums and galleries don&rsquo;t care about the wider consequences of inauthenticity or degenerating art&rsquo;s reputation, but they might, for otherwise they are steering their very own Titanic.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180126170754-7588637124_4f9ad4423f_k.jpg" /></p> <p style="text-align: center;"><span style="font-size: 12px;">Human, the dog, in artwork by Pierre Huyghe. Photo: <a href="https://www.flickr.com/photos/mischah/7588637124/" target="_blank">Mischahr</a></span></p> <p style="text-align: center;">&nbsp;</p> <p>An approximate guide to animal treatment&mdash;and how to utilize them smartly&mdash;could be whether we might like to be displayed in a museum without consultation as to the circumstances: to have our legs <a href="https://unframed.lacma.org/2014/11/26/human-pierre-huyghe%25E2%2580%2599s-dog-residence" target="_blank">painted pink</a>; to be locked in a room with a coyote (as Beuys notoriously subjected a coyote to involuntary containment with a human); or to be rehoused in a contrived environment <a href="https://www.artslant.com/ny/articles/show/47812-anicka-yi-life-is-cheap" target="_blank">pumped full of &ldquo;hybrid scent&rdquo;</a> to engineer the nonsense notion of &ldquo;psychic exchange&rdquo; with a colony of ants. As we know primevally when we have been violated, so we know when we have violated, even notionally. Denial is a choice. Using <em>any</em> animal expressly killed as material&mdash;<a href="https://news.artnet.com/art-world/damien-whats-your-beef-916097" target="_blank">or one million animals, as in Damien Hirst&rsquo;s case</a>&mdash;or merely a living and seemingly unharmed animal, is always going to be fraught, if by a matter of degrees. But if art has any interest in hoisting the aspirations and vision of humanity, leaving living animals alone is a prudent choice. There is just no need.</p> <p>&nbsp;</p> <p><strong>The Sliding Scale of Acceptabilities</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20180126095314-13965208913_d7edf5597a_k.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Cai Guo Qiang,&nbsp;<em>Head On</em>, Installation view from&nbsp;<em>Falling Back to Earth</em>, GOMA. Photo: <a href="https://www.flickr.com/photos/cathy-j-ross/13965208913/" target="_blank">seejayarr</a></span></p> <p>&nbsp;</p> <p><span style="text-align: center;">And yet, animals are a part of our lives, our families. We are going to make work about them, as civilizations always have&mdash;our Paleolithic ancestors carved into rocks and sketched onto cave walls far more animals than humans.</span></p> <p>Taxidermy, roadkill, or otherwise deceased creatures or their remains are a different matter. If an animal&rsquo;s demise was not met directly to become art, then where are the lines of what is and isn&rsquo;t acceptable for artists availing themselves of the carcass or remnants?</p> <p>Chinese artist, Cai Guo Qiang&rsquo;s <em><a href="https://www.theguardian.com/artanddesign/2013/nov/27/falling-back-to-earth-a-simple-message-of-survival" target="_blank">Head On</a></em> is not only visually spectacular, but its execution, combined with the artist&rsquo;s conceptual intelligence makes his work far more effective as &ldquo;metaphors for humans&rdquo; than the dubious endeavors of his Guggenheim compatriots. The wolves are fashioned from sheepskin, painted and modeled. By tapping the grandeur and mythological resonance of lupine grace, he acknowledges their majesty, while their likenesses speak simply, and sensitively of our experiences. Similarly, <em><a href="http://www.caiguoqiang.com/projects/heritage" target="_blank">Heritage</a></em> comprises various animals hewn from goat hide.</p> <p>But what about the sheep and goats? Had they been slaughtered for the piece, there would also have been a negative response, but if they were lifted from another industry&mdash;food?&mdash;where death was inevitable, tensions are reduced and art can slip in the back door. Perhaps our responses are based not only on hierarchies of animals&rsquo; values and our culturally engineered sensibilities that farm animals are fair game for mass consumption while elephants and giraffes are sacrosanct. It&rsquo;s complicated. If it were only about the status we have conferred onto certain animals in the West, nobody would have cared about three rats. Reactions surely include the majority&rsquo;s innate sense of right and wrong, something that becomes increasingly subjective and personal, though nevertheless influenced by the dominant ideology of carnism, as we move away from the extremes of dog-shooting and cat-disemboweling.</p> <p>&nbsp;</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>Our innate sense of right and wrong becomes increasingly subjective as we move away from the extremes of dog-shooting and cat-disemboweling.</em></span></p> </td> </tr> </tbody> </table> <p><br /> <a href="http://jordaneagles.com/" target="_blank">Jordan Eagles</a> works with animal blood from an abattoir&mdash;the byproduct of deaths he has no hand in&mdash;to create sculptural objects of incandescent beauty, thrumming with the cycle of life, spiritual contemplation, and cosmological wonder. He in fact has gone a step further, in his <em><a href="http://jordaneagles.com/blood-mirror/" target="_blank">Blood Mirror</a></em> project, which consists of donated human blood, a remonstrance against prejudice and scientific omission regarding governmental blood donation policy pertaining to gay and bisexual men. He is aware of the violence inherent in the animal-blood&rsquo;s origin, but its reconstitution is handled with nobility and respect.</p> <p>Kimberly Withal <a href="https://roadsideresurrections.wordpress.com" target="_blank">fashions roadkill</a> she finds in her home state of New Jersey into still life vignettes and photographs them. They are exquisite images, that highlight the brevity of life and the melancholy of its passing. After the artwork is completed, she buries the remains as a reverential conclusion to physical presence.</p> <p>Perhaps, as it is for many regarding the ethics of food production and consumption, it is less that we eat animals, but how we treat them on their way to our plates that is of concern. Including the hide of a plentiful animal that most accept as edible&mdash;and hopes [peeking through fingers]<peeking fingers="" through="">&nbsp;<peeking fingers="" through="">has been well raised and well killed&mdash;permits the artwork to stand higher than its parts. Or maybe history will not look kindly upon any artwork employing the bodies or residue of animals. Today at least, for the science and food industries, animals are routinely experimented upon or slaughtered en masse, and the matter is controversial, but the greater good of medical advancement or a population&rsquo;s sustenance mutes much opposition; grumbling tolerance is reached for these inconvenient truths. But times, appetites, and awareness are changing. Like entertainment (Ringling Bros. pitched its final tent in 2017, in part because of animal rights activism and societal pressure), art just isn&rsquo;t as vital to our survival, and so lacks any such moral defense.</peeking></peeking></p> <p>Of his <em>A Case Study of Transference</em>, involving the stamped pigs having sex, Xu Bing, has&nbsp;<a href="https://www.nytimes.com/2017/09/20/arts/design/guggenheim-art-and-china-after-1989.html">stated</a> that, &ldquo;Animals are completely uncivilized and Chinese characters are the expression of supreme civilization.&rdquo;</p> <p>It&rsquo;s a statement counter to our anthropomorphization of&nbsp; &ldquo;terms of venery&rdquo; wherein we have bestowed upon groups of animals a sense of our most dignified and aspirational institutions&mdash;a congress of baboons, a parliament of owls, a committee of vultures&mdash;while we fail in such aspirations ourselves. If genuine, not only does this moronic comment expose the man&rsquo;s imperialistic haughtiness, but it throws into contrast an ironic point, quite missed in this debate. Animals tend not to mutilate or kill each other for fun, sport, or false religious superstition, permit their prejudices to disenfranchise their own kind, or bankrupt their own social structures. When considering art that involves the degradation of our fellow creatures, or society&rsquo;s pillage of them generally, it isn&rsquo;t animals that lack civility. It is us.&nbsp;</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/16357-darren-jones?tab=REVIEWS" rel="nofollow" target="_blank">Darren Jones</a>&nbsp;</p> <p><em>Darren Jones is a Scottish, US-based critic and artist. His new book,&nbsp;with David Carrier,&nbsp;</em>The Contemporary Art Gallery: Display, Power and Privilege,<em>&nbsp;is available now.</em></p> <div>&nbsp;</div> <div><span style="font-size:12px;">(Image at top:&nbsp;</span><span style="font-size: 12px; text-align: center;">Joseph Beuys,&nbsp;</span><em style="font-size: 12px; text-align: center;">I Like America and America Likes Me</em><span style="font-size: 12px; text-align: center;">, 1974, Performance. Photo: via&nbsp;</span><a href="https://www.wikiart.org/en/joseph-beuys/i-like-america-and-america-likes-me" style="font-size: 12px; text-align: center;" target="_blank">WikiArt</a>)</div> Fri, 26 Jan 2018 09:26:35 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list