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Thursday, October 22nd
INSIDERS
 If you’re coming to Bordeaux in the next few months, there is a stop you absolutely have to make. If the thought hadn’t crossed your mind, plan a trip to Bordeaux anyway, come and taste the local specialities and save a day for a peek at the INSIDERS exhibition showing at the Entrepôt Lainé until the 7th of February 2010. You won’t be disappointed.
The latest co-venture between CAPC museum of contemporary art and arc en rêve centre d’architecture is worth the trip. Centred on the uses, practices and know-how that have developed over the past decades, the imposing colonial warehouse is home to a colourful and well-thought-up selection of art and architectural works that bring the true concept of DIY to life.
The exhibition presents a new type of creation, that who has come to life following massive globalisation of our societies. It’s a creation that goes beyond this globalisation, looking for new ways of expressing itself, bringing together such things as daily life practices and artistic approaches, handcraft and state-of-the-art technology, human beliefs and rituals and industrial production. It all comes down to the fact that everyone is or can be an artist, that the everyday production that Mankind has found to respond to pragmatic or more utopian ideas can be and is art. This new network of resources and creativity makes up the INSIDERS, those who think up a new way of creating art, architecture " a new way of life.
Alice Cavender on 10.22.09 @ 01:15 PM EST [more..] [No Comments]
Thursday, October 15th
And maybe it is not even like that!
In an old notebook I recently found this paragraph, which I would like to underline.
"I work until late at night, concentrating on an internal conflict that I find impossible to resolve. I still hope to be able to produce something good; but I need to receive a few "brilliant ideas". If they don't come, I'll have to put the work off for longer. I imagine that this is what's going to happen, because it isn't really a question of a few "brilliant ideas".
The fact is that nothing in our state of mind is ever clear, and our painting suffers from this lack of certainty. Sometimes I feel that the meaning of my work is exclusively connected to the production of a painting; to its continuous references and modifications; to small discoveries, like rafts to which a shipwrecked man clings, and which then sink to the depths, taking with them lines, colours and pseudo-meanings.
Alberto Sughi on 10.15.09 @ 10:19 AM EST [more..] [21 Comments]
Thursday, October 8th
Still life with De Stijl
Constructivist integration
How is it that art of the De Stijl movement should be "for the people" and not isolated from the people, if all its concern is to depict subjects, essences and "problems" that are not of any interest to the majority of us, hence the people?
"…The art of the De Stijl movement regarded not only the art itself but also the caring for man for whom the art was created, as first priority…" if it is so, than please explain to me how the caring for man is being manifested in works such as Construction within a sphere by Georges Vantongerloo, or Composition II by Theo Van Doesburg? Do these works of art improve your well-being and comfort in front of the torments of life?
Art does not solve anything. If it's worth something at all it simply tells a story and if not then it's simply wasting your time pleasantly. A situation where art is rolling around between people's legs will not encourage integration with those people; just the same as a Shinto Japanese will not feel integrated among a bunch of Israeli prayers in a synagogue in Tel-Aviv. If there is no common language there is no communication; if there is no common interest there is no will to form a common language.
findigart on 10.08.09 @ 08:34 AM EST [more..] [21 Comments]
Monday, October 5th
NAIA SPEECH 2009
Recently, I was honored to give the keynote address at the National Association of Independent Artists 2009 meeting (www.naia-artists.org). The theme was “Art Stimulus Plan 2009-2010,” which was the focus of my speech which went very well and provoked some pretty cool discussion. Here’s the speech:
“I'm here to talk about art, but I need to say something here first that's weighing heavily on me. You may also feel the same. I'm finding what's happening in this country right now very troubling. The conflict, the fear, the rumors, the meanness, the drama, the political game playing on all sides, the over-arching philosophy of the day that says if I don't agree with you or you don't agree with me, then you must be destroyed. We have got to stop this. We're like a dog chasing its tail. It's like we're children hopelessly trapped in the oral phase of our psychological and social development. We have got to evolve past this.
We have got to do a better job of looking out for one another. We're all we've got. We have to get on the same page ... for the sake of history, if no other reason. I'm convinced that 200 years from now, historians are going to look back and say, "Oh my God! They had everything the needed, they had the knowledge and yes, the resources and they still screwed it up!" I truly want to believe that we live in an enlightened society and the great thing is that ART CAN LEAD THE WAY.
Michael Corbin on 10.05.09 @ 08:57 AM EST [more..] [9 Comments]
Thursday, October 1st
The Jeffrey H. Loria Center for the History of Art. Yale University, New Haven, CT.
 The new art complex at Yale University (2008-9) includes renovations of the Rudolph Building (originally built in 1963), and the Library (Robert B. Haas Family Arts Library) and incorporates an entirely new element--the Jeffrey H. Loria Center for the History of Art. Charles Gwathmey M.Arch. - 62 (Gwathmey, Siegel & Associates, NYC) served as architect for all three projects.
The Loria Center is of special importance because it brings a focus to the entire field of study that had been missing. The recent Alumni Conference (April, 2009) highlighted theoretical considerations from earlier leaders in the visual arts at Yale--Henri Focillon (1881-1943), George Kubler (1912-1996) that could stimulate the entire field beyond the campus. In my view, the Loria Center, by its mere existence, will serve as more than an edifice; it will serve as a catalyst for innovative studies in the Visual Arts. Which is to say that the the History of Art is also the future of art.
Joyce Waddell Bailey on 10.01.09 @ 09:23 AM EST [more..] [13 Comments]
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