Aug 10, 2014

Cuppetelli and Mendoza; Nervous Structure (field)

"--- And yet, despite the unmistakable centrality of the viewer within On Disappearance, experiencing the work is notably passive. Eyebeam and Astala position the work as an “interactive installation” that “aims to destroy the norm of the traditional, cinematic black cube, wherein the role of the spectator is limited to that of passive observer, experiencing mediated reality.” Undoubtedly, viewers see themselves transported into the work and the animation’s protagonist addresses them, but do these levels of engagement fully qualify as active behaviour? No more so than looking in a mirror or partaking in a one-sided conversation. It seems humorous, and poignant, that a work built entirely around notions of interaction needs so little from its audience — as if you didn’t really need to be there at all."

May 29, 2014

ARTnews: On modern happenings?

ARTnews: About participatory art

Artists inspired by ecological crisis, article Turning Over a New Leaf; "This impulse to heal the earth persists today with some artist-activists who are experimenting with solar power and alternative fuel sources. The problem, however, is that too often the actual art is a casualty of the process."

ARTnews: Copy Rights

“So many people wanted Chagalls,” Stein told me. “I remember one day when I operated a gallery out of my apartment on Park Avenue I had an appointment there at one o’clock to deliver three Chagall watercolors that were not yet painted. I got up at six in the morning. The first thing I did was make some tea. I use Lipton tea; it’s the best thing to use when you want to age drawing paper. It gives it a yellowish appearance when you dip cotton in the tea and spread it over the paper.
“Then, while the paper was drying, I made the sketches. I decided on circus scenes. I was working mostly from illustrations from books. One by one, I painted them. I was finished by eleven o’clock. When one was finished, I would put it in front of a sun lamp, which dries the material and cracks it slightly. It’s like cooking.
“I rushed down to a framing place three blocks away. I told them it was urgent, and they framed the three watercolors while I waited. Everything was ready by noon. Then I ran six blocks to a place on Lexington Avenue to make photographs of the watercolors. I rushed back and made certificates of authentication. I know the writing of Chagall and I wrote: ‘I Marc Chagall, certify that this watercolor is an original.’ And I signed Chagall’s name on the back of the photograph. I was finished a few minutes before the dealer arrived. He was satisfied and gave me a check for $10,500.”