Reader Feb 28, 2010

– Matthew Barney’s commentary on Drawing Restraint. Hysterical. (via c-monster)

– I’ve missed William Powhida and Jennifer Dalton’s opening at Winkleman Galleryv and subsequent events thus far for their exhibition #class but there is a slew of events yet to come. The exhibition, in c-monster’s words, plans to “terrorize Chelsea for a month”, with art yoga, guerrilla gallery tours, ask-the-dealer session, chalkboard writing, balloon popping, and dear Amanda’s Battleship. It’s a riot and a half and will dedicate a couple hours this weekend and the rest of March to experience #class.

Mr. Shut Up will look at your art.

What does feminist art look like today, who is making it, and what does it entail? “many artists deploy body performance, craft process, gender masquerade, domestic aesthetics, historical revision, or center core imagery to make decidedly unfeminist work; however, the ways contemporary feminist artists adopt and transform these strategies is, in my opinion, more fascinating.  Feminist artists who adapt historical models and imbue them with contemporary content often fall short of making work that is sufficiently critical (“craftivism” comes to mind) or sufficiently, well, art.  It is not so much that good feminist art needs to balance critique and aesthetics; rather, it needs to prove that something is at stake within its critique by engaging its audience with something compelling, provocative, beautiful, or terrifying…Why would [insert normative white male artist’s name here] want to make work that is explicitly personal instead of making work that reveals the politics limiting access to culture production?  Facile as it seems to redirect this question towards white male artists, the simple rephrasing sheds light on the double-standard motivating my perplexed response to Imag(in)ed Malady.  While an artist who is a feminist might view art as a forum for political dialogue, it is more than her desire to engage in this dialogue that motivates her to make art.  And this is what is still at stake in feminist art: an adequate space for expressions of subjectivity that go beyond demands for subjectivity—art that’s not preoccupied with its plea for legitimacy.” (via c-monster)

112 minutes with Francesco Bonami. He is a pretty dull artist and from the reads of it, completely unaffected by criticism, which makes him awesome. “It’s a myth that curators change the career of an artist. The work of an artist changes the career of an artist.”

– Pure. Envy. The collection of James Wagner and Barry Hoggard. Here is the inventor of their collection. Sigh.

When artists write art criticism: “There is the concern of whether an artist might be reluctant to criticize harshly an exhibition at a gallery with whom he or she might want to show in the future.  My solution is simple:  I don’t write about bad work.  This may sound at first like a bit of a cop-out, but I don’t think so…I think that the best response to bad work is to ignore it…I don’t think of myself as a critic; I go out, I look at art, and I report on what I see that I like.  My main motive is to make people aware of what’s out there, and to motivate them to get out there and see it; any actual criticism that occurs is incidental to this goal.”

The Korean art scene in Chicago. I find this irrelevant.

110 Art Websites.

– c-monster on Collecting Biennials.

Bereaving the lack of reviews on works by women artists. It’s a repetitive cycle. There aren’t enough reviews of works by women artists because there aren’t enough shows of works by women artists because perhaps, PERHAPS, there aren’t enough works by women. Someone might stone me for saying that but the main issue here that everyone should be working towards is getting more women artists into shows, of course considering the quality, context, form, aesthetic, and politics is aligned to proper good art etiquette. Plus, Anaba, my eyes are wrinkling and strained from your baby blue and orange font color atop a navy blue background, please make it easier for me to read.


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