Tag: H2TaA

How To Talk About Art: Now a Column on Hyperallergic

Koons-TrainHow to Talk about Art (H2TaA ) has been The Art Machine’s slowly growing manual for those who wish to master artspeak as practiced by art critics, art educators, galleries, dealers, copywriters, and journalists.

Now, H2TaA has moved from The Art Machine’s umbrella and into the arms of Hyperallergic.com. You can read the first installment at: How To Talk About Art (#h2taa): Jeff Koons Edition by Cat Weaver on April 30, 2012

About the Column:

Originating with the need to validate and describe artwork which was no longer narrative and which relied more and more heavily on inside jokes and academic references, artspeak has grown into its own with a lexicon that is comprised, not only of tropes and catch phrases, but of technical, scientific, and otherwise borrowed terms which have been adapted to its own needs. “Virtual space”, “gesture” ,”intervention”, “appropriation”: these are all words which used to be safely housed in the worlds of aesthetics, dance, psychology, and legal documents and are now used to create press releases for anything from sculpture to performance to collage.

It is my opinion, that many people who feel they can’t talk about art, much less speak TO it, are actually lacking a background in artspeak. H2TaA seeks to span that educational gap.

I also believe that by studying artspeak, one can pull the mask off artspeak-agents and reveal the mechanizations behind the catalogs and pamphlets, bringing to light an artist’s laziness of imagination, or a curator’s dependance on slang and technique, or the general trade tendency to make excuses for work that is overly subjective (or too academic) to be enjoyable. In brief, an interpretation of wall cards can shed light on all of the unnecessary posturing that has led to the elitist view that contemporary art is somehow beyond the ken of the public when it is, actually, beyond the ken of EVERYONE.

Learning H2TaA is just another way to bring art out of the academic tool box and into the light.

How to Talk About Art: Always throw in a ringer.

Hermes bearing the good person by Praxiteles. Parian marble, H. 2.15 m (7 ft. ½ in.). Archaeological museum of ancient Olympia, Greece. From the German excavations of the Heraion at Olympia, 1877.

Jeff Koons, at the 2010 Whitney Gala and Studio Party, listing the “influences” for his latest oil paintings and marble works : “Dali, Manet, Velazquez, Titian, you know… DaVinci, Praxiteles.”

Go Deep: Jeff Koons’ Made in Heaven at Luxembourg and Dayan

 

Jeff Koons, Ponies, 1991 Oil inks silkscreened on canvas228.6 x 152.4 cm (90 x 60 inches)
Jeff Koons, Ponies, 1991 Oil inks silkscreened on canvas 228.6 x 152.4 cm via Spreadart Culture

 

The thing about the Luxembourg and Dayan gallery is that it’s small. It’s small and the walls are close. And the thing about Jeff Koons’ Made in Heaven series, is that the paintings are huge. They are huge and very intimate. The situation makes for an interesting immersive experience.

What grabs you, when you step into this exhibit, is how it lends new meaning to “in your face.”

As I distracted myself with the paint jet dithering, I tried to think about Fragonard. But Ilona’s pale spotted bum, really sat heavily on my I.Q. The people standing nearby carried on a did-you-know patter about the print process, and “eternal virgins” and the Violet Ice (Kama Sutra) glass piece —but honestly, on an intellectual level, it’s mostly “been there, done that” isn’t it?

What I mean to say is, since these works were unveiled at the 1990 Venice Biennale, we’ve had 20 years to talk it over. But I recall none of that here, back to back with strangers and surrounded by more crack than an alphabet dweller in the late 80s. I”m all eyes for the long nails — really? There? — and the bad shave: sorry, that looks raspy.

Now, believe me, I KNOW I’m being childish. I am quite clear on that by now. It’s all supposed to be about the talking points: you make sure to have your Ecstasy of St. Theresa and you discuss Fragonard and you wink at the old dutch with their personal cabinets of pretty portraits, and then you give Koons the big nod of history. That’s how you are supposed to do it.

But I can’t. I know what I’m going to say and it’s not about art history.

Um: I like Ponies.

Art Market Predictions

In the face of China’s rise to third-largest art market (slipping in ahead of an aggrieved France), Clare McAndrew, head of the Dublin-based consulting firm, Arts Economics, is “ looking at resale rights in Europe. There are real

Clare McAndrew, Photo for ARTINFO by Kip Carroll
Clare McAndrew, Photo for ARTINFO by Kip Carroll

worries in Europe. New markets like China emerging is very good for the market overall but difficult for countries, like the U.K. and France, that have been hampered by regulations and taxes. They have to compete not only against the U.S., which has fewer regulations, but also against countries, like China, that don’t have resale royalties.” (Via ARTINFO)

She also says that, as art becomes viewed more and more as a long term investment, speculators have been “shaken out.”

Continue reading “Art Market Predictions” →

TREND: Street Art, Outsider Art, and URGENCY

With all the Banksy, Fairey hubub this year, all the Darger-loving last year, and the current, frequent calls by curators for art that’s made from a sense of “urgency,” I’m taking away the message that art’s new direction lies in a reaction against (<– always a good jumping off point for a convo about art) academic, heavily conceptual art on the one hand, and factory style, assistant/money-driven art on the other hand.

So, out with the Gregg Crewdson budget, the Jeff Koons assembly line, the Damien Hirst branding, and in with the heartfelt scrawls and scribbles, or hard-won wheatpaste murals.

REVIEW: Banksy’s Exit Through the Gift Shop

“Is this the line for the mooovie?” I heard a mystified woman ask as she applied herself to the back end of a line that had advanced from the basement to the top of the stairs.

The line at Sunshine Theater
Snaking Through the entire downstairs, the Banksy crowd

We were at the Sunshine theater to see Banksy’s Exit Throught the Gift Shop, a documentary, by label, about street art and an unlikely new star, Mr. Brainwash.

Something like this could have been expected in the UK, where folks care about art and are intimately familiar with Banksy’s beginnings as street vandal in Bristol. But here? Even in New York’s lower east side, we hadn’t expected to see a crowd like this.

It turns out the movie was worth our wait. I think it was even GEEENYUS, or something like that.

Continue reading “REVIEW: Banksy’s Exit Through the Gift Shop” →

How to Talk About ART: Say “URGENT”

Just got an e-mail from White Columns re: “An Unmissable New York Reading” it opens with a quote from one of the artists on the roster for the event:

“Passion in writing or art—or in a lover—can make you overlook a lot of flaws. Passion is underrated. I think we should all produce work with the urgency of outsider artists, panting and jerking off to our kinky private obsessions. Sophistication is conformist, deadening. Let’s get rid of it.”

~Dodie Bellamy, from ‘Barf Manifesto’

“Urgency” is the latest hue and cry among the avant garde of a yet unnamed movement in the arworld that is pushing a resurgence in subjectivism — drive driven art, passion and necessity as virtue.

Let’s work hard to coin a new term for this so we can amend the text books. I’m putting in my vote for: URGENT art. Too obvious? Duh!

Like the Depends of the creative community, our galleries and pundits, collectors, and even artists, are hoping we can absorb the urgent flow of uncontrolled effluvia that should be drilling into us in the upcoming months. We can only pray for a few Dargers.

Well, we needed SOMETHING to replace “gesture” — and “interventions” just don’t sell as easily as the all blood sweat and tears you can blarf onto a canvas. More for your money: why collect pictures of re-enactments when you can pick up a pack of whimsy at the art fair?

Thing is, I’m rooting for more visuals in my visual art. I think I’d really dig some really poignant, really voyeuristically appealing canvasses. I think I’d prefer them to all the ugly, visually dull, eggheaded, artist-statement-dependent stuff I’ve been forced to look at.

If I can’t have my conceptual art and see it too, then maybe I’ll settle for the inside of somebody’s closet.

How to Talk About Art: Say “appropriate”

Ah: the art web is abuzz because that rascally MoMA has announced that they have “acquired” Ray Tomlinson’s @, but they don’t OWN it.

Instead, their Department of Architecture and Design has “tagged it” as they say, an option now available to the ballsiest of curators who, in our proud age of electronic euphasia “are [set] free to tag the world and acknowledge things that ‘cannot be had.”

In other words, they can talk about it.

MoMA: “The appropriation and reuse of a pre-existing, even ancient symbol—a symbol already available on the keyboard yet vastly underutilized, a ligature meant to resolve a functional issue (excessively long and convoluted programming language) brought on by a revolutionary technological innovation (the Internet)—is by all means an act of design of extraordinary elegance and economy.”

And, getting a whopping lot of press by appropriating this appropriation: well, now, talk about elegance and economy!

For insight into the power grab for other  nontangibles:  check out post.thing, Steven Kaplan’s very thoughtful blog. wherein he mentions also Erica Orden’s “Collecting Smoke” (New York Magazine, Dec 28, 2008).

LINKS:

Erica Orden Archive on New York Magazine:
http://nymag.com/nymag/erica-orden/

Steven Kaplan’s Blog:
http://post.thing.net

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