article via hyperallergic: Renee Cox
Category Archives: art, artists
(This never gets old.)
Quantum Poetics – Samuel Matlack – via The New Atlantis
Life is a virtual multiplicity, not of things and agents but contemplations and contractions, events and responses. This means there is not a world (actual) that is then represented in images (virtual) by the privileged mind of man (the subject). Life is just this actual-virtual interaction of imaging: each flow of life becomes other in response to what it is not. The anticipation goes beyond what is actual, but also produces a new actual. The image is neither actual nor virtual but the interval that brings actuality out of the virtual. —Claire Colebrook
This is a new record of the iteration number. 750 000 000 ! This value took more than 10 gigabytes of ram to render the reference.
Don’t worry, spiders,
I keep house
In other words, each element – each line in One, for instance, is always rising and falling through distinct semiotic states that exist simultaneously even if they cannot be perceived all at once. This is what defines a convertible sign. Signal Processing, David Joselit On Abstraction Then and Now.
(KNYSNA BLUE MATRIX, 45×68″ aluminum) Large artworks are for me those with one dimension 36″ or greater; so, medium in the scheme of two dimensional images.
(LARGE DHARMA COMMUNITY 48×64″ aluminum) Finished large pieces may materialize for sale or show.
(ST. MICHAEL’S ANGELIC WIFE 42×32″ aluminum)
(LISTENING SESSION, SEPTEMBER 1970, 36×54″ paper-aluminum) Some day I will mount an Angels and Rock and Roll exhibit because I have a dozen artworks that feature angels or are a homage to psychedelic concert posters.
(PACIFIC ACTIVISTS, 54×56″ aluminum panels) This favorite looks quite different depending on from what distance the viewer stands.
On my artist’s web site I maintain an index of posted art works. This page lines up most of my art work in reverse chronological order. The provides an excellent way to review my creative journey over the past years. Last year I produced better work than the year before, and, overall, much better work than was featured in the one person show of 2013-2015 art work that was exhibited throughout 2016 at The Gallery At Grays.
From my perspective, the best work is elevated out of any year, and the shortest narrative of my escapades simply involves highlighting those ne plus ultra successes from each year. My progress over the last year is based in learning from my practice, intuiting fresh approaches, and, subtle recombinations and reconfigurations of previously proven or previously attempted approaches.
None of those background factors figure into the simple qualification I could make about the art works I feel best represent what I am after. After all, what I am after is the viewer’s dedicated engagement with visual seeking amidst the field and its dense resolution of patterns. But, caveat with the work over the last two years regards most of the pieces never having been exhibited. I have some idea of what art works might prove to be the most sensational, but my own estimations are based entirely on my grading how successful the experiment under consideration seems to me to be.
I do not have any issue with grading my own work differentially. The lesser pieces may well strike others as being the superior piece. I am not subjectng anything to formal considerations. I do not post art works from failed experiments.
Mandalas – of the several hundred produced, the following five are tops, and include the art work above. Also of note are the two series, The Steadfastness of Kabir, and, The Four Noble Truths In a Nutshell.
Black Mountain Research explains its mission. James Elkins kicks off the three videos embedded from BMR’s archive. He’s going to bridge the research element and self-reflexivity, and, the practice-based credential (Ph.D.) formally theorizing artistic practice.
Over the last 20 years art has eased its way into academia. Past the door of the artist’s studio and up the back stairs it tiptoed until, in a very bold move, it seated itself in the commissioner’s chair. Where once art reacted against academies from the outside, art, and the artists who make it, now work from within the institution. Artists interested in pursuing a doctoral degree will have heard time and again about ‘the critical function of art’. Indeed, many theorists would insist on art being defined from this state of opposition (the ‘avant-garde’). But to understand the potential of art today it becomes impossible to separate it from the academic institutions that use its name to label their distinctive, often daring, new departments. – Daniel Rourke, Thoughts On Art Practice PhDs
“Knowledge is and will be produced in order to be sold, it is and will be consumed in order to be valorised in a new production: in both cases, the goal is exchange.” Jean-Francois Lyotard (from D.Rourke)
“Practice is a set of relays from one theoretical point to another, and theory is a relay from one practice to another. No theory can develop without eventually encountering a wall, and practice is necessary for piercing this wall.” —Gilles Deleuze
For background, see:
Research that takes the nature of practice as its central focus is called ‘practice-based’ or
‘practice-led’ research. It is carried out by practitioners, such as artists, designers, curators, writers, musicians, teachers and others, often, but not necessarily, within doctoral research programmes. This kind of research has given rise to new concepts and methods in the generation of original knowledge.
It is important to make a clear distinction between practice-based research and pure practice. Many practitioners would say they do ‘research’ as a necessary part of their everyday practice. As the published records of the creative practitioners demonstrate, searching for new understandings and seeking out new techniques for realising ideas is a substantial part of everyday practice. However, this kind of research is, for the most part, directed towards the individual’s particular goals of the time rather than seeking to add to our shared store of knowledge in a more general sense. Scrivener argues that the critical difference is that practice-based research aims to generate culturally novel apprehensions that are not just novel to the creator or individual observers of an artefact; and it is this that distinguishes the researcher from the practitioner (Scrivener, 2002).
excerpt, Practice Based Research: A Guide, Linda Candy (pdf)
Art Practice As Research (portal) at Thinking Practice
This interests me, cybernetically, as a paradoxical instigation of the academy, resolving as it does an education given to mediate to some degree the contradiction between ‘elite exchange’ and ‘elitist knowing;’ (my terms.) At the same time, informally, my own art practice is coordinated to (re)search at the scale of its art making, so is research through, and with, art making.
As a compendium of signs, this canvas was an apt introduction-practically a manifesto-for a movement dedicated to producing signs that function as distinctive artistic “trademarks” and yet are open to multiple and sometimes infinite optical trajectories. Signal Processing, David Joselit On Abstraction, Then and Now.
Image field populated by eigenforms? Anyway, Infinite Optical Trajectories is an experiential portal.
“All sounds return to one, and where does that one go?” Nyogen Senzaki
Kathy described this mind map and I found it out in the wild. Collaborations can lead to interesting incidental paths. Kathy turned me on to Dr. Chris Seeley‘s view of the artful organization. She added her own very highest regard. The incidental informs the future process and relationship and collaboration and transforms into the coincidental. follow along
You can download The Artful Organization via the link for a pdf on this page.
Some Thoughts On Generative Art by Anders Holt
Many who know something about my art practice know I loathe the terms “digital art” and “digital artist.” Both terms strike me as almost always leading right into various thickets of ignorance, bias, oversimplification, and, confusion about what the word “digital” means when applied to art-making. Yes, it is my personal hangup that I don’t want to be associated with inevitable misconceptions about where ‘the digits’ fall in my own process.
On the other hand I dig being someone who creates generative art because I’m always ready to explain how I deploy scripted generative routines to make images. If I encounter someone who knows about generative art processes, one of their first questions will be along the lines of, “what sequences what?”
An art acquaintance asked me on what kind of art I made. My initial response was about processes and processing, ‘After taking pictures of set-ups I cut them into symmetries, and, process these half pieces into full symmetries. I may process the art work further by adjusting pixels using software.’
“Mixed process photographs.”
“Why didn’t you just say so?”
I term the art work to be a: mixed process photographic image, or, mixed process photo-generative image. Sometimes the finished piece is a straight photograph–taken by a digital camera–cut and pasted into a mirror symmetry. It’s all about the process and the ‘processes of processes.’ This fact is, apparently, very hard to approach from the direction of ‘the digital.’
When I imagine possibilities in the realm of generativity, I am visualizing how different iterations of the processing of processes and first order processing work in concert. In this there are features of a peculiar cybernetics anchored to imagining.
Over the past two winters I have not been firing up the generative dashboard, yet I have been stockpiling various experiments, in my head. My goal would be to create a piece as overwhelming as the two here, Brisk Totem, and, Sonny Sharrock in Heaven, both 2015.
Reality doesn’t impress me. I only believe in intoxication, in ecstasy, and when ordinary life shackles me, I escape, one way or another. No more walls.
? Anaïs Nin
Goggle, bring the goggles…
The world belongs to the energetic. (Ralph Waldo Emerson)
My art practice is not directed to be socially engaged in the conventional ‘art world’ sense of my intent and the work itself referring to social problems or political challenges. (In noting this, if I needed to, I would make a case for its capacity-building potential at the scale and level of individual consciousness. This increase in self-awareness may fund constructive benefits in the social domain.) However, I am a bit of a trickster, so i noted upon visiting the Rijksmuseum’s digital collection that they allowed for open use of available downloads of digitized images from their vast collection, Plus, upon request, the museum could supply to artists hi-resolution images. One has to ask nicely it would seem. Because I had previously manipulated purloined images (via Google image search,) of favored Flemish proto-surrealists of the 16th and 17th century, when I revisited the online Rijksmuseum I had already hatched an idea.
These four works are the result.
Straight-forward enough; my art practice is not rocket science. Here is the index of all my best work.
I could explain these statements, but then the point of their needing to be unpacked is negated. Dewey offers a clue.
There could be a subset of the literature of art and of art practices that is concerned with only the so-called artist’s statement. Such a scholarly endeavor might go far in going beyond the rote qualifier about such statement, that they are a necessary evil.
For my own part, I have no hesitancy seeing my own statement being the integration of intent and brand, and, alas, psychological priming.
This first of four parts seems nicely tuned, and I wouldn’t offer a statement that I didn’t deeply resonate, yet I intentionally managed to throw in a word the reader might have to look up. Isn’t a law that the artist’s statement has to include a minimum of one such word?
“If the aforementioned tendencies—the event-driven turn in the market, the market’s ongoing globalization, the continued ascent of formerly ‘alternative’ practices to the mainstream, and persistent complication around investing in art—have all come into greater clarity over these past five years, one final factor arguably trumps all others with respect to the present vitality of the trade: the growing divide between the top of the market and everything else.” Noah Horowitz, author, The Art of the Deal
There are around 2,000,000 working artists in the USA. Many of them work at other jobs. I do not know of any social science research that is aimed to accurately capture the varieties of business models being deployed by individual artists. That said, there are tiers given by the global art market.
Regional art markets are variously describable, with specific institutional and commercial concerns leading the description of their local ‘art world,’ and, to a lesser extent, the success of some of their resident artists also adding to the description.
The top of the art world is the art world everybody is fascinated by, yet, working artists in their hometowns are much more likely to be fascinated by their local art world.
The amazing paradox of the world of art commerce is that its model is thought to scale all the way down to the lowest tiers of local art worlds. This is paradoxical. The results speak for themselves! I’ll demonstrate this soon. The scaled-down model is preposterous on its face. However, its verities infect most everything in the local art worlds, especially the nature of gatekeeping in those worlds, and, how a simple problem is mediated, that there are many more artworks than there are post-transactional places for the pieces to end up at.