PHOTO ALBUM OF IRELAND: YOUR PHOTOS – YOUR MEMORIES – OUR HISTORY
A Gallery of Photography initiative funded by an Arts Council Touring Award
BBC Radio 4 - The Reith Lectures, Grayson Perry: Playing to the Gallery: 2013, Democracy Has Bad Taste
Grayson Perry analyses the complex process of judging quality in contemporary art.
"Vladimir Umanets, who scrawled his signature on Mark Rothko’s painting Black on Maroon in the Tate Museum this week, is not the first artist to deface an established artwork.”
"Developed by MOCA for Ends of the Earth: Land Art to 1974, this interactive feature maps key artworks included in the exhibition, pinpointing their original locations to demonstrate the global nature of Land art and its relationship to real places and times.
Click on an artist’s name to begin.”
Pop-Up Populism: How the Temporary Architecture Craze is Changing Our Relationship to the Built Environment via Art Info
America is fast becoming a pop-up nation. From sea to shining sea, her cities have been swept up in the frenzy for temporary architecture.
Art as Social Practice
“What is it? A new genre? A new “ism”? A new movement?”
Art as Social practice is NOT a genre, it is NOT a movement, and it is NOT an “ism!!!” At least I don’t think it is! Social Practice is simply (or not so simply) just a way in which art EXISTS! It’s medium is “social.” Just like painting uses paint, sculptors use objects, material, and space…. Social Practice uses “social.” What is “social?”
2.) the things and spaces that surround people.
3.) the social structures that define, control, and affect those people, things, and spaces.
4.) the interactions between all of the aforementioned.
Social Practice is an art and design practice, or in other words a creative practice. It is often “socially engaged,” it thrives off of the participation of others, or the intervention into others’ lives. Social practice, in essence, is a creative practice that often focuses on creating new ways to exist in and understand the world. It is not object based, although, objects are not excluded. The “product” of social practice rarely manifests in the exhibition space, but rather in the “everyday,” or public space. Social Practice is rarely commodified, making it, in my opinion, more likely to remain creatively dynamic and pure. Social Practice uses creative means to create vibrant and interesting pedagogical experiences.
Social practice is just another way for creativity to exist. It is not caught up in trying to separate the words “creativity,” “art,” and “life.”
#jack #last day of college
More now than ever, there are ethical environmental implications associated with the creation of art. Artists today must be aware of the impact their art and arts practices have on the environment.
Repeat Offender, recent works by Berlin-based artist Evol, in what will be his first solo exhibition in the United States. Repeat Offender features stenciled works on cardboard and metal as well as a series of photographic print editions documenting Caspar David Friedrich Stadt, a 2009 installation project in a former slaughter house in Dresden, Germany.
There has been so much art centred around the Occupy protests that it is beginning to feel like a new artistic movement. What defines it, and could it supplant the world of the galleries?