Philomath

Who tags a Rothko? The ethics of vandalising art via The Conversation

Sun, 21 Oct 2012 22:00:33 -0400

Who tags a Rothko? The ethics of vandalising art via The Conversation:

“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.”

Ends of the Earth: Land Art to 1974,

Thu, 07 Jun 2012 19:41:20 -0400

Ends of the Earth: Land Art to 1974,:

“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

Tue, 08 May 2012 17:04:34 -0400

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.

lesocial: Art as Social Practice “What is it? A new genre? A...

Fri, 04 May 2012 17:04:07 -0400

lesocial:

Art as Social Practice

“What is it? A new genre? A new “ism”? A new movement?”

NO

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?”

1.) people

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

Eileen Hutton

Thu, 03 May 2012 09:49:00 -0400

Eileen Hutton:

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.

EVOL Repeat Offender, Solo Exhibition, Jonathan Levine Gallery

Wed, 02 May 2012 10:35:54 -0400

EVOL Repeat Offender, Solo Exhibition, Jonathan Levine Gallery:

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.

Does Occupy signal the death of contemporary art? via BBC News

Wed, 02 May 2012 10:31:30 -0400

Does Occupy signal the death of contemporary art? via BBC News:

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?

Louis le Brocquy, Road, Beara, Peninsula, 1990 watercolour, 18 x...

Fri, 27 Apr 2012 13:07:57 -0400

Louis le Brocquy, Road, Beara, Peninsula, 1990
watercolour, 18 x 26 cm, ARW1002

via www.anne-madden.com

Louis le Brocquy, Image of Samuel Beckett, 1979 oil on canvas,...

Fri, 27 Apr 2012 13:06:17 -0400

Louis le Brocquy, Image of Samuel Beckett, 1979
oil on canvas, 80 x 80 cm, A.R.442

via www.anne-madden.com

Remembering Louis Le Brocquy via The Irish Times

Thu, 26 Apr 2012 20:41:17 -0400

Remembering Louis Le Brocquy via The Irish Times

Gravity-Defying Land Art by Cornelia Konrads via Colossal

Tue, 24 Apr 2012 17:23:00 -0400

Gravity-Defying Land Art by Cornelia Konrads via Colossal:

German artist Cornelia Konrads creates mind-bending site-specific installations in public spaces, sculpture parks and private gardens around the world. Her work is frequently punctuated by the illusion of weightlessness, where stacked objects like logs, fences, and doorways appear to be suspended in mid-air, reinforcing their temporary nature as if the installation is beginning to dissolve before your very eyes.

Passage (2007) by Cornelia Konrads via Colossal

Tue, 24 Apr 2012 17:22:00 -0400

Passage (2007) by Cornelia Konrads

via Colossal

One Step Beyond: Richard Long via The Guardian

Sun, 22 Apr 2012 15:15:47 -0400

One Step Beyond: Richard Long via The Guardian:

At 22, Richard Long changed the face of British sculpture. Yet his works are as simple as a track in the snow or a stone circle – left to nature and passersby. As Tate Britain brings his art indoors, he tells Sean O’Hagan how walking has inspired his life’s work

Richard Long A Circle in Ireland,1975, Doolin

Sun, 22 Apr 2012 15:07:00 -0400

Richard Long A Circle in Ireland,1975, Doolin

Graft punk: Breaking the law to help urban trees bear fruit via Grist

Thu, 12 Apr 2012 10:53:36 -0400

Graft punk: Breaking the law to help urban trees bear fruit via Grist :

Now this San Francisco-based group called the Guerrilla Grafters is challenging the very notion of the ornamental fruit tree. And they’re working outside the law (city officials don’t like rotten fruit on the sidewalk, nor the liability it suggests). They’re covertly grafting — a practice of connecting two branches in a way that will allow their vascular tissues to join together — fruit tree limbs onto the trunks of ornamental cherry, plum, and pear trees.

From the studio of...Sean Taylor

Thu, 29 Mar 2012 21:46:05 -0400

From the studio of...Sean Taylor:

“Sean Taylor is a socially engaged sound artist who has been working collaboratively for the past seventeen years. Many of his projects are realised in public spaces and involve participation from various communities of interest. Since 1999, Sean Taylor and Mikael Fernström have together formed the science/art collaboration of Softday.” via From the studio of…

Fritz Haeg's Edible Estates

Mon, 26 Mar 2012 15:25:19 -0400

Fritz Haeg's Edible Estates:

The “Edible Estates” themselves are beautiful sculpted landscapes in contrast to the average backyard plot. Putting benevolent things in places that challenge traditional development patterns explains Haeg, “forces you to check yourself and ask, ‘Why am I feeling threatened by this vegetable garden?’” (excerpt from greenmuseum.org)

"An official agency for promoting Irish culture is a living paradox. It has to deal with the..."

Sun, 25 Mar 2012 17:08:21 -0400

“

An official agency for promoting Irish culture is a living paradox. It has to deal with the contradiction between the two words that define it. “Promotion” is a nicer synonym for “propaganda”. It is innately biased towards the upbeat and the optimistic. But “culture” – particularly as it is expressed in vibrant contemporary art – is critical, challenging, subversive. It may even be embarrassing – much of Irish theatre, for example, shows the Irish as a feckless, drunken, violent, abusive bunch, redeemed only by their love of colourful language.

In this sense, individual works of art seldom promote the country in any literal way. The effect they may have is broad and indirect. Is a Marina Carr play with dark convolutions of incest, madness and violence likely to make the chief executive of an American corporation think, Hey, that Ireland looks a great place to invest in! Do films as bleak as Lenny Abrahamson’s Adam & Paul and Garage present the required image of a dynamic, high-tech, well-educated, globalised workforce? Of course not. What happens instead is that a cumulative exposure to a range of works and performances gets across the idea of Ireland as a place that’s interesting, distinctive and imaginative. That in turn may seep out into a larger and deeper awareness of the country as something more than an egregious economic screw-up.

”

- Fintan O’Toole, Saturday’s Irish Times (via martinmcgagh)

Peacock Interventions: The Studio Visit

Thu, 22 Mar 2012 15:35:12 -0400

Peacock Interventions: The Studio Visit

Guerrilla Gardening via Irish Times

Thu, 22 Mar 2012 10:25:43 -0400

Guerrilla Gardening via Irish Times :

NAMA to Nature tackles the issue of ghost estates in Ireland