Objects of Study or Commodification of Knowledge?
September 8, 2009, 12:38 PM
Filed under: essay | Tags: , , ,


written by Simon Sheikh

“Words such as audiences, experiences and differences naturally also smack of market research and public relations management. Which has indeed been the other side of the coin, the other major shift in the public roles of the institutions, and in the mediation between artist, artistic production and reception. For a cultural industry, as well as for the currently prevalent neo-liberal governmentality, replacing publics with markets, communities with segments, and potentialities with products, are the new points of orientation, i mplemented by degree from funding and government bodies onto art institutions, as indeed any public institution.”

via Art & Research

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David Robbins at the Center for Advanced Visual Studies
August 19, 2009, 1:32 PM
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David Robbins speaking at the Center for Advanced Visual Studies on “high entertainment.” A practice for the future that combines the critical capacity of fine art with the pleasures and reach of show business, “high entertainment” could be what you are already making. Robbins’s objects, images, and writing reflect on spectacle and the position of the artist in the visual system, and suggest possibilities for a new relationship between art and the entertainment industry.

Episode 82: David Robbins
August 19, 2009, 12:00 PM
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Bad at Sports talks with David Robbins.

“There are some people who are really properly configured for a place like the art context and they ought to be making art and they ought to be thinking of themselves in those terms. But lots and lots of people aren’t and they go to the art context sort of by default, there’s no other place for them to go so they interpret the art context as the most wide open or accepting of all sorts of idiosyncratic kinds of production. In the final analysis the art context wants art and the mind is capable of producing lots of things that are not quite art or near art or on the other side of art or next door to art. And those kinds of things can be hugely valuable and ought not to be made into art unnecessarily, they’ll be harmed by being interpreted as art. So you kind of have to insist on the mind being able to produce other categories of production but its your job not only to produce those things but maybe construct the contexts for their interpretation as things that are not quite art or other than art or other kind of imagination forms. I’m very uncomfortable with the idea that we’ve already discovered all the categories of production that the human mind can come up.”

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The Intentional Fallacy
August 11, 2009, 12:21 AM
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Picture 3

From The Verbal Icon:  Studies in the Meaning of Poetry.  W.K.Wimsatt, Jr., and Monroe C. Beardsley.  Lexington:  University of Kentucky Press, 1954.

“We argued that the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art, and it seems to us that this is a principle which goes deep into some differences in the history of critical attitudes.”

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Who really needs Art PhDs?
August 8, 2009, 11:40 AM
Filed under: interview | Tags: , , ,


James Elkins in conversation with Elpida Karaba. This is a brief interview, originally published in Boot Print 2 no. 2 (December 2008 [2009]: 11. (Special issue on art academies.)

“It seems that for some free studio-based systems, the so called free activities, are implicitly a subjection to the star system and the art market. They seem to consider particular programs of artistic research as a kind of mediating force, a thinking-doing space for the artist and artistic research within academia, as a possibility and opportunity to suspend the trends and demands of the curators and star seekers. Free studio-based systems in these terms are considered to be individualistic and neo-liberal thinking systems. I wonder, reversing the argument, couldn’t that be the case for the educational system of artistic research, which can be a different kind of star system itself, being subjected to a credit system and to an intense pursuit of five star institutions?”

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The Influence of John Dewey on Experimental Colleges: The Black Mountain Example
May 17, 2009, 10:44 PM
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Katherine C. Reynolds

“When Dewey worried about the practice of progressive education in the hands of zealots, he vented his concerns in ways aimed at constructively reframing classroom methods. He pointed out the differences between freedom to learn and anarchy in the schools, insisting that students cannot mature toward life in society when, “in some progressive schools the fear of adult imposition has become a veritable phobia,” and where educators demonstrated “enthusiasm much more than understanding” of progressive concepts.”

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Digital Archiving as an Art Practice
April 5, 2009, 12:54 AM
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