Conference

#Hashtags: Touching in Fleeting Contact

Jennifer Allen discusses the role that pilgrimage and cult value play in public art.

#JenniferAllen #SommerakademieSalzburg #cities #public #private #surveillance #circulation #socialmedia Sommerakademie Salzburg, also historically known as the “school of vision,” opened its doors in 1953 to anyone interested in studying art. Now entering its 61st year, the academy attracts a broad range of practitioners to participate in courses taught by artists and cultural theorists. This year’s public program was entitled Cities—Spaces for Art, Politics, Living…, and I was[.....]

Valuing Labor in the Arts: Can We Talk About the Audience?

Introduction, Valuing Laboring in the Arts practicum, April 19, 2014, UC Berkeley Art Museum. Courtesy of the Arts Research Center, UC Berkeley. Photo: Joseph del Pesco.

From our partners at Art Practical, today we bring you an excerpt of author Michael O’Hare’s response after participating in the “Big Soft (BS) Contract” workshop. This workshop was part of  the practicum “Valuing Labor in the Arts” at the Arts Research Center at UC Berkeley, a daylong series of artist-led workshops that explored questions of art, labor, and economics. O’Hare, who is a Professor of Public Policy at[.....]

Valuing Labor in the Arts: Negotiating Terms and Setting Precedents

Gauging the Grey Area workshop, Valuing Laboring in the Arts practicum, April 19, 2014, UC Berkeley Art Museum. Courtesy of the Arts Research Center, UC Berkeley. Photo: Joseph del Pesco.

From our partners at Art Practical, today we bring you Patricia Maloney’s response to the workshop “Gauging the Gray Area: Standards for Artistic Labor,” which was part of the practicum Valuing Labor in the Arts hosted by the Arts Research Center at UC Berkeley. Maloney notes, “…negotiation is the most demonstrable and effective means of creating agency.” This article was originally published on May 22, 2014. “Gauging the[.....]

Valuing Labor in the Arts: Appropriate Technologies

The Thing Quarterly, John Baldessari edition. Courtesy of The Thing Quarterly. Photo: Michael O'Neal.

Today from our partners at Art Practical, we bring you an essay on artistic projects that use strategies of self-empowerment and local control. Author Abigail Satinsky notes, “There is no definite solution for a more just and democratic art world—not everyone wants that, anyway—yet critically examining these projects offers possibilities for the way that many kinds of art worlds can create models of survival and perhaps[.....]

Value/Labor/Arts: A Primer

Anna Gray + Ryan Wilson Paulsen. 100 Posterworks, 2009-2013; printed poster; 11 x 17 in. Courtesy of the Artists.

“When is it okay to work for free? Is it acceptable as long as you’re working with—or for—another artist? What is an artistic service?” These are some of the questions raised by Shannon Jackson, director of UC Berkeley’s Arts Research Center, in her introduction to Art Practical‘s latest issue, Valuing Labor. She notes, “These are just a few of the hundreds of questions circulating for artists working in the 21st-century[.....]

Sculpture after Sculpture at the Art Center College of Design

Name at the Sculpture after Sculpture Panel Discussion, Art Center College of Design. Photo: Chris Hatcher

Last Saturday, curator and Artforum editor-at-large Jack Bankowsky moderated a roundtable on “Sculpture after Sculpture” (more on the title in a moment) at the Art Center College of Design in Pasadena, in anticipation of his forthcoming three-artist survey of the same name at the Moderna Museet in Stockholm this October. The three artists, Katharina Fritsch, Jeff Koons, and Charles Ray, are united by work that[.....]

If the World Changed: Singapore Biennale 2013

Teamlab. Peace Can Be Realized Even Without Order, 2012; interactive digital installation; dimensions variable. Courtesy of the Artist and Singapore Art Museum.

Premised on the obliquely hypothetical question “What if the world changed?”, the Singapore Biennale 2013 (SB2013) is presented as a deconstructed entity centered on allusive keywords—or “tags” in internetspeak—such as “histories,” “intervention,” and “materiality” in order to highlight the transmutative and the transformative qualities of the art produced in the region. With a collaborative team of 27 curators instead of an artistic director helming the show,[.....]