Posts Tagged ‘Art Practical’

On Laboring for Love

Shannon Finnegan. 8 Hours of Work, 2012 (performance still); Saturday, June 9, 2012, 11 a.m.–7 p.m. Presented by Recession Art in conjunction with Everything Is Index, Nothing Is History at the Invisible Dog, Brooklyn. Courtesy of the Artist.

Today from our partners at Art Practical, we bring you another installment from their excellent issue on valuing labor in the arts. In this essay, author Elyse Mallouk (also an artist) notes, “While artists struggle publicly to make the value of art work visible, they are bound as a corporate body by the uncertainties and sacrifices they share in common… Artists can gain power by[.....]

Notes on Visual Activism

Conference attendees participating in Carmen Papalia's Blind Field Shuffle (2014).

Today from our partners at Art Practical, we bring you four different views on the recent Visual Activism conference, hosted by SFMOMA at the Brava Theater, March 14–15, 2014. Artists, curators, and scholars presented their thoughts on institutional domains, art, and activism. Four visual critics, Danielle Jackson, Natalie Catasús, Colin Partch, and Omar Mismar, were situated at points radiating out from the auditorium of the Brava Theater[.....]

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[.....]

Sarah Christianson: When the Landscape Is Quiet Again at SF Camerawork

Sarah Christianson. Corn field, Antler, ND, September 2013, 2013. C-print, 20 x 24 in. Courtesy of the artist.

From our partners at Art Practical, today we bring you a review of Sarah Christianson‘s When the Landscape Is Quiet Again: North Dakota’s Oil Boom at SF Camerawork. Author Larissa Archer notes, “Christianson doesn’t try to appeal to emotions with her photographs. They encourage a process by which the viewer mentally forms a bridge between the damning information about the subjects (here, provided by the captions) and the[.....]

Paz Errázuriz/Matrix 251 at the Berkeley Art Museum/Pacific Film Archive

Paz Errázuriz. La Palmera, Santiago, from the series La manzana de Adán, 1982; gelatin silver print, 19 2/3 x 23 ½ in. Courtesy of the Artist and Galeria AFA, Santiago.

Today from our partner Art Practical, we bring you a review of photographer Paz Errázuriz’s work, on view through tomorrow at the Berkeley Art Museum. Author Danica Willard Sachs notes, “By immersing the viewer in the peripheries of Chilean society, into the brothels and gyms populated by socially isolated men, Errázuriz’s photographs not only put an individual face on oppression, they also highlight a resilience inherent[.....]

Queering the Archive: When a Personal Act of Collecting Turns Political

Karol Radziszewski. Kisieland, 2012 (film still); High definition video; 30:00. Courtesy of the artist.

Today we bring you Queering the Archive: When a Personal Act of Collecting Turns Political, an article on queer art and activism in Eastern Europe recently featured on our sister site, Art Practical. Author Ela Bittencourt notes, “Kisiel’s slides…reverse the commonly accepted notion that there was no room for individual expression, least of all same-sex eroticism, in communist Eastern Europe. At the same time, their secretive circulation[.....]

Locating Technology: Participatory Economics

Bernie Lubell. A Theory of Entanglement (Detail of knitting after two days), 2009; pine, maple, rubber rope, black poly cord, and music wire; 32 x 40 x 60 ft. Courtesy of the Artist.

Today from our partners at Art Practical, we bring you the latest installment of Genevieve Quick‘s Locating Technology column, which explores “the evolution of technology and its effects on artists’ processes, disciplinarity, and the larger social context of media creation, dispersal, access, and interactivity.” This column was originally published on February 12, 2014. The trajectory of history suggests that increased opportunities for individuals to engage in[.....]