Posts Tagged ‘Stephanie Syjuco’

Locating Technology: Raiders and Empires

Stephanie Syjuco. RAIDERS: International Booty, Bountiful Harvest (Selections from the Collection of the A____ A__ M_____) (installation view), 2011; digital archival photo prints mounted onto laser-cut wood, hardware, crates; dimensions variable. Courtesy of the Artist and Catharine Clark, San Francisco.

From our partners at Art Practical, today we bring you Genevieve Quick’s most recent “Locating Technology” column, a consideration of artist Stephanie Syjuco’s process and practice: “[Syjuco] prompts viewers to consider more broadly the legality and ethics of museums’ collections, and suggests that museums are institutions of cultural appropriation.” This article was originally published on October 27, 2015. Much of the history of museum collections is related to[…..]

Raiders and Empires

Stephanie Syjuco. Empire/Other: Morphset E, 2013 (video still); 3D animated video. Courtesy of the Artist and FLACC Workplace for Visual Artists, Belgium.

In these projects Syjuco harnesses technologies of distribution and reproduction—the web, photography, and 3D scanning and printing—to create objects that reveal the tangled history of colonization and cultural hybridization.

Precarity as Profession

Participation ≠ Compensation 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 Lane Relyea‘s commissioned response to Stephanie Syjuco’s “Participation ≠ Compensation” workshop at the Valuing Labor in the Arts practicum at the Arts Research Center at UC Berkeley. Relyea notes, “[…] art venues will often claim to treat artists as professionals by rewarding their research with exposure more than cash. But who then pays the bills?” This article was originally[…..]

A Producer’s Journal, or Judgment A-Go-Go

Stephanie Syjuco, Shadowshop, 2010; installation view, San Francisco Museum of Modern Art. Courtesy of the Artist; © Stephanie Syjuco.

From our San Francisco partners at Art Practical, today we bring you curator Frank Smigiel‘s essay on considering regional contemporary art. He notes, “If I can skip the jet-setting of the global contemporary, it is because my people and purposes are here and not there.” This essay was originally published in Contemporary Art: 1989 to the Present (Hoboken: Wiley-Blackwell, 2013) and is republished here with permission from the author. It appeared[…..]

#Hashtags: The Global in the Local

Wendelien van Oldenborgh. La Javanaise, 2012. Film production still. Photo by Bárbara Wagner.

#globalization #museums #access #representation #decolonization #history A recent conference at the Stedelijk Museum in Amsterdam, “Collecting Geographies—Global Programming and Museums of Modern Art,” invited participants to question the responsibilities accrued to arts institutions when they present works of global cultural production as a response to market interest. Each of the topics raised by these questions—globalization, colonial collections, and the critical history of the museum among[…..]

#Hashtags: Culture, Class, and the New Economy

Stephanie Syjuco. Bedazzle a Tech Bus (I Mock Up Your Ideas): Anna Gray and Ryan Wilson Paulsen "Class War" Bus, 2014. Digital image. Submission to Mission Local's "Bedazzle a Tech Bus" Call for Entries.

#access #technology #gentrification #class #labor #place The recent election of Mayor Bill de Blasio in New York was hailed by many as a sign that the trend of economic displacement in major American urban centers was coming to an end. De Blasio ran on a progressive platform of government that serves the neediest, rather than campaign donors, and won handily on that message despite the[…..]

#museumpractices: The Museum on My Mind, Part III

Marksfi

Wall labels. Curatorial text. Provenance. Titles (or un-titles, as the case may be). At what point do the words surrounding an artwork serve the work, and at what point do they disrupt it? In terms of the museum, specifically, when do explanatory labels benefit museum-goers, and when do they detract from an individual’s experience? This week, #Hashtags features Part III of The Museum On My[…..]