Sep 5, 2012
commented on It’s Time to Freak Out About Climate Change
@1, Climate change is radically altering our possibilities for survival whether you believe in it or not.
On the other hand, money is an abstraction. When the nations crumble, the debt will be a quaint artifact of memory, until everyone eventually forgets about it.
Sep 3, 2012
commented on Licensed to Chill: Hair and Space Museum's Northwest Passage
Thanks for the post. I'm glad you enjoyed the soundtrack!
One correction: The projections on the floor in Skyward! are also by Hair and Space Museum. They are created by a pair of cameras and projectors mounted to the ceiling, creating a feedback loop that is modified by an analog video synth and altered when people walk across the floor to create the abstract patterns mentioned.
Marianne Nicolson is a Canadian artist we've never met. I mentioned her in my blog post about our piece because I like the way she once used literal shadows in an exhibition space to suggest the overlapping histories of people who have occupied in a given place in the past. But her work has absolutely nothing to do with our installation beyond serving as one of our many sources of inspiration.
-Emily (Hair and Space Museum)
Aug 30, 2012
commented on O They Will Know We Are Christians...
This isn't *technically* a death threat. It just says that if Dan's life is cut short, it would be by "God's justice." So it's more like...a gentle encouragement to other crazy people out there who might be inspired to carry out "God's justice."
OH. OK yeah, it's kind of a death threat.
May 2, 2012
commented on "The Money Doesn't Mean Much? Why, Jerry? Why?": How to Be Profoundly Stupid About Art
This opens onto a pretty interesting discussion if you ask me. Saltz's commentary is wonderful. The way the story is framed by the news people is cringeworthy, but extremely revealing. I love that they keep trying to get him to talk about money and he refuses to do so, revealing the cultural fault lines between them. But in a capitalistic society, big money (or its stepchild, financially-dependent institutionalization) is pretty much the only way to assign consensus value to an object, and I would go so far as to say that the whole Western notion of what we know as "art" has come down to us through a very money-dependent system of patronage and object fetishization. Thus, it is impossible to fully separate our notion of "art" from our notion of "money" because the two categories have co-evolved as symbiotes.
If you look back further, of course—a few thousands of years in Europe, or to people currently living in societies more removed from commerce as we know it—all "art" is generally contained within or derived from what we now call performance, and performance is tied to the communication and creation of direct experience, both physical and metaphysical. Every object or image produced thus has a ritual context whose ultimate aim is the transformation of the human experience of space and time. Admission may be charged, but the performative work of art may never fully be bought or sold. But in our society, only the objects remain, deracinated from their ritual context. This is not true, perhaps, of the experience or intention of all contemporary artists, or even all contemporary art audiences, but it is nevertheless the de facto position of all objects produced by and for a system of galleries in the object-commodification business.
Anyway, these news people are plenty educated in the dominant mythology of our culture, which is market capitalism. What use, then, could they possibly have for the intoxicating inner knowledge of what is Holy about art? If they learned what we know, or what Jerry Saltz knows, they would no longer be able to do the jobs that they do or function in the world they are dependent upon. Why? Because this kind of knowledge subtly undermines the foundational assumptions of our society, and that is why we, as a society, do not teach it. The exclusion is not ignorant. On the contrary, it is quite calculated.