Aug 31, 2011
commented on How Would Your Art Be Different If You Knew a Million People Would See It?
Presumably a show at a venue like the proposed Walden Three would mean more exhibition space, and more resources (i.e. money). More support for the artists. More support means more time and freedom. More freedom means opportunity to explore ideas with less constraints.
Those factors would affect my creative process a great deal more than the size of the audience. Although, there is a lot of excitement when creating work for a larger audience and that can be a big emotional push.
Essentially, with the support that would come from such a project and the larger audience (national audience even? Tourists who generally avoid the gallery/small venue scene would come?) would push me to do the best damn work I can.
Aug 4, 2011
commented on Mad Homes: The Show of the Summer or a Complete Missed Opportunity?
Troy Gua shrink wrapped a house and put a shipping label in front of it. He did this in part as a response to being told these houses might be moved, in whole, to make way for the controversial development project.
SBC's straps create and comment on the tension of these old houses, they are slowly pulling them apart and together; weeks before the houses will be torn apart.
Both works are funny and poignant; the exhibition overall feels very playful (not that I intended my work to be playful), even with the pieces that have a serious nature to them. And clearly, it has managed to hit a few nerves. Will you forget it anytime soon?
Hopefully for all the interesting points that Lauren and others brought up, and her insight is valuable, the art community in this town can continue to work together to build from projects like this, make 'em better and bigger and get more money behind them so artists have time and energy to create with the freedom they need.
Jul 20, 2011
commented on Visceral, Violent, Charming
Nice write up Jen!
The show was amazing to watch come together- and a true delight to be a part of. Working in setting in which on one level artists were able to play in very open, non-gallery type situations, but with this very full knowledge of the development of this block. What I mean is that while some work references the demolition/moving of the houses, and some is more playful and/or creating their own works. Each piece has a very visible extra layer of meaning with the knowledge of what will happen, shortly, to these old residences.
Apr 29, 2011
commented on Could Kickstarter Be Evil?
@27 Paul - Really I have no idea exactly how much of a draw Robocop would be; however, if I were visiting Detroit already, I would definitely go out of my way to see the Robocop statue. And I think a lot of other folks would as well. But I would not go to Detroit specifically to see Robocop.
Pretty much the same way I feel about Rocky in Philly. Of course, my understanding is the Rocky statute is in a location that is already attractive to tourism (never been). So really, the point is that kitsch does attract tourism (some examples off the top of my head: The Corn Palace, The Trees of Mystery, any building in the shape of some object-like a cowboy hat, the city of Las Vegas) and if Robocop were placed in a neighborhood that could use a little financial oomph, create a few jobs, fill some of those empty building, it I would think it would do that. Plus, it would spark fear in the minds of criminals!
But wait, wasn't this debate about Kickstarter?