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ralexsol · 2 months

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she's my wife my space girl i love her so much she is the best thing that ever happened to me JEALOUS THAT SHE GOT TO MEET NIKOLA TESLA W/O ME

#doctor who #doctor who fanart #bbc doctor who #thirteenth doctor #13th doctor #thirteenth doctor fanart #jodie whittaker #digital art #rrays art #TRIED MY BEST W THE SHADING GUYS...#(<- only spent half an hour on it)#killing shading w my entire soul

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milkway · 6 years

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🌟 milk you are genuinely such an amazing person, im constantly knocked out by your warmth and tenderness and consideration for others. you're so thoughtful when it comes to so many things and you always give so much effort to things and it really really shows. tbh im inspired by you on the daily

chris if ull excuse me i gotta ball up on the floor in the puddle of my own tears of love and appreciation for tumblr user tinylittle-femalechrist u might have heard of her she’s the biggest rray of sunshine on this gd planet and watching her just enjoy herself and her interests with full confidence and also wathcing her art grow is an enlightening and inspiring experience send tweet

#I LOVE U holy fuckf #prompt.#milk.txt #for bad days #tinylittle femalechrist #;answered

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deejkg1 · 4 years

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RRay - One Chance (Mixed by Profkad)

RRay – One Chance (Mixed by Profkad)

Listen to this beautiful art of spoken truth. The trending jam for the season. A song by RRay, Production credit goes to Beat Mechanix and Profkad. Spread the latest vibe!

RRay – One Chance (Mixed by Profkad)

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#One Chance #Profkad #RRay

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brokenfoetus · 6 years

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Ugh but YAY

Long story short because... I just don’t care enough anymore about silly/stupid shit humans do... last night was a total shit show bust for me... that totally killed productive plans I had..... But............. at the same time there continues to be more developments on the art and music front for my stuff... so... hu-fucking-rray. because of the situation lol... I haven’t slept in 2 days... pretty much... I think? Time.... is... a thing.... that will elude me always... but pretty sure 2 days haven’t done that since I was 19..... Which means I’m Tired... but also still... when I get the moment and am conscious... I will post some teaser videos of my drummer testing out drum styles and sounds as we mess around so he can figure out what beats he wants to use for my tracks.... it sounds pretty fucking rad... ANYWAY.... sleep..... Posts to come later...... Kill me.......................................

#Me #My Stuff #Music #Update #The End of it All #ZZZZzzzzzzzz'

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i-luv-tigers · 7 years

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David Joselit - After Art - Formats

Characterizing a change from medium —> formats

Medium: material substrate (paint and canvas) + aesthetic tradition (the history of painting)

Formats: connections, fields, links, connections

“what now matters mostis not the productin of new content but its retrieval in intelligible patterns through acts of reframing, capturing, reiterating, and documenting.” - Epistemology of the Search

Rem Koolhaas - Content “junkspace” in which disparate signs, fields, are mashed up side by side in feeds, blogs, etc.,

Task is to give junkspace, in general, which can only be understood as a kind of jarring relationship, a “shape” or a “form”

Alejandro Zaera-Polo - the politics of the envelope

Google gave the WWW a “shape” even if it was an imperfect one

reiterating previous - “contemporary art marginalizes the production of content in favor of producing new formats for existing images” - Aesthetics of the Search Engine

Critics task is to trace out “links” between nodes and connections. Joselit gives four categories: Work [OF ART] to Citizen, Community to Institution, Institution to State, and State to Globe

Work of Art to Citizen

two previous categories of connection:

first, perceptual connection, in which optical sensation corresponds with a kind of knowing

second, the psychological connection which refers to how works of art create dynamics of identification (modernism, abstraction, beyond)

Joselit’s task is to interrogate these connections as a form of nonmonetary exchange—rather, cultural exchange, or exchange of another kind of value.

Refers to Tania Brugera’s work Generic Capitalism, a panel discussion between Wunderground’s Bernadine Dohrn and Bill Ayers, which Brugera staged and then planted audience members to antagonize the panelists in two different ways—one accusing them of extremism, the other accusing them of moderation.

Bruguera’s piece does not collapse art and life by introducing political representation, rather, it creates an authentically political event and then disrupts the connections implicit therein in two ways: first, she challenges the assumed political homogeny of the audience/speakers. second, she challenges the assumption that the piece will not be subject to the artist/trickster’s hand. “In other words, Bruguera’s work explores the nature of social ties or associations; in essence, it explores the web of connections that constitutes her format.”

Refers to Bourriaud’s Relational Aesthetics, rereads Generic Capitalism as a two-step process: first, she stages an event, and then organizes its transgression. (Other artists that Joselit places in this category include Santiago Sieera, Yoko Ono, Marina Abramovic, Tino Sehgal.) Additionally, Joselit argues that the title Generic Capitalism is apt as a larger category for the Work of Art - Citizen relationship—“interpersonal transactions premised on trust and aimed at producing value through collective knowledge”—the art of the deal.

Community to Institution

Thomas Hoving became the leader of MOMA NY in 1967, promised to make the museum more democratic, however his first exhibition featured only the gilded objects from monarchies that the museum had acquired. Joselit links this to a kind of “royalist populism” in which the accumulation and presentation and celebration of wealth is equated with the “common good” (common wealth itself being a kind of paradox).

Compares the museum to a bank that is engaged in a money-laundering operation—finance capital is converted into cultural capital and then presented as a kind of “public good.” Museums justify extreme concetration of capital as “for the public good;” the museum makes wealth fascinating and legitimate. Thus, income inequality and the flourishing of arts institutions are catastrophically linked.

Institution to State

In critiquing the process of “branding the museum,” Joselit proposes a spectrum between two Platonic ideals—on one end the absolutely hermetic (read as: totally esoteric, distinct, occult, etc) image which isn’t connected to anything, and on the other end, the absolutely accessible image, which has an infinite capacity to reach audiences.

Buildings act as “three-dimensional logos” — Guggenheim, Getty, Zaha Hadid’s MAXXI Museum, Rem Koolhaa’s CCV all create knots in which the visitor moves in and out of the “eye” of the building

“Guggenheim Bilbao assumes a format (logo/architecture) that leads from a diverse rray of art objects to a single branded image whose purpose is to attract capital” - no wonder they look like black holes

State to Globe

Premise that “scale matters” (referencing Rem Koolhaas + Bruce Mau - S,M,L,XL)

Cookies, hits, search engine optimization

Paradox - we thought global economics + globalized communications technologies would decentralize, but in reality, financial/cultural capitals profit from their density—they get more hits

Art is an international currency - Donald Rubell

With globalization comes a paradoxical localization, or at least nationalization — non-western artists are required to imbue their work with a certain degree of “otherness” in order to be absorbed into the Global Art Market - refers to Subodh Gupta’s insertion of native Indian utensils into his giant skull in high contrast with Hirst’s diamonds

Colonization through architecture — Gehry, Norman Foster, Rem Koolhaas — also grants artistic “legitimacy”

James H. Gilmore and B. Joseph Pine II - introduce a hierarchy of economies:

Commoditi es are extracted from the earth

Goods are manufactured from commodities

Service are intangible activities on behalf of customers

Experiences are memorable events that engage in a personal way

Transformations are effectual outcomes that guide customers to change themselves

With each scale upwards, there is a higher degree of variability, granularity, customization

Art gets bound up with national sovereignty — Italy, Greece, Egypt, Peru demand return of their cultural artifacts where for China, contemporary art is a means of soft diplomacy

Art establishes a currency exchange where cultural difference is monetized and exchanged—but not totally monetized, however, and “images can act as infiltrators, spies, trojan horses”—thus, the work of art has a new kind of power under the “epistemology of the search”

David Joselit - After Art - Power

Revolving door between academia and politics - Robert Reich, Jeffrey Sachs, etc.,

Commonality between museums and academic institutions — enormous wealth + vast amounts of knowledge

Museums purport to democratize — returning the private accumulation of the ultra rich back to the people in the form of cultural capital

Early-to-mid 20th century modernism as the “era of art” in which art is a vessel for secular knowledge, Joselit makes the case that we have surpassed this “era of art” into the newer “epistemology of the search”

Comparing structures between the museum structure, the art world in general, academia in general, and the film industry - capital, networks of distributions, internal hierarchies, privileged communities, mobilization towards economic / nationalist ends

Obsolescence of the function of art as “alternate realities”; we live in a plurality of alternate realities

The art world links cultural capital with financial power — it holds this power uniquely, more than universities and the film industry (I disagree, I just think we should look harder but)

In the history of institutional critique, there’s a general assumption that the power of art is necessarily evil — Hans Haacke, ®™ark, RepoHistory, Yes Men, subRosa, Raqs, Electronic Disturbance Theater, etc.— all operate under this assumption.

Regards Ai Wei Wei as an instance of using art-power positively, or rather the platform afforded to him by art’s power — he exploits the power of images

Ref. Hannah Arendt On Violence - power emerges from groups, or, for Joselit, from connectivity.

concludes, that one doesn’t need to exit the art world or even critique it, instead, we muse creatively exploit its potential power, which is kind of latent until it is mobilized towards a goal

#david joselit #after art #notes

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ralexsol · 2 months

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