The College Art Association’s (CAA) newly published pamphlet, Code of Best Practices in Fair Use for the Visual Arts, is intended as a guide to assist visual arts professionals in understanding the principle of “fair use” first set forth in the 1976 Copyright Law as it relates to current practice in creative and scholarly work. Over the last two years, a series of focus groups made up of a broad spectrum of practitioners including artists and designers, art and architectural historians, curators and museum professionals, editors, educators and scholars gathered in closed meetings in New York, Washington D.C., Dallas, Chicago and Los Angeles to develop commonly shared guidelines and standards in their respected fields. Continue reading
There is something quite apt about making an artist’s book in response to an archive – beyond the more obvious similarities of physical format. Both sit in the traditional sense as prescript systemisations, located on the periphery of art making; they are often awkward realms where old material is circled or shoehorned. Continue reading
Playing to the Gallery is the published and polished version of Grayson Perry’s Reith lectures. Whilst the BBC Radio 4 talks are widely acclaimed in the media, Perry is, to some extent, a dividing figure. The Turner prize winner has been the go-to presenter of Channel 4 art programmes for several years, a highly exposed and irreverent middleman between notions of the gallery and the general British public. Continue reading
Beverly Pepper’s catalogue Monumenta opens with an introduction by art historian and curator Robert Hobbs, “Beverly Pepper: Time as Space,” in which he situates Pepper’s work within the critical context provided by Henri Bergson, André Malraux, and Walter Benjamin. The continuum of time and space and their indivisibility are apparent in Pepper’s works, which are often monumental—if not in size, in presence—and integrated with their surroundings, the materials of the sculptures interacting and changing with their environment over time. Continue reading
“This is a book about making art. Ordinary art. Ordinary art means something like: all art not made by Mozart.” – From the introduction of Art and fear: Observations on the Perils (and Rewards) of Artmaking.
What makes being an artist so different from any other profession? Artists have a skill (or maybe even talent) and they strive to make a living using it – isn’t that what everybody does? But somehow, it is very different. Perhaps it’s the personal nature of artistic vision or the culture of celebrity. It turns out, according to David Bayles and Ted Orland in Art and fear: Observations on the Perils (and Rewards) of Artmaking, learning to survive as an artist has less to do with skill or talent than it does with our willingness to face our fears over and over again. Continue reading
The idea of kinetic art is getting a bit of a workout at the moment. MIT Museum recently hosted “year of kinetic art, including “5000 Moving Parts,” a kinetic art exhibiton featuring large-scale works by Arthur Ganson, Anne Lilly, Rafael Lozano-Hemmer and John Douglas Powers. Plus the Kinetic Art Organization has published a digital “International Collection of Essays About Kinetic Art—2013—volume 1.” The two don’t overlap: The MIT show highlights a somewhat different segment of artists working with motion in sculpture, 4 names, some of whom owe more to Yves Tinguely and Calder’s Circus than Calder’s mobiles and George Rickey (the primary influences for many if not most of the artists in the KAO book. Continue reading
In Scott Burton: Collected Writings on Art and Performance, 1965–1975, David J. Getsy, professor of art history at the School of the Art Institute of Chicago, has anthologized Burton’s eclectic criticism of the ‘60s and ‘70s. Before Burton received recognition for his sculpture and public works, he was a prolific critic of art and performance, as well as a curator and editor for ARTnews and Art in America. Continue reading