There’s a lot out there on Banksy’s latest contribution to the dialog of the great decline. Most of it’s carefully packaged and spun on the corporate web. So here’s something refreshing, a take with no contrivances. Banksy says ” its all the more interesting because I’m not in it” but is that really the case? Whilst the show is full of the work of other artists Banksy’s vision is the cohesive glue; so in a sense I find it opening out another dimension of Banksy’s world that makes even more sense of the work he is so well known for.
Banksy has also hit London’s underground and bus networks in a blitz protesting the DSLI Arms Fair taking place in the London Docklands
From the New Yorker, an interesting look at a number of private art museums in Europe. In the face of the inability of public galleries to compete with private buyers in a market dominated by auction houses and the consolidation of art as commodity it’s no small surprise to see an escalation in the number of private art museums, including our own MONA.
Read the full article here
Credit Photograph by Wolfgang Stahr/laif/Redux
Image courtesy @ The New Yorker
As his admirers eagerly await new episodes of his cult 1990 TV series Twin Peaks, David Lynch – the director best known for films such as Blue Velvet, Eraserhead, the Elephant Man and Mulholland Drive – opens the first major exhibition of his work in the UK.
“Cornelia Parker is renowned for her ability to transform the most familiar objects into unfamiliar forms, and often by the most forceful of means. She has stretched bullets into lengths of wire, made drawings using explosives, flattened brass instruments with a steam roller and—most famously—in 1991 she blew up a garden shed and then meticulously suspended its fragments in a constellation-cum-swarm around a single light bulb, under the title Cold Dark Matter. This is now owned by the Tate and features in a major survey of Parker’s work which heralds the reopening of the Whitworth Art Gallery in Manchester, where it is accompanied by new commissions created from the red fabric used to make commemorative poppies and the revolutionary new form of carbon developed in Manchester, graphene”.@ The Art Newspaper
Read the full article here
‘Trace’ Ai Weiwei@Large
Ai Weiwei stands as an artist of exceptional personal integrity whose story is an extraordinary one to say the least.
I’ve admired his work and practice since I first saw some installation shots in 1999.
This year sees him installing works in the notorious Alcatraz prison as part of the @Large exhibition organized by For-Site. His installation ‘Trace’ consists of 176 portraits of political exiles and prisoners of conscience put together using a staggering 1.2 million Lego pieces. Out of the things that so many children have used to build and manipulate imaginative scenarios and environments Ai Weiwei constructs a tableau that serves to remind us of those who have either been imprisoned or exiled for actively resisting or exposing the wiles of oppressive regimes.
Read the full story here
Gaza Strip — The images of so many houses destroyed, so many bomb blasts, even so many bodies wrapped in burial shrouds can begin to blur together, indistinguishable. But Belal Khaled, a young photojournalist and painter in this southern Gaza town, saw symbols and stories in the smoke all around him…….
Read the full article from KHAN YOUNIS here
10 Things that Art Teaches
1. The arts teach students to make good judgments about qualitative relationships.
Unlike much of the curriculum in which correct answers and rules prevail, in the arts, it
is judgment rather than rules that prevail.
2. The arts teach students that problems can have more than one solution and that questions can have more than one answer.
3. The arts celebrate multiple perspectives. One of their large lessons is that there are many ways to see and interpret the world.
4. The arts teach students that in complex forms of problem solving purposes are seldom fixed, but change with circumstance and opportunity. Learning in the arts requires the ability and a willingness to surrender to the unanticipated possibilities of the work as it unfolds.
5. The arts make vivid the fact that neither words in their literal form nor numbers exhaust what we can know. The limits of our language do not define the limits of our cognition.
6. The arts teach students that small differences can have large effects. The arts traffic in subtleties.
7. The arts teach students to think through and within a material. All art forms employ some means through which images become real.
8. The arts help students learn to say what cannot be said. When students are invited to disclose what a work of art helps them feel, they must reach into their poetic capacities to find the words that will do the job.
9. The arts enable us to have experience we can have from no other source and through such experience to discover the range and variety of what we are capable of feeling.
10. The arts’ position in the school curriculum symbolizes to the young what adults believe is important.
SOURCE: Eisner, E. (2002). The Arts and the Creation of Mind, In Chapter 4, What the Arts Teach and How It Shows. (pp. 70-92). Yale University Press. Available from NAEA Publications. NAEA grants reprint permission for this excerpt from Ten Lessons with proper acknowledgment of its source and NAEA.
“………The five Australian and international artists – Libia Castro, Ólafur Ólafsson, Charlie Sofo, Gabrielle de Vietri and Ahmet Ögüt – said in a statement they were withdrawing from the Biennale “in light of Transfield’s expanding management of Manus Island and Nauru immigration detention centres” and in response to the death of Mr Berati.
“We have revoked our works, cancelled our public events and relinquished our artists’ fees,” the statement said.
“We see our participation in the Biennale as an active link in a chain of associations that leads to the abuse of human rights. For us, this is undeniable and indefensible.”
A larger group of artists wrote to the Biennale board last week, demanding it sever ties with Transfield Holdings.
The five boycotting artists claim the board and Transfield indicated “there will be no movement on their involvement in this issue … that the issue is too complex, and that the financial agreements are too important to re-negotiate”.
The artists asked the Biennale of Sydney to acknowledge the protest by registering their withdrawal on its website and displaying signs at the site of the four absent projects. Two of the artists had submitted a joint work.
“In the pervasive silence that the government enforces around this issue, we will not let this action be unnoticed,” the artists said……..”.
Extract courtesy SMH