CRITICAL ART ENSEMBLE - Digital Resistance
Electronic Civil Disobedience that was created in 1994, according to the Critical Art Ensemble, should be kept out of the public. Like every theory, it had its flaws, and since they have become more apparent, is more of a reason as to why it should not be used. In other words, it is underground and CAE wanted to keep it that way. Electronic Civil Disobedience is just an inversion of Civil Disobedience.
This article believes that there will not ever be a people united because that in itself creates a form of separatism. CAE believes that the direct approach is always the most effective in the end, versus an indirect approach. Any small form of electronic manipulation was seen as unsuccessful.
In 1995, CAE stated that ECA worked because the informing of digital resistance created paranoia that had a domino effect and in turn, (yet CAE wishes that they had never made that comment due to activists who have taken it seriously) brought the state to power.
Today ECD, it is out of the limelight and being viewed as a “cyber fad”. My input is that as long as there is control over the internet (ICANN), not much can really happen. Everything (media, newspapers, television, and internet) is controlled by a particular state, and usually the same ones.
Sunday, September 27, 2009
KAPROW Response
Allan KAPROW: The Education of the Un-Artist Part I and Part 3
Art had definitely changed over the past years. As each generation passes art evolves new meaning of “what is art?” arise. The constant debate will continue on for years to come. This reason maybe because most of what people call art today may not be seen as art if it were happening in the past. Kaprow mentions back around 1969 that all art is art. Whether it is anti or pro, it is all-inviting.
From the text which seem to forecast the obsolescence of "art" and "the artist" my interpretation is that technology will be able to generate art. This removes the power from the controller i.e. artist and placing it in the hand of something that doesn’t possess the same emotional and thinking abilities like humans do, like artists do. However I do not totally see artists and art disappearing because any form of art (music, film, dance) requires a vision and a performer to make it come to life. Artists have the ability to capture many followers. For example musician can reveal political messages thorough there music to help create thought in the minds of the masses. This system should continue to inspire the upcoming generations to make this world beautiful and right.
Art had definitely changed over the past years. As each generation passes art evolves new meaning of “what is art?” arise. The constant debate will continue on for years to come. This reason maybe because most of what people call art today may not be seen as art if it were happening in the past. Kaprow mentions back around 1969 that all art is art. Whether it is anti or pro, it is all-inviting.
From the text which seem to forecast the obsolescence of "art" and "the artist" my interpretation is that technology will be able to generate art. This removes the power from the controller i.e. artist and placing it in the hand of something that doesn’t possess the same emotional and thinking abilities like humans do, like artists do. However I do not totally see artists and art disappearing because any form of art (music, film, dance) requires a vision and a performer to make it come to life. Artists have the ability to capture many followers. For example musician can reveal political messages thorough there music to help create thought in the minds of the masses. This system should continue to inspire the upcoming generations to make this world beautiful and right.
Sketch #2: Response to Readings
The “Artist” in 2009
The “artist” in 2009 in my eyes is someone who lives inside their own narcissistic and egotistical bubble from which they can position themselves as high minded, social changers part of Richard Florida’s corporatized “creative class” who seek acknowledgment for their “genius creativity.” The “artists” in 2009 exist but are irrelevant. The artist in the traditional sense in 2009 do what they always do, which is make “art” that simply refers to their own quirky ego, selling ridiculously priced artwork to the rich so that it simply fills out another empty void on one of the many walls of their luxury homes. 2009 belongs to the invisible and nameless “mark makers” who function in the shadows to wake up a social collective consciousness of the world. Someone with such a profound calling to leave marks on the earth, holds the job in 2009 to deconstruct the beauty of the banal. In today’s world the obligation of such people might just be to attempt to wake up society in whatever way so that its people may come to see the profound beauty in the banal, from which point a person may become conscious of their own being and the life for the betterment of themselves and arguably for the rest of the collective world.
In accordance to the readings, the prevalence of new media which was evident even during the 1960’s, has lead to the blurring boundaries in everyday life, a blurring of boundaries that even “art” has witnessed has resulted in a growing trend and complication of art discourse within the arts institutions, complicating the question of “what is art?” The boom in form of new media has created many new paths for creative output. The blurred boundaries of art have become have become so blurry that it may be safe to say that everything is art. As a result, the truth can arguably be said to be blurred as well. In light of Peter Watkins’ article, the role of the “artist” today may just be to uncover and demystify the truth.
-Thomas Zukowski
Sketch One & Response to Kaprow Reading
Andrea Zittel, Personal Panel Uniforms, 2004
Liubov Popova textile, c.1924
William Morris textile, c. 1885
The Arts & Craft movement was reacting against the mass production of created by the industrial revolution, and sought to create unique work and meaningful labour for the craft people.
Liubov Popova and the Constructivists were interested in the ability to produce multiples using machinery. Especially since the use of machinery would allow the worker to have more free time in which to experience life. The Constructivists saw the human body as a sort of machine, and Popova sought to create clothing that negated gender (as machinery did work without gender). She sought to cover the human body in geometry so as to detract from the symbols of gendering.
Andrea Zittel's work grew out of the work of these two movements. For each season she created a simple uniform that was made out of rectangles. She wanted outfits that would be attractive and versatile for everyday use. The project grew out of her observations and budgetary needs. She worked in an art gallery and needed to dress well, however was unable to afford more than one high end outfit. In our society it is frowned upon to wear the same outfit for multiple days. So, she sought to create outfits that could be worn for an entire season, with slight modifications to change the look.
My sketch takes on the form of a constructivist poster.
Kaprow Reading Response:
What Kaprow describes as nonart is what I believe to be outsider art—art that doesn’t conform to the capitalist ventures of artistic institutions. For him, nonart forecasted the end of art and the artist in the traditional sense where a product would be the outcome of an artist’s efforts. With the advent of video art, the nonart pieces that Kaprow describes can be documented. And it is these surviving documents that allow scholars to examine the work. As this type of work didn’t fall into any other category of our classified world, it has been adopted by the art world—in a similar way that the technological innovation of photography eventually fell into the hands of art historians. It is naïve to think that there is a pure art that is not affected by sources outside of an artist’s practice. Artists visualize their interactions with the world around them—allowing for spectators to question and examine their own being.
In the last couple of decades, less traditional artists have fought their way into fine art faculties to allow for the further development of nonart. After several years of digesting new manners of art production, artistic institutions accepted nonart as a valuable practice to support and display. As the world became mechanized it was no longer acceptable to the artist to simply produce renditions of the world around them, leading them to new media in which to experiment.
As a scholar of contemporary art history, I believe that it is essential not to discount new forms of art. Artists react to their culture and implement the new technical innovations developed in their time. It is the groundwork laid by earlier generations of artists that allow for the progress of present generations.
Saturday, September 26, 2009
Sketch #1: Activist Art
-Thomas Zukowski
Tuesday, September 22, 2009
Kaprow
The two Kaprow articles introduces the idea of non art and traditional art. Non art is "whaterver has not yet been accpeted as art but has caught an artist's attention with that psssibility in mind." Non art has a fluid identity. With readily available technology it is instantaneous. New media has become essential to communication.
The articles discuss the fluidty of assembleage art, activism, and other similariy forms. Not all "art" fits into the aspects of traditional aesthetic art. New mixed media or assemblage art is increasing-- it is acting as a contamination to traditional art forms such as film. It is a departure from art art's traditional form and content. Kaprow calls the attention to the context of art not its category. According to the article, these new art contaminants will replace traditional art and museums (they will remain a category for study).
The article refers to traditional art is institutional-- over generations people are taught what is aesthetic--- they are taught that if it is hanging in a museum then it is beautiful or meaningful, and there is no room for individual appreciation or opinion. Contaminant art (as it is referred to in the article) will replace these traditions. If these contaminant art replaces institutional art, society will still be geared towards an alternate non art way of perceiving. The fluidity of non art can become static in the sense that not everyone is a non artist.
The articles were insightful-- I remain unclear of some of Kaprow's ideas. There are many examples that widen the boundaries of art, activism, and technology intersections. I am unclear of what is meant by "the change is "high culture."
The articles discuss the fluidty of assembleage art, activism, and other similariy forms. Not all "art" fits into the aspects of traditional aesthetic art. New mixed media or assemblage art is increasing-- it is acting as a contamination to traditional art forms such as film. It is a departure from art art's traditional form and content. Kaprow calls the attention to the context of art not its category. According to the article, these new art contaminants will replace traditional art and museums (they will remain a category for study).
The article refers to traditional art is institutional-- over generations people are taught what is aesthetic--- they are taught that if it is hanging in a museum then it is beautiful or meaningful, and there is no room for individual appreciation or opinion. Contaminant art (as it is referred to in the article) will replace these traditions. If these contaminant art replaces institutional art, society will still be geared towards an alternate non art way of perceiving. The fluidity of non art can become static in the sense that not everyone is a non artist.
The articles were insightful-- I remain unclear of some of Kaprow's ideas. There are many examples that widen the boundaries of art, activism, and technology intersections. I am unclear of what is meant by "the change is "high culture."
Monday, September 21, 2009
Sketch1
The art pieces I have choses are installations. The idea of brining the outside inside. The art invites community to rethink and challenge the use of public spaces.
Mark Bradford: Market > Place
Art:21
Art= signage collage, paints, representation
Activism= dialogue about the use of public spaces,
dominant ideologies shape view and understanding of communities
Technology= systems, language, ideologies
This art piece is inspired by Bradford'smerchant roots. He discuss the working during the Los Angles Riots of 1992-- the media shows volience, they did not see merchants of different trades and cultures in the surrounding community coming together to surpass 6pm work curfews.
First, Bradford makes a collage from found signage (merchant posters, flyers--what Bradford calls informal advertisement.)
Placing signage inside is away of bringing the outside in for an invert look at the ways in which public spaces are used. His goal is to challenge the way people see the community and merchant dynamic culture.
The art aspect of the installation is a representation of the interactive community. Signage is producing bodies and convevrsations. Service, trade, and bodies are all intersecting within a public space socially and economically--
The installation is communicating to people dwelling in the community and people looking in at the community, who recognize and label these bodies without knowledge of the history. It is the oppertunity for those dwelling within the community as well as those merely looking in to visually understand.
The activism in this piece open dialogues of change (racial, sexual, cultural, and stereotypical). Signage collage exposes the conditions and politics of the particular location as well as consumerism. It starts a conversation and gives control back to the public by inviting them to take a glance at the community from within. It is a glance at how the community is represented.
These posters tells the community's history and how certain dominant ideologies have shaped the community. For instance Bradford comments about the Los Angles Riots of 1992.
Mark Dion Neukom Vivarium
You tube clip
Art 21
Art= re-contextualization of a tree
Activism= rethinking public spaces, creating a new cultural space
Technology= machines, development of more advance economies
Mark Dion's installation involves the uprooting of a tree from its natural ecosystem. It is art that is political. The tree up rooted from the ecosystem is his idea of a perverse act to environmentalism, however, it is done within the context of art. The tree is taken to an hybrid city and housed in a green house. Building a greenhouse for the tree to dwell in simultaneously while situated in the a hybrid city is expensive. Q:What does the tree present? It represents a living bio system. It is the process of watching the tree decay slowly as the city feeds off natural resources and economizes public spaces. Displaying a tree housed in a greenhouse is a form of disturbance and a reminder that pulic spaces are in decay as well as ecosystems. Dion challenges the ways in which we use and conserve public spaces. The tree becomes a cultural place/infrastructure in itself that is maintained by money-- a public cultural space people will want to visit.
The use of technology to build the greenhouse at Olympic Sculpture Park, Seattle. It consists of architectural design, irrigation system, cooling system, ect. It highlights the diffuclty of replicated what nature can do as well as the cost associated with construction and infrastructure. This recontextualization depicts the resources and capital put into the city's streets and buildings-- electricity, heat, etc. It challenges the idea that more or as much resources trickle down to the environment, ecosystems, and natural resources which are decapitating economic public spaces.
now is a public space dedicated to culture, art and sculpture
Activistism represented in this art is to challenges the use of public spaces. Buildings in the city are a reaction to bodies-- a new excutive building or a condo goes up as a result of public need but who is really involved in the voting decisions? Neukom Vivarium invites the community to think about the use of public space.
Mark Dion’s work examines the ways in which dominant ideologies and public
institutions shape our understanding of history, knowledge, and the natural
world....
Mark Bradford: Market > Place
Art:21
Art= signage collage, paints, representation
Activism= dialogue about the use of public spaces,
dominant ideologies shape view and understanding of communities
Technology= systems, language, ideologies
This art piece is inspired by Bradford'smerchant roots. He discuss the working during the Los Angles Riots of 1992-- the media shows volience, they did not see merchants of different trades and cultures in the surrounding community coming together to surpass 6pm work curfews.
First, Bradford makes a collage from found signage (merchant posters, flyers--what Bradford calls informal advertisement.)
Placing signage inside is away of bringing the outside in for an invert look at the ways in which public spaces are used. His goal is to challenge the way people see the community and merchant dynamic culture.
The art aspect of the installation is a representation of the interactive community. Signage is producing bodies and convevrsations. Service, trade, and bodies are all intersecting within a public space socially and economically--
The installation is communicating to people dwelling in the community and people looking in at the community, who recognize and label these bodies without knowledge of the history. It is the oppertunity for those dwelling within the community as well as those merely looking in to visually understand.
The activism in this piece open dialogues of change (racial, sexual, cultural, and stereotypical). Signage collage exposes the conditions and politics of the particular location as well as consumerism. It starts a conversation and gives control back to the public by inviting them to take a glance at the community from within. It is a glance at how the community is represented.
These posters tells the community's history and how certain dominant ideologies have shaped the community. For instance Bradford comments about the Los Angles Riots of 1992.
Mark Dion Neukom Vivarium
You tube clip
Art 21
Art= re-contextualization of a tree
Activism= rethinking public spaces, creating a new cultural space
Technology= machines, development of more advance economies
Mark Dion's installation involves the uprooting of a tree from its natural ecosystem. It is art that is political. The tree up rooted from the ecosystem is his idea of a perverse act to environmentalism, however, it is done within the context of art. The tree is taken to an hybrid city and housed in a green house. Building a greenhouse for the tree to dwell in simultaneously while situated in the a hybrid city is expensive. Q:What does the tree present? It represents a living bio system. It is the process of watching the tree decay slowly as the city feeds off natural resources and economizes public spaces. Displaying a tree housed in a greenhouse is a form of disturbance and a reminder that pulic spaces are in decay as well as ecosystems. Dion challenges the ways in which we use and conserve public spaces. The tree becomes a cultural place/infrastructure in itself that is maintained by money-- a public cultural space people will want to visit.
The use of technology to build the greenhouse at Olympic Sculpture Park, Seattle. It consists of architectural design, irrigation system, cooling system, ect. It highlights the diffuclty of replicated what nature can do as well as the cost associated with construction and infrastructure. This recontextualization depicts the resources and capital put into the city's streets and buildings-- electricity, heat, etc. It challenges the idea that more or as much resources trickle down to the environment, ecosystems, and natural resources which are decapitating economic public spaces.
now is a public space dedicated to culture, art and sculpture
Activistism represented in this art is to challenges the use of public spaces. Buildings in the city are a reaction to bodies-- a new excutive building or a condo goes up as a result of public need but who is really involved in the voting decisions? Neukom Vivarium invites the community to think about the use of public space.
institutions shape our understanding of history, knowledge, and the natural
world....
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