Showing only Notes + Links tagged archives
The Micheels House, Designed by Paul Rudolph, Westport, Connecticut, 1972 - 2007, by Chris Mottalini
Wrote about Chris Mottalini’s beautiful series After You Left, They Took it Apart (Demolished Paul Rudolph Homes) today on the Hey, Hot Shot! Blog:
Important works of art are handled with white cotton gloves, doted over by curators and housed in atmospherically controlled Plexiglas cubes. All too often, important works of architecture are not afforded the same attention by conservationists. Once a style falls out of favor, monumentally important buildings are bought and sold at the mercy of the real estate market, and left to decay until they meet the wrecking ball.
Ulrich Gebert - Penelope Umbrico, and Zoe Crosher Sail Through A Sea of Photography - New York ArtPhotography is the world’s filing cabinet. Or database. What other medium claims to effectively catalog plants, indigenous people, criminals, mental illness, emotions, physical movement, remote landscapes, and decaying urban neighborhoods?
Art generally functions the opposite way: The unique image is more important than accumulating evidence. But somewhere in the mid-20th century, the archiving impulse took hold. Bernd and Hilla Becher photographed “families of things”—industrial relics like blast furnaces, gas tanks, and water towers—emphasizing their boring regularity over their heroic power. This was the postmodern project: thinking about systems and codes.
Bryan Formhals (la pura vida)The fact that we have access to 14,000 photographs changes the way we view the work. Think if this was Winogrand? How would our view of his work change if we saw more of the crap?
I think this is the reason why so many professional and established photographers stay away from Flickr and to some degree, I see their point. They don’t want to show their work un-edited, or unpolished.
If Cushman’s archive would have been kept under wraps and our first experience with the work was in a book of say 100 of the best photographs, I think our view of the work would be far different.
A reminder that all art was at one time contemporary, this exhibition is inspired both by the Walker’s history and the serendipity with which works come together in its storage vaults. More than 75 masterpieces, new discoveries, and notable oddities from the Walker collection crowd the gallery walls, with seating and binoculars provided so that visitors can conduct their own close-up investigations of individual works.
I freaking love the Walker Art Center.
(via jenbee)
Temporary.cc is a website by Zach Gage that over time will disappear and, in the time that it exists, can theoretically never be archived because with every visit it deletes a small portion of its own code, altering a grid like composition of colors on its front page. Lots of beautiful ideas going on.
Please ignore the horrible music/production qualities in the video above, which demonstrates the ideas nicely.
(via today and tomorrow)
Art Fag City » The Zoo Art Fair Awards!
On a coffee table in the center of the booth sits a light bulb, lighter, coffee mug, Kleenex box and trucker hat inscribed with the words “Memory is Hunger.” The text refers to the contemporary desire for memory, a lost phenomenon in an age in which everything can be archived. After all, memory only works because it is fallible — it’s a natural means of selection — and as Cory Arcangel once noted in 2000, “All data is created equal.” Today the trucker hat of 2009 is just as important as it was in 2000, or in 1995, or in 1990.
1982+2005, Paris, France, by Chino Otsuka, from Imagine Finding Me: “Images of Otsuka as an adult are craftily combined with snaps of the artist as a child, pinched from the family photo album.”
