Most people do not care about art. They watch TV, they fuss over their cats, they drink with their friends. As a result, artists who want their work to reach those outside the art world usually need to do a lot of legwork on their own.
Art has to come to people, because people have shown they’re not going to come to art. Presenting artworks only to the already-defined art world assumes art needs that context to affect people, but that’s not true. Good work speaks with a clarity and force that doesn’t need to be framed by the art world, and should be spread to as many people as possible. One way to appeal to the non-gallery going population is to create a media spectacle – it’s a proven way to draw attention and distinguish oneself from the competition. With so many artists working today, it would be dumb to ignore the spectacle’s possibilities.
In case you missed it, David Levine recently published an elegantly woven account of the havoc wreaked by Mark Rothko’s will. When Rothko died in 1968, he left nothing to his children; his appointed executors quickly sold or consigned nearly 800 paintings at a drastic discount to the Marlborough Gallery. The inevitable lawsuit filed by his daughter ended the careers of every one involved and has left a permanent scar on Marlborough.
Luhring Augustine is coming to Bushwick November 5th. Now to discuss the unknowns: Could their move attract other businesses? How will the expansion effect artists? How will the expansion effect Roberta’s Pizza?
The internet finally seems to have made a dint in New York’s institutional art world. Cory Arcangel, an artist who began his career manipulating old computer technologies and critiquing web culture, has an entire floor to himself at The Whitney. At the age of 33, his show Pro Tools makes him the youngest artist to receive a solo show at the institution since Bruce Nauman in 1973. Meanwhile, over at MoMA PS1, 30-year-old art starRyan Trecartin is gathering steam with his four hour-plus video exhibiton of fucked-up child-adults on Blackberries, titled Any Ever. The show at PS1, chock full of internet jargon, is just one stop on a world tour that includes the Istanbul Modern Museum and the Musée d’Art Moderne de la Ville de Paris.
The press for both shows has been insane. Two questions come to mind: First, is it really the art that’s prompting this clamor? And second, how did Arcangel and Trecartin end up garnering such a focus in the first place?
The past few weeks, we’ve seen the stock market skyrocket and plummet, with little sign of settling down. Recently, I asked art market analyst Sergey Skaterschikov what this and general economic instability mean for the art world. Apparently, it’s great for auction houses and artists who knew Warhol, bad for emerging artists and their dealers.
This group is designed to explore the ways in which social media and technology can help bring arts and culture to the masses. "Democratizing" the arts has been a long-standing goal in the art world, and no medium makes it more feasible than the web.
The purpose of this meetup is to bring together those working at the intersection of arts and technology to share ideas, strategies, successes, challenges and failures, and to explore the following questions:
- How can the new technology available help raise awareness about the arts and enrich the audience experience?
- How can cultural institutions interact and engage with each other and their audience in meaningful ways?
- What can they learn from their audience and how can they use this knowledge to improve the way in which they present their content?
- As well as countless others that we hope to uncover at future meetups!