Conversation Pieces - Post
1. "Context Providers" vs. "Content Providers"
This struck me (as an artist who falls under "content provider"). What's crazy is; I've always kinda had this dream of being a "context provider" because it feels less self-absorbed, but could never put it this concisely or understand it until now.
2. "What does it mean for the artist to sacrifice the security of self-expression for the risk of inter-subjective engagement?"
This ironically was a little triggering (sarcasm but also not at all) because as artists, part of what we hear our entire lives is how important it is to use our voices, which made me reflect on how self-centered art really can be. It's been a consistent (but more so recent) frustration of mine to step outside of myself and produce art that communicates bigger concepts/ideas than my own, nor I had ever thought about using communication as a means of creating the art.
3. "The projects affirm a certain belief of the avant-garde tradition that the work of art can elicit a more open attitude toward new and different forms of experience" and that avant-garde does not need to be "shocking or difficult to understand"
I love mind/eye-opening art. I think ultimately the feeling of "experience" (especially and specifically shared experience) that is incredibly trans formative. Also stated in the text "aesthetic experience is capable of producing knowledge" is quite accurate. I always say that a successful art piece generates reaction which stimulates emotion. This results in thought , which is the key first step in acquiring knowledge (the more ya' know, ya' know?)
QUESTIONS:
1. In these conversations that are held in order to create these projects, is there someone facilitating, mediating or moderating these said conversations?
2. How can you ensure all parties are actually listening to each other?
3. If museums, curators, collectors and galleries are not involved in these communication-based projects, how can the artists successfully display their work for the public/patrons to see? I understand where the art is coming from and why it is being made, it just seems counter productive to create an entire project with the purpose to enact change, only for your peers/family/friends to experience it.
1. "Context Providers" vs. "Content Providers"
This struck me (as an artist who falls under "content provider"). What's crazy is; I've always kinda had this dream of being a "context provider" because it feels less self-absorbed, but could never put it this concisely or understand it until now.
2. "What does it mean for the artist to sacrifice the security of self-expression for the risk of inter-subjective engagement?"
This ironically was a little triggering (sarcasm but also not at all) because as artists, part of what we hear our entire lives is how important it is to use our voices, which made me reflect on how self-centered art really can be. It's been a consistent (but more so recent) frustration of mine to step outside of myself and produce art that communicates bigger concepts/ideas than my own, nor I had ever thought about using communication as a means of creating the art.
3. "The projects affirm a certain belief of the avant-garde tradition that the work of art can elicit a more open attitude toward new and different forms of experience" and that avant-garde does not need to be "shocking or difficult to understand"
I love mind/eye-opening art. I think ultimately the feeling of "experience" (especially and specifically shared experience) that is incredibly trans formative. Also stated in the text "aesthetic experience is capable of producing knowledge" is quite accurate. I always say that a successful art piece generates reaction which stimulates emotion. This results in thought , which is the key first step in acquiring knowledge (the more ya' know, ya' know?)
QUESTIONS:
1. In these conversations that are held in order to create these projects, is there someone facilitating, mediating or moderating these said conversations?
2. How can you ensure all parties are actually listening to each other?
3. If museums, curators, collectors and galleries are not involved in these communication-based projects, how can the artists successfully display their work for the public/patrons to see? I understand where the art is coming from and why it is being made, it just seems counter productive to create an entire project with the purpose to enact change, only for your peers/family/friends to experience it.
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