Posts Tagged ‘Soviet art’
July 1, 2014 | by Dan Piepenbring
- The nineteenth century “had its own explosion of media … Much as with today’s web, people complained there was too much to read … The solution to overload? For tens of thousands of Americans, it was the scrapbook.”
- Authors turn to pseudonyms for a number of reasons—some strange, some prosaic, some almost metaphysical. In Sarah Hall’s case, the problem was another Sarah Hall: “I could never be published as me. Someone had got there first … my agent reminded me, gently: ‘I really don’t think you can be Sarah Hall.’”
- An interview with Jeff Sharlet, whose new book looks at religion in America: “In nine out of ten cases ‘spirituality’ is a con—not a con by the person invoking it, but a con on that person. It offers the illusion of individual choice, as if our beliefs, or our rejection of belief, could be formed in some pure Ayn Randian void … We’re caught up in a great, complicated web of belief and ritual and custom. That’s what I’m interested in, not the delusion that I’m some kind of island.”
- “It felt like the water was rising and lapping just under my nose … I really began to wonder whether my career was over.” Classical musicians contend with stage fright.
- Soviet concept cars from the fifties and sixties show what might have been, had futurism held its grip on the national imagination—these sleek, modular vehicles are a striking counterpoint to the American cars of the era.
April 12, 2012 | by Hua Hsu
Papo Colo and Jeanette Ingberman founded Exit Art in 1982 as a space for “unusual” art, which is saying a lot given that this was a time when artists were bisecting public plazas with giant panels of unfinished steel, using subway trains as canvases, and performing year-long pieces that consisted of never going indoors. That February, Papo and Ingberman curated their first exhibition, “Illegal America.” The show explored the ways in which the practice of art had occasionally run afoul of the law, from Charlotte Moorman playing cello in the nude to Chris Burden ordering his assistant to shoot him in his arm. The catalogue consisted of a series of artists’ statements housed in a box, which was sealed shut. In order to open it, you had to tear through a dollar bill glued across the flaps—an illegal act, albeit of the mildest kind.
Exit Art’s mandate was clear from the very beginning: the brash claim that they represented an “exit” from the traditional art world; a neck-and-neck passion for politics and aesthetics; that gag of a catalogue, the kind that implicates gallerygoers as more than passive collectors of names on placards. Yet their remarkable, thirty-year existence on the fringes will soon come to an end. Read More »