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@in-kind-negotiations
The exoticized artist is marked not as a thinking subject and individual innovator in his and her own right, but as a bearer of prescribed and homogenized cultural signs and meanings.
The Syncretic Turn, Cross-Cultural Practices in the Age of Multiculturalism - Jean Fisher, 1996 (via clareleetaylor)
Here is us, hello (at The Banff Centre)
[The subordination of the work as “art” to political-literary content] comes from a political commitment that exists prior to a creative decision. This in itself would be a normal process. The limitations appear when the creative process is dedicated only to the production of illustrations, didactically worried, and simultaneously follows the rules of the game indicated by the history of art. The didactic function requires a high percentage of redundancy, leaving little room for originality.
Luis Camnitzer, "Contemporary Colonial Art" (1969)
The environment is not separate from ourselves; we are inside it and it is inside us; we make it and it makes us.
Davi Kopenawa Yanomami, Yanomami elder (via selchieproductions)
Rebecca Belmore interviewed about her work Ayumee-aawach Oomama-mowan: Speaking to Their Mother (1991).
(There is limited evidence for the influence of Black Americans on Native American arts. Given the fact that slaves often fled their white masters to seek refuge among Indian tribes, it is surprising that only one classic case of stylistic transfer from African art to North American Indian art, a West African drum type found in use among the Choctaw of Louisiana around 1900, has so far come to notice.)
Christian F. Feest, Native Arts of North America (1980)
The exciting thing about all this is that as it is new it is old and as it is old it is new, but now we have come to be in our way which is an entirely different way.
Gertrude Stein, from the Narration lectures (1935)
In the streets of Berlin I also, from time to time, found myself following complete strangers. I momentarily considered re-contextualizing this activity as an art practice, but then realized Vito Acconci and Sophie Calle had already done it. What is this curse to take everything I do, see, think and experience and turn it into art. I never followed anyone very far, always at a considerable distance, and yet every time I did so I could so clearly imagine myself catching up to them, tapping them on the shoulder, explaining that they had caught my eye, that something about them had sparked my curiosity (perhaps even mentioning that I had been following them for a few blocks, if I could find a way to do so without sounding completely creepy), asking if they wanted to talk. And yet, though there were many people I followed, I never once approached, never once did I speak to any of them. I sense some loose connection between this desire to turn everything into art and the inability to approach strangers. Since art itself, putting ones thoughts and feelings out into the world, is in itself a way of approaching strangers, of trying to open a dialogue with people one may well never meet.
Cut passage from Polyamorous Love Song. (via jacobwren)
Our travels follow paths and sometimes we must make a path because there are none to be found. Sound can travel, through air and on waves, from a drum and beyond, and even in our place. What change occurs when an image is painted on a drum’s face? This alteration is an expansion of the drum’s resonance into the realm of the visual, a sounding that is also an image, an image ferried by vibration. An image of this sort is never mute, it always contains the possibility of its activation, a charge and an impact.
via Return in Thought
"So far as the best art defines itself by essentially "priestly" aims, it presupposes and confirms the existence of a relatively passive, never fully initiated, voyeuristic laity, which is regularly convoked to watch, listen, read, or hear- and then sent away."
Scanlan’s time at Yale School of Art coincided with a marked change in the student demographic. From the late ’90s until the present, the number of black and Latino students increased considerably, and so did the presence of foreign students from the emergent elites of the global South. Not only did the composition of the student body change—in contrast to the Yale of the 1980s that produced the likes of Matthew Barney and Ann Hamilton, the Yale graduates of the 2000s who have garnered the most art world attention have been black or Latino: among them are Kehinde Wiley, Mickalene Thomas, Wangechi Mutu, Leslie Hewitt, and William Cordova. In contrast to earlier decades when art students relied on their professors to connect them with the New York gallery scene, the new crop of success stories made it without the old (white) boys’ network. I think it is safe to say that this phenomenon made an impression on the entire Yale faculty, not just Scanlan. The students of color could no longer be seen as the poor beneficiaries of institutional largesse—they were stealing the show.
Coco Fusco writing about the Joe Scanlan fiasco in this years Whitney Biennial. (link)
To convey why the work of the moment is so wide-ranging in tone and texture, Mr. Hayes used the metaphor of a writer wandering around a library, looking for intellectual nourishment. “You’re not just going to the African-American shelf — you’re not just going to the poetry shelf, in fact,” he said. “Where once upon a time, I think we relegated ourselves to a certain part of the library, you see more and more poets who are comfortable all over the library.”
There is a need to make films politically as opposed to making political films.
Trinh T. Minh-ha, When the Moon Waxes Red: Representation, Gender and Cultural Politics. (via dhrupad)
Whereas politicians and other public figures are elected into positions from which they speak as “representatives,” this role has fallen on the shoulders of black artists not so much out of individual choice but as a consequence of structures of racism, that have historically marginalized their access to the means of cultural production. When black artists become publicly visible one at a time, their work is burdened with a whole range of extra-artistic concerns precisely because, in their relatively isolated position as one of the few black practitioners in any given field–film, photography, fine art–they are seen as “representatives” who speak on behalf of, and are thus accountable to, their communities. In such a political economy of racial representation where the part stands in for the whole, the visibility of a few token black public figures serves to legitimate, and reproduce, the invisibility, and lack of access to public discourse, of the community as a whole.
Kobena Mercer, ” Black art and the burden of representation” (1990)
If, after many years of struggle, you arrive at the threshold of enunciation and are “given” the right to speak, is it not the case that there will be an overwhelming pressure to try and tell the whole story all at once? If there is likely to be only the one opportunity to make your voice heard, is it not the case that there will be an intolerable imperative to try and say everything there is to be said, all in one mouthful?
Kobena Mercer, “Black art and the burden of representation” (1990)
What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way that a bad emotion is still an emotion. Therefore, when I refer to ‘art coefficient’, it will be understood that I refer not only to great art, but I am trying to describe the subjective mechanism which produces art in the raw state – à l’état brut – bad, good or indifferent.
Marcel Duchamp, “The Creative Act" (1957)
This text was first presented to the Convention of the American Federation of the Arts at Houston, Texas, 1957.
(via raymondboisjoly)
an important aspect of this particular residency
