#ap issues

[artpracticalsf]

There, we said, and in this place. How are we to think of there? And this taking place or this having a place...

Jacques Derrida, Archive Fever http://bit.ly/1zjR2kc

[artpracticalsf]

David Robbins. TV commercial for the Suburban gallery, Oak Park, Illinois, 2010. Courtesy of the Artist.

Read Michelle Grabner's interview with David Robbins in Issue 5.5 --> http://bit.ly/1oXk56d

[artpracticalsf]

As the region’s traditional gallery- and museum-based art world has grappled with the decline of bohemia (and its audience) as well as the financial challenges of forging a viable life in the arts, another scene has slowly risen to become the vox populi of the Bay Area arts. Yes, I mean Burning Man and its maker ecosystem. It might seem implausible, but Burning Man is as much counterculture as you're likely to find in the Bay Area these days, and as it so happens, tech professionals love it.

Chris Cobb on San Francisco's changed art scene in Issue 5.5 --> http://bit.ly/1sDakuW

[artpracticalsf]

Live Radio Auction appropriates a format from rural American radio stations in which the DJ auctions items over the airwaves and the public calls in to bid on the objects as a way of raising funds for the radio station.

The first episode of Wonderment Consortium's Live Radio Auction took place on May 27, 2014, on 9thfloorradio.com. 

Read more about the project in Issue 5.5 --> http://bit.ly/1sk8IsC

[artpracticalsf]

I suspect that, whether they know it or not, the mumblecore filmmakers’ real father is Andy Warhol. You don’t hear filmmakers talk about Warhol that much—his films are usually put in a fine-arts context—yet both Warhol and the mumblecore directors offer performers who seem barely willing to perform. In both kinds of films, the viewer’s attention floats in a medium of sporadic arousal, where the collective will for something to happen becomes tangible, becomes one of the subjects of the art itself.

Jonathan Lethem's State of the Cinema Address --> http://bit.ly/1p4BLLP

[artpracticalsf]

Jack + Leigh Ruby, Car Wash Incident (A collaboration between Simon Lee and Eve Sussman), featured in Issue 5.5 --> http://bit.ly/1jv318p

[artpracticalsf]

Live Radio Auction by Wonderment Consortium in Issue 5.5 --> http://bit.ly/1sk8IsC

[artpracticalsf]

“The Art Workers’ Coalition (AWC) was a loose group of artists, writers, and members of the creative community formed in January 1969 after the artist Takis protested the Museum of Modern Art (MoMA) by removing his sculpture from their exhibition, The Museum as Seen at the End of the Mechanical Age. In the case with Takis, the artist was concerned with his ability to control the exhibition of his work after it had been sold (the Museum had exhibited his work against his wishes because they owned it and felt that their right of ownership superseded his rights as an artist to control its exhibition).This initial protest was a spark that ignited the coalition—which gathered members and concerns exponentially throughout the early months of 1969. At the time, the Art Workers’ Coalition was concerned with the responsibility of museums to artists and aimed their efforts at building a dialogue between themselves and MoMA.”

Download the demands of the Art Workers' Coalition here.

Read all the manifestos included in our current issue Valuing Labor in the Arts --> http://bit.ly/1k8yPju

Image courtesy Primary Information