#post studio

[russellmoreton]

DSC_1690 Matter in Space : Passages in Sculpture by Russell Moreton Via Flickr: Working Notes 2018/19 Curatorial Architectures/Assemblages Speculative Spatial/Curatorial; Practices in Fine Art and Architectures The Studio is no longer a retreat but it now integrates. It is all exterior. Ways of Curating, Hans Ulrich Obrist Constructing active research material that becomes transactive through interventions and installations of display. Blurring art and the everyday rituals of creative enterprise and survival. Seeking to create innovative and immersive exhibition formats/situations that seek to engage a discursive and informed audience. Building Relationscapes Movement, Art, Philosophy Sensorium Embodied Experience Technologies and Contemporary Art Erin Manning Caroline A, Jone Playing with INTERTEXTUALITY Setting the Stage MAKE SPACE Immersive Alienated Interrogative Residue Resistant Adaptive Interactive Workshop Exhibition Presentation Open Texts RESPONSIVE ENVIRONMENTS ARCHITECTURE, ART and Design Interiors URBAN FALLOW (10 Days in the Laundry) THE CURSE OF THE CONTEMPORARY OPERATIVE DESIGN CONDITIONAL DESIGN ON MAKING SPACE THE FEELING OF WHAT HAPPENS BODY, EMOTION and the Making of Consciousness Art Practices : the chaos of subjectivity and the organisation of self DRAWING, line,shape, volume, light.

[cyanvalour]

I feel like my au Wally would be the type of person that, when approached by a Karen about her name, say that gender roles are a social construct and she's born to tear it down. Then watch as the Karen deals with this information.

[denny1416]

Oggi così.

Cioè raga in 'sta quarantena ho studiato per un esame in tre giorni. Rendiamoci conto del grado di noia raggiunto, per cui anche studiare diventa un' attività divertente.

[denny1416]

Comunque stavo pensando che, da quando è iniziata la quarantena, non ho avuto nessun mental breakdown. Il che è strano. Però va bene così.

(Esaurimenti me ne vengono tipo tre al giorno, but okay...)

[blackheartpress]

Polagraph works, post-pixel painting, or just wobbly painting by imaginary numbers. You decide. This is, anyway, what BHP is up to these days. Last weeks in the freezing, but wonderfully large squatted studio space. Trying to get as much work done as possible, despite everything.

Post-printshop work as a printmaking educator differs from “traditional” work flows by alternating intensely condensed remote workshops, impostor syndrome teaching in a shop that’s not your own, where nothing is where one expects it, but in a different drawer / shelf / box, and then long stretches of mind-numbing email-only days, imaginary (or real? who knows in these days of augmented reality) tumble weed rolling through the office. Not a healthy flow of work in the long run. The above works were printed with Sandy Noble’s polargraph drawing machines, using oil-based ink pens, on three sheets of Fabriano Rosaspina (never forget), so the work’s total size is 210x100cm. Then using my beloved Rohrer & Klingner tusche inks to hand-colour the prints, until sick of doing so. Sometimes using some Polychromos pens or some Caran d’Ache pencils for colouring parts instead.

[myrightsideofmine]

Art Questions

(These are questions meant for my art class but I would also be interested to learn what other online/non-online artists think. Feel free to message me about what you think)

-With the ability to alter and change images at a click of a button, at what point does one consider a piece their own creation and at what point is it simply copying someone else?

-With the rising increase of contemporary art being done online or on a computer/laptop, is it possible for traditional forms of art as well as the traditional art studio to dissapear in the future? Why or why not?

*The Function of the Studio (When the Studio is a Laptop) by Caitlin Jones*

[dailycandy-blog]