The Nostalgia Critic: "SiIvaGunner" suffers a major glitch and finally reveals himself as Inspector Gadget , who had once again taken control of the channel. However, a new faction in opposition of him rises up. This new group consists of internet reviewers led by the Nostalgia Critic. All of the rips involve Gadget, Nostalgia Critic or other reviewers. Nostalgia Critic takeover: Nostalgia Critic now has control of the channel. The profile picture and channel banner are changed accordingly to include him.
Many of the rips uploaded during the takeover involve older memes such as Meet the Flintstones and blue balls , and a large number of them are reuploads from the GiIvaSunner channel. After the last video, the channel "reboots" referencing SilvaGunner: Rebooted and reverts to the SiIvaGunner avatar, which means the channel returned to its original state. The profile picture was changed to a logo designed to mimic the logo of the Internal Revenue Service abbreviated IRS , the government agency tasked with auditing citizens of the United States.
Maki's Birthday : All the rips featured a song from Love Live! Is a reference to a theory made by Triple-Q about "Maki is Knuckles".
- Graceland (album) - Wikipedia.
- Prayers That Avail Much, 25th Anniversary Commemorative Gift Edition?
- La Femme de Sath (French Edition).
No other rips were uploaded. Tweets: Wood Man apparently took over the channel's Twitter account to announce Chaze the Chat 's streaming times:. The banner is changed to pictures of the set of "It's Everyday Bro". This event is probably a fake-out of Nozomi 's birthday, which is June 9. E3 : All rips uploaded during this event are related to E3 The profile picture of the channel is changed to Todd Howa-uh, I mean Blodd Bloward , and the banner is changed to a screenshot of Bethesda's booth at E3, while the Twitter account is a screenshot from Fallout 4.
King for a Day : The team stops uploading on July 13, then announces a Battle-Royale contest between 16 characters nominated and voted by the SiIvaGunner fanbase. Original arrangements and even completely original compositions with a crossover fighting game feel were uploaded during the duration of the tournament proper and for a while after, even after related characters had already been knocked out of the bracket.
The winner ended up being Unregistered HyperCam 2 , who had their takeover one day after the formal ending of the tournament. The Twitter account's name and the channel description is replaced with??? From the avatar, it appears to be Takane Shijou left and Wood Man right , who were the main stars of previous Halloween events. On November 7, the video 11 07 was uploaded, which named January 10 as a significant date for the event. Everything returned to normal, for the time being, shortly thereafter.
Winter Holidays : SiIvaGunner changes his profile picture to wear a Santa hat, while the banner is edited to include a transparent image of the Grinch and Max the Dog from the The Grinch movie pasted over The Lighthouse. Ultimate tournament. On January 9, SiIvaGunner2 begins reuploading rips as part of the 3rd anniversary of the creation of the original GiIvaSunner channel, beginning with a modified reupload of Battle!
A channel description is also added during the day: "Please read the video description. The channel has its strikes removed on February 28th. The channel's banner and avatar are quickly changed back to normal, albiet with SiIva now having additional scars in the avatar. The reuploads on the SiIvaGunner2 channel are unlisted and we're back is uploaded.
Season 3 Finale : After getting the channel back after a month of termination, the SiIvaGunner channel wraps up its third season. This Direct brings with it the announcement and release of SiIvaGunner Blue Album , an April Fools' Day joke that appeared to be a Weezer tribute album, but was actually an album focused around blue balls rips. All rips uploaded have a 3 somewhere in the game's title. Tax Day : On the day of the income tax return deadline in the United States colloquially known as Tax Day , every rip is related to Yoshi or the Yoshi series, referencing the " Yoshi committed tax fraud " meme.
Easter To celebrate Easter, every rip uploaded in the day is bunny-related, the overwhelming majority of which sample or reference Puerto Rican trap star Bad Bunny. The catchphrase for rips uploaded on this day is: "Please be an all star. Get your game on; go play. Minecraft 10th Anniversary : To celebrate the tenth anniversary of the release of Minecraft to the public, most of the rips uploaded on this day feature arrangements of Minecraft songs.
Various related rips were uploaded during the event, which were compiled into an " E3 " playlist:. The Direct contained announcements for King for Another Day Tournament , a future event day, and a mystery Chip mashup. They started their own blogs and began fleshing out their alter egos: Fairy Butler, Postmodern Debunker, Sloth. Sarah eventually split off from Mountain Man to develop the amazing character Ham Paw, a tender ecstatic who could spontaneously intone like a cult leader but with the cuddliness of a stuffed animal.
Slowly but surely an imaginary realm evolved from conversations about art we saw, art we made, our existential traumas, and the banality of everyday life. We would envision ourselves under the concrete slabs of the sidewalk, flying around on a magic deli meat slicer, wearing costumes, and sipping magical potions. Sarah Peters, The Seer , , pen on paper, 14" x 11". There was something magical about connecting with other artists through disembodied comments that were delivered in veiled and absurd language.
It was so compelling it sucked me in for hours a day, and there was an ever-expanding array of characters: Lupin, JD, Gree C. And many of us had other temporary identities, any number of characters to suit any mood. I enjoyed the psychological metaphor that the blog post personified on Artistic Thoughts. It was like a super-condensed version of a self amongst others. I would assert an idea, a reverie, some ridiculous claim, often associated with an image or set of images, and then wait for responses. If none came fast enough, I would just invent characters and talk to myself.
The lack of clarity was pleasant; the confusion of identities was disorienting in the best way. It was basically extended make-believe play for adults. Jennifer Coates, Ruin , , acrylic on canvas, 24" x 30". Unfortunately, the more readers we got, the more we were subject to nastiness.
For me, this was a deal-breaker. Despite the fleeting nature of the blog arcadia, lasting relationships formed. Jennifer Coates is an artist, writer, and fiddler living in NYC. The IWT believes that the community of artists and designers possesses untapped creative and conceptual resources that could be applied to solving social problems. With this in mind we are soliciting proposals from artists, architects, and designers for residencies at government organizations and agencies at all levels.
There need to be many more essays and books written about artists who have engaged with and continue to develop forms of direct institutional intervention from the inside as opposed to using resistance and protest with the goal of positive social change. This work awaits new methods of interpretation. Up to now it has been mostly hidden away in appointment-only archives or written about by critics who expect it to conform to irrelevant criteria — and those are the well-known artists!
However both concepts encompass a broad range of models for socially engaged art that extend far beyond embedded practice. Nsumi Collective, Proposal for the Office of Collective Unconscious , a new office for the National Oceanic and Atmospheric Administration for mapping and processing the collective unconscious of the USA through the deployment of psychospheric instruments. Perhaps we should call them the five danger signs of impending embedded practice: 1.
A shift in ambition: slowly or suddenly the white cube seems to demand conformity rather than offering autonomy. The emptiness of market-based art discourse contrasts with increasingly dire social problems. Artists look for sites in which their critical eye can be put to a more productive use. Location, location; as artists we learn that context is everything. So how to reframe an art practice?
Look for an audience that will have little to no understanding of your work. Try to figure out a way to make what you do useful to that audience. Maureen Connor is a visual artist whose work combines elements of installation, video, design, human resources, and social justice. As part of a collective, the Institute for Wishful Thinking , she is currently the self-appointed artist in residence for the United States Government. From to , virtually the entire time George W.
This project uses the Inferno as a point of departure for an extended meditation on the human condition. Patricia Cronin, Shade , , oil on linen, 64" x 46". How do we think about our fellow citizens and our shared common humanity? And what will we do about it? I want to overturn the system but in the meantime I want to succeed within it. I hate the art world, but I love my tiny corner of it.
I should stop making art, or I should stop doing anything else. I think money corrupts except when I have some. I hate shopping but I like things. I prize tolerance and acceptance of others unless you disagree with me politically. I value feedback, but I hate criticism. I distrust anonymous blog comments except when they are saying that I suck. I am a loser and I am a pig. Jennifer Dalton is a Brooklyn-based visual artist. Won Over? I did so for one reason only: the expanded opportunity that e-publishing presented for producing and disseminating writing more relevant and timely to the contemporary political and social landscape.
The art trade press I wrote for throughout the s was, as it is still, dictated by market entities: the galleries that take out ads; the auction records set; the blue chip artists that make collectors salivate. Similarly, in Acme Journal I could write about globalism, cross-culturalization, and nomadism. But as welcome as these publications are, my audience was even more restricted by the limited circulation of these journals, and to find platforms to support my wider cultural and political interests, I had to submit articles to unfamiliar editors and wait months for response that was as often negative as positive.
Initially it seemed that writing without a content editor or peer review would bring with it a deficit of credibility. That is, until I was hit with the unrestrained commentary of the public, with its intolerance for poorly informed writing. Can there be a better consensus than a public educated in all walks of life? Writing as I do on a variety of issues pertaining to global cross-culturalization and the expanding indigenous markets within emerging economies, some of my critics and supporters hail from Egypt, China, Iran, Iraq, Turkey, Japan, Israel, India, Venezuela, Brazil, South Africa — nations in which new art markets are stimulating new generations of often indigenous art collectors.
This is the kind of global and politically expansive audience that a Western art writer could only dream about five years ago. In the s, even when I published cover features in widely distributed magazines, I hardly heard a peep from readers. Now, between the comments and contacts I receive on Twitter, Facebook, and Huffington Post , I know the names or at least the pseudonyms , and many of the faces, of some 6, people who have read at least one of my features or reviews.
Although he writes here about riding the free enterprise of e-publishing to disseminate ideas unavailable through the commercial media, he also believes that product boycotts are more effective than street demonstrations for commanding respect from the corporate sector. The more I worry, the less art I produce. Bailey Doogan, Four-Fingered Smile , , charcoal on primed paper, 67" x 52".
Worry has gone viral in the U. Vitriol was fed by desperation about jobs, money. Across the country, everyone blamed everyone else: it was the fault of old people living off social programs, it was the young not working hard enough, the middle class wanting too much stuff, the rich having too much stuff. There were droughts, floods, and fires. The infrastructure was crumbling and not getting fixed. Everything was grinding to a halt.
I needed to get away. In July of , I visited friends in Nova Scotia. I went back in for another short visit, and I stayed for three months in They were the happiest three months of my life. I worked in my studio almost every day. I spent time with friends — I experienced kindness and love. I decided to buy land and build a house in Nova Scotia.
I got a mortgage loan on the Tucson house that I have lived in for thirty-four years to finance the purchase and construction. In late July, I sublet my house in Arizona, and drove diagonally across the country to Nova Scotia, a trip of almost four thousand miles. It was a crazy idea but artists need to make art and will do anything to be able to do one more drawing, one more painting.
Bailey Doogan, Five-Fingered Smile , , charcoal on primed paper, 70" x 52". I did pack up all my cares and woe and brought my baggage with me. My friends up here tell me to buck up, not to worry myself sick. Bailey Doogan is a seventy-year-old artist who divides her time between Arizona and Nova Scotia. Hyperbolic, pretentious, it was also a milestone, marking critical distance from organic flesh and bone. That exhibit looks quaint at this distance, old fashioned, a Futurama built of plexiglass and mirrors when PacMan ruled the earth. Theory staged a triumph inside the sacred precincts, conquering mere material expression in a calculated act of replacement idea for art, theory for material in a post-studio, post-human, set of moves.
Other founding tenets of modernism were put aside, particularly those of the avant-garde, in a wave of new formulations that superceded oppositional rhetoric. The French philosophers had lived through the last wave of utopian revolutionary upheaval — and witnessed its momentary successes and ultimate failures.
The gig was up. From spectacle to simulacrum, the defining terms shifted. Critique is reactive. Its intellectual formations are patterned on what it beholds, imprinted by what it presumes to dismantle. But more profoundly, it is based on models of social life in which individuals are conceived as autonomous agents working in accord with notions of rationality and free will.
This legacy of Enlightenment thought, grafted onto a romantic ideology, continues to provide the image of the artist-activist protesting the conditions of the extant order. This model has been broadly disproved by events of the 20th and 21st century. In its place we need a model of engagement based on ecological materialisms, social theories of complex systems. Look at forces and co-dependencies, rather than actions or agents.
Models of social behavior and formation of belief, the idea of the noosphere and emergent sentience, have come a long way since the early 20th century. Any practice grounded in critique is as anachronistic as epater la bourgeoisie , inadequate to the challenges at hand. The position of inside-ness, of complicity, that I sketched in Sweet Dreams: Contemporary Art and Complicity University of Chicago: , is based on a supercession of the notion of the binarisms that allowed us to imagine ourselves outside of or apart from the world in which we work.
The issue is not with political projects — only an idiot would object to having artists introduce critical, political, or reflexive memes into circulation — but with the attachment to the mechanistic logic on which oppositional critique was believed to operate. The challenge? She is known for her work in the history of graphic design, typography, experimental poetry, fine art, and digital humanities.
In addition, she is a book artist, and her works are in special collections and libraries worldwide. My friend, the artist Lucas Carlson, taught me how to use my voice. He was brave. He fought with real demons and took his own life in Those were dark times. We were all traumatized and competitive and silent in the early s when I attended Columbia for an MFA. We paid for access. The holy of holies of Chelsea was revealed to us as a magic pyramid that governed the art world, which was to be our hunting ground.
We were taught that the real game, the real art, was money and celebrity. We would use our intelligence strategically, to compete against each other and make it to the top. A few students became millionaires or jet setters soon after leaving school. Most did not but thought they might soon. Instead, we idolized it. The stakes were just too high. As Kafka has shown, power is architectonic, but the walls are usually invisible.
I have always noticed these walls. Lucas taught me how to break through them by speaking out loud spells. One day on the 1 train heading downtown, he spoke out, like those crazy homeless people or the kids selling candy for their basketball teams. This is shocking, repugnant, possibly breaking ancient New York class regulations, but Lucas did it. Annoyed by a subway ad, he ranted about the public education system to all who would listen. This started an underground conversation — an immediate unfreezing of the world, an herbal antidote to the poison of Late Capitalism and Strangers were momentarily together.
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I wish that Lucas was here to be part of the Occupation of Wall Street — he would have loved it as I love it. Donning god-like coin masks, we showered coins and rhetoric upon the very stones of Wall Street across from the Stock Exchange. Tourists, workers, homeless people and children picked up the coins, never investment bankers.
But the bankers and traders did stand in the back and listen as we loudly and publicly railed in presidential tones against the surreal economic crimes of our times. When the revolution really happened — a few days before the equinox, our voices were warmed up, we were ready! The first day of Occupywallstreet, I was there in my coin-mask, shouting fragments of FDR rhetoric at the lone Russian TV station that showed up to cover the protests.
The next week, with the movement in full swing, the park fully occupied and more people coming all the time, it was time to begin occupying the subways. This meant talking out in car after car full of silent strangers. And sometimes, strangers began talking to each other, as Lucas had managed in the dark days of As I write this, many people are occupying subways from the outer corners of the megatropolis to the cores of Times Square and Union Square.
We are spreading the message to wake up, speak out, and come together all over New York City, which has the same wealth disparity as Honduras. This week we are going to occupy museums. Noah Fischer is a Brooklyn-based artist whose projects explore American mythologies. For a long time I had been using shapes and textures from the natural world in my drawings and paintings. I took some familiar beach pebbles from my summer home to Rome to provide continuity for new drawings.
It became a metaphor not only for recent events, but also for the whole history of civilization. The oddly shaped, but water-smoothed forms that I had been making paintings on quickly became more jagged, the images less serene, a jumble of patterns and motifs. Ten years later I am still working with these themes, fitting together disparate patterns and broken shapes. Artists are not obligated to play a public political role, or express politics in their work though they may, and often do. However, as private citizens they have the same responsibilities as do all citizens of a democracy.
However, one can make the case that all art is political on some level. The best art comes from a place of deep freedom, freedom and the empowerment to explore oneself, and through that to find commonality as well as difference. One could say that in itself is a political act. I do not experience a conflict between public and private concerns. The work I do as an artist provides the opportunity to make those concerns one and the same. I make work for myself and for others.
If, through my work I provide a life raft for myself, I also provide a life raft for a few others. After that event I used to say, when asked, that the only terrorist that worried me was Bush II, that he was doing more damage to the US than any terrorist could. But I really see things changing with Reagan, or perhaps the fact that he was and is, so widely admired opened my eyes to the fundamental nature of the US: the majority of the citizenry want a government that is kind of the equivalent of having Roy Cohn for their lawyer.
Enough time in some places to understand how totally messed up it is everywhere. I am drawn to those places more and more. Joe Fyfe, Phnom Penh , Jan. What is attractive to me about art now, in my maturity, is that it is made up of givens and that it has limited expressive possibilities. I tend to dislike art that costs a lot to make or is too ironic because it seems to devalue what it is.
But I will say that I think that nobody should make another work of art that is a collection of lots and lots of the same thing for a long, long time. This was something that Adler had done for a while, but she argued that it is a severely truncated intellectual life.
Adler understood, I think, that film criticism, at its best, is based on larger reserve of cultural awareness, and I think this applies to art criticism. Contemporary art criticism is mostly journalism and promotion and if you see it as an occupation as opposed to a place that you just pass through for a while you just become someone who tells you the best thing they saw this week, you become a kind of consumer guide. Analogue Natives are those who were born before the digital age. While many in this large but gradually dwindling group have embraced aspects of digital culture, we have remained attached to older technologies, many of which have already disappeared or are now at risk of vanishing.
We worry about the future of the book, for instance, and we suffer the slow death of Ektachrome, even as we voraciously download e-books to our Kindles and upload jpegs to our flickr sets. This conflictedness is a boon, leading the way to unique insights into what is being lost and gained. For many artists and creative people, the early efflorescence of online culture was not so much troubling as it was inspiring. They thrived ostensibly outside of, and in spite of the growing field of budding, commercially driven start-up enterprises.
Early s net culture, with its ethical and intellectual connection to the hacking community, tactical media, and the ideal of an information commons, was more than a conduit for sharing personal anecdotes or sparring over esoteric theories; artists and geeks alike had embraced the Web as a de facto medium , a publicly accessible, uncarved block of creative potential that begged for tinkering, its form and scope as yet undetermined, and unpoliced.
This work was difficult to categorize, and it resisted commodification. Its practitioners were all Analogue Natives, and they reveled in this condition. The reach and novelty of early net culture allowed people to transcend traditional barriers of class, culture and even language in an unprecedented way.
By stepping away from the old hierarchies and norms of communication, net culture leveled the field, if only for a moment. For many Analogue Natives, this leveling was part of their motivation to engage the new. Those who were socially curious and sufficiently adept with computers, found themselves embroiled in conversations with strangers across the globe and from opposite ends of the academic and art world spectrum. Virtual meeting grounds such as nettime, Rhizome, and The Thing, provided decentralized spaces where a variety of creative communities could overlap. These included intellectuals and academics, hacktivists, programmers, curators, and artists.
The relative ubiquity of communication technologies and personal computers allowed this to happen, and yet, due to varying time zones and the different ways in which people came to use the tools at hand to converse online, long gaps and pauses remained integral to the process. This new-found speed contained a built-in slowness. Joy Garnett, Vertigo , , oil on canvas, 48" x 60". Despite my own personal and intellectual investment in digital culture, I continue to be a painter primarily.
I deal in forms and surfaces, and I produce commodifiable objects that occupy space in the physical world. In a sense, the conceptual dimension to painting might be seen as one of the precursors to envisioning virtual spaces, and to new media art. But the environment for gazing and absorbing information, and for engaging works of art, has changed radically in the last two decades.
What happens to one-on-one contemplation in the age of non-stop, up-to-the-minute connectivity? Is there room for slow seduction, the luxury of an extended encounter? Have we become slaves to realtime at the expense of the real? Analogue Natives bear the brunt of this dilemma; we are conscious of it as such, and the burden is ours to communicate. If anything, we stand enriched by the dissonance generated by analogue and digital memories, habits, and experiences.
I still hanker after that moment of promise expressed by early net culture. At times I feel resigned, more skeptical of digital culture than thankful. Like everyone else, I wax resentful with each obligatory, ill-timed upgrade, but I accept it and adjust, as I would rather do so than live without, say, twitter. As an Analogue Native, I know that it too will change and perhaps even disappear, a soon-to-be obsolete medium fallen between the cracks opened up by the next innovation.
Joy Garnett is an artist in Brooklyn, NY. Her paintings, based on the source images that she gathers from the Internet, examine the apocalyptic sublime at the intersections of media, politics, and culture. She is Arts Editor for Cultural Politics. You can rob me of the earth but you cannot rob me of the sky. Many of us, especially teachers, civil servants and employees are getting rebellious and find ourselves swiped up into this current struggle. Comrades, we must take advantage of the ferment in our circles and fan their resigned hopelessness into a flame of indignation that will lead to consciousness and action.
I grew up in Germany and was raised with a specific consciousness that the history of that country requires. For the last 16 years I have been living in this country. This rupture, this uncertainty can bring with it a productive even if sometimes frustrating alienation. This experience combined with the events that have dominated New York City and this country during the time I have lived here, bring me to view these events through that form of inherent and productive alienation.
These events called out a memory in me; a memory that frames my experience in direct and indirect ways. This recognition has sharpened my interest, in a more abstract sense, to the state of the political as it unfolds around us and at the same time is fueled by the memory that makes us people. Andrea Geyer, frame still from Maggie , segment of a seven-channel video installation entitled Comrades of Time If it would actually be true, that the war was in fact a fight for national existence, for freedom, and that these priceless possessions can only be defended by the iron tools of invasion and murder, then everything else would follow as a matter of course.
Then we would need to take everything that the war may bring as a part of the bargain. Not anymore, not after what we have experienced, not after what we have learned from war — again and again. Just see where we are now, in the midst of an economic crisis that shows us the true outcome of every war: The material bankruptcy, the struggle of the working class, the lack of social services and most of all the emotional disillusionment that most of us carry. This war and the crisis that follows it, have altered the conditions of our life now and forever.
Comrades, a crisis like this one changes us — it changes everything. He argues that an event horizon is a boundary in space-time; it is the area surrounding a black hole, inside which the events cannot affect an outside observer. The recent years suggested that we all shall live based on a principle in which everything is driven by the fear of the one, for the other. And we have been able to witness again and again, that it only leads to catastrophic and devastating expressions of power. If we let them act without encountering resistance, we allow ourselves to be let with bound hands and silenced into the next catastrophe.
Yet given that some institutionalized memory generates boundaries and black holes in the sense that Toufic describes, some events in our past withdraw themselves from this contemporary imagination.
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I believe that artistic practice can be a site in which we can recover some of these events, through the collective experience of viewing art. I would like to suggest that artworks can produce forms of memory, or of critical affect towards history that allow for a narrative, a voice, a memory, that despite trauma, can be sustained on our side of the event horizon. A strong people must be able to follow consciously their own history. Because we did not do that, we cannot be innocent. But a people must escape their one-sided, short-sided views of what they consider common, must go beyond their traditions, their particularities, and must have the will to imagine an inclusive community.
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I am interested in activating the way in which time and the events that carry it are always already embodied within us. Karl Liebknecht, Im Kerker , December Rosa Luxemburg, The Junius Pamphlet , Gisela Brinker-Gabler [ed]. Frankfurt: Fischer-Taschenbuch-Verl. Heymann, Pax International , Gallery Thomas Zander, Cologne, Germany, represents her work. And I write this as someone included in an anthology about teaching digital media.
And so along those lines, here is a description of a project that I began as an artist but also as a curious person, immersed in web culture. During the last Presidential campaign, I started to follow people from the Twitter streams for the Obama-McCain debates. A few left Twitter, making it impossible for me to chart them — for example, a very sweet rehabilitated drug addict who had a young baby. All followed me, in return, for a while.
And then some dropped me. Fair enough, though it hurt for reasons that are hard to explain, especially given that I never met them. This is part of the strange narcissism of the online world. The question: would the instantiating moment of my contact, which was political, carry over in a meaningful way, politically?
Could I trace it, know it? We were engaged enough in the Presidential debates to make comments in the public sphere: it was a political moment of discourse around the future of America. Susan is a vegan. The other Susan knits sweaters. Craig lives in my former hometown and knows a lot about computers. Susan became a virtual gym buddy.
Charles had one deliriously funny thread updating his status while getting drunk at a club, and on to the next morning. A Twitter grid of people representing those chosen during the Presidential debates. One of the Kathys often responded to my tweets, but after she alluded to something ominous, I offered my actual e-dress, and she stopped mentioning me — the Twitter form of dialog.
I feel bad — what did I do wrong? I know that now. I want to tell her about demonstrations, about grassroots political movements. But should I? Would it be even more intrusive to her? Is this not where the importance of simply being in the room with people makes all the difference? A political moment emboldened me to connect. Yes, I can say that. And I can say the fragility of the contact — the occasional retweets or thank-yous or hash tags — is a gentle choreographed ritual to my day. Those scenes of plucking identities from the stream of language flowing during the last American Presidential campaign continue to pose a question mysterious to me: What is a political moment?
And that is political. Life goes on. Scholz, Trebor, ed. The Institute for Distributed Creativity, Scholz, Trebor. Autonomedia: New York, My goals for my work are to continue to observe what is around me, to hold onto my own motivations by working from life and imagination, and to continue to create portraits and pictures of places and situations, as well as doing anatomical research. In order to take breaks from the solitariness of the studio I have worked with choreographers designing sets and costumes.
This work connects me with a community, and with groups of friends, a larger network, and brings more public exposure for my artwork. Political aspects inevitably become integrated into my work. It was also a kind of therapy to be outside of my studio at a time when it was impossible to stay inside finishing other works. I also realized that that is who I am, and that I was participating in the events happening so near to my home in the only way I knew how. Now, 10 years later, seeing the drawings again, there is an eerie feeling of a time past. The drawings do not reflect a social commentary, or even a political one, but they definitely reflect the chaos of the moment that could not be captured with photographs.
I have observed in portraying public events, public portraits, and public art, that there is a wider audience than with personal and personalized studio work. One recent project is a playground in East New York, Brooklyn, designed by the New York Parks Department, which includes some of my artwork based on an anatomical theme. Budget restrictions made it impossible to do a whole figure, but I did make some sculptural pieces and 13 steel panels, images of various parts of the body, all integrated onto the play climbing equipment.
The project took four years to complete. The playground is in an underprivileged neighborhood, and it took a long time to raise funds for it. This presented a rare opportunity for me. The project was challenging and informative, and through it I started working with new materials. She lives and works in New York City. It was a coping mechanism born from the powerlessness to stop the spiraling fear and hatred. My aesthetic interest is in blurring reality, perhaps alternating between recognition and hope, with an internal compass pointing to memory that lives within the margins of experience.
The act of cooking up something from nothing is a magic that never ceases to amaze and excite me, to excerpt an idea and embellish it with my own DNA is like sprinkling salt on a piece of paper and eating it for dinner. Julie Harrison, Weather series : Boy, , unaltered digital photograph, size variable.
Julie Harrison, Global Portraits series : Gaza 1, , unaltered digital photograph, size variable. Julie Harrison, Global Portraits series : United States 1, , unaltered digital photograph, size variable. Julie Harrison, Global Portraits series : Indonesia 2, , unaltered digital photograph, size variable. She is the recipient of numerous grants and awards and has exhibited widely. I arrived in after a brief stint as a freelance art critic in Minneapolis.
Then as now, politics was dominated by sharp divisions between right and left, a virulent culture war, and a no-tax ideology whose real aim was to starve the beast that is the social safety net for the poor and middle class. The two eras also share a feckless disregard for unpleasant realities, especially with regard to energy, the environment, the social consequences of the widening income gap, the implications of the failure to fund education, and the evaporation of good jobs. But one of the biggest differences has to do with tone.
In the eighties, we were assured, it was Morning in America. Today, on both left and right we seem to have progressed to a sense of twilight. These differences are brought home for me when I teach texts from those days that were once required reading to contemporary students. How again was that supposed to save us? One of the biggest differences between then and now is that theory no longer shelters us with the promise that reality is just a matter of language. It no longer seems plausible that we can somehow change the policies by subverting the codes. Art fairs, galas, and biennials all highlight the disconnect between the fashion side of art world and the real pain and outrage outside.
And instead of even feigning rebellion, many of the most visible artists are simply dancing in the light reflected from gilded rich. For all that, of course, much of the workaday art world at least those sectors dominated by artists, curators, and critics remains a bastion of progressivism. And for progressives, the sense of twilight is accentuated by The Great Disappointment symbolized by Obama.
The original Great Disappointment, of course, was the failure of the predicted end of the world in The result has been an enervating sense of impotence, as it seems increasingly clear that things can only be changed along one side of the continuum. Hence the Apocalyptic sensibility. The future looks grim, no matter whether you look at it from the perspective of environment, the American economy, the breakdown of the Eurozone, the so-called Clash of Civilizations, or the rise of an anti-democratic China.
One finds it as well in art, at least when artists attempt to address these situations. But apocalypse has two sides — while it can encourage an acceptance of the inevitability of the end, it has also served historically as a call to arms. From its earliest days, the belief that the Messiah will return in glory and establish a reign of peace and justice has sustained the powerless, and offered hope that their grievances will ultimately be addressed.
From this perspective, the promise of moral order at the heart of the Book of Revelations can be read in tandem with the social gospel of Christianity, providing reinforcement for revolutionary social and political goals. So I console myself — there have been darker times. And out of darkness can come light. Maybe our task now is to ask, not how does it all end, but what would it take to believe in the future again?
Eleanor Heartney is a New York-based art critic and author of numerous books and articles about contemporary art. During this hospital vigil I started to draw. At bedside, when I put the tip of the 9B graphite pencil to paper and felt its pressure melting into the paper, at that moment the intensity of my pain of awareness escalated, but my connection to the making of the mark, by transforming and enlarging my attention and focus, seemed to corral though not lessen the flooding emotions, which in turn at least allowed me to breathe.
Susanna Heller, untitled, , graphite on paper, 14" x 6". This whole scenario sans hospital and drama of illness plays out over and over again in an equally alone, isolated and urgent way in my studio life. Studio work necessitates a similar solitude and intensity. Especially when I am painting, moments in time are captured, covered over, destroyed, observed. Through laying on, watching, removing, and literally covering past actions with present ones soon to be caught in the past again, making a painting encapsulates a similar experience of time, time lost, loss, presence, on going.
The process of slowing down and feeling the ground under the mark is an inefficient and immeasurable or incalculable one, and it is one that I find absolutely central to working. Susanna Heller, Waiting to See the Dawn , , oil on canvas, 60" x 40". Now, how this parallels what is happening with the Occupy Wall Street OWS movement is very interesting and very important to me. In much the same way as is required for creative work, this non-hierarchical social resistance that is happening down at Liberty Place allows for and insists on the space and time that are essential for any truly participatory democratic process.
The mostly calm, patient, intense, ongoing focus of their work is strikingly familiar to me. I could easily describe my own solitary working process the same way they describe theirs! Moving towards a true democracy takes time and space and constant creativity. Art work takes the same sort of commitment. A non-hierarchical emphasis in the face of political power elite encapsulates the way the OWS movement is using non-violence and non-centered focus to disarm and look past those in power. For me, this political strategy for society in general happens to apply so seamlessly to my own working methods in the studio and to my view of the political elite in the art world as well.
Susanna Heller, banner on studio floor, As much as I am strictly private when I work, I have always been a passionately political person, deeply engaged in the political community. I see involvement outside the studio in the political universe as necessary as eating and cleaning. That is: essential nourishment for the body and spirit.
That is not to say this might not still occur, as my subject matter is the life and space of the city itself. However the time and focus it really takes to make a painting is still, for me, as much outside of the hierarchical art world power battles as it is outside the societal political battles. The OWS movement strikes many familiar studio notes on a much grander scale of course in its practice and ambition. The validity and richness of this approach is as true for me in front of a painting as it is true for all of us in Zuccotti Park in New York.
How does the experience of working on art overlap the experience of political action? You have to respond to each change in the situation with heart and mind. You have to reflect and analyze even as you create. You have to embrace the inefficiency of this process. You have tremendously deep-rooted private and communal demands.
You know that for substantive work, patience, fortitude, and even stubbornness beat genius every time. Thanks Beckett! Susanna Heller is a painter who lives and works in Greenpoint, Brooklyn. But these arguments are challenged by the overwhelming force of the system as they used to call it in the sixties.
Mockery, irreverence, and atheism have been good time-tested options for me to make or imagine small but crucial differences through art. This daily emancipatory struggle, sustained paradoxically in the solitary asylum of the studio, is thankfully elaborated by teaching. I love the ongoing conversation with students and peers, committed to sorting out what matters within a tangle of perspectives. Symplegmata is the ancient name for groups of figures interlocked in combat or love. David Humphrey, Joined , , acrylic on canvas, 44" x 54".
It took me a long time to figure out that my cousin would tell lies for no apparent reason.
M/E/A/N/I/N/G, – (ed. Susan Bee and Mira Schor) | Jacket2
It was impossible to know what she could possibly gain by not telling the truth about pointless daily occurrences. Maybe a conversation, for her, was so fraught with peculiar urgencies and hidden demands that a future of angry and disappointed friends had no reality. An apotropaic representation from the Greek, to turn away anticipates danger. An apotropaic representation both attracts attention and deflects its threatening potential by incorporating elements of the despised or feared.
The image performs a form of protective self-annihilation. David Humphrey, Leopard , , acrylic on canvas, 72" x 60". His valiant autonomy, crafted from sky-borne matter, must be surrendered as he inevitably melts into the ground. David Humphrey, Black and White , , acrylic on canvas, 60" x 72". He has received a Guggenheim Fellowship and the Rome Prize, among other awards. An anthology of his art writing, Blind Handshake , was published by Periscope Publishing in He is a senior critic at the Yale School of Art.
Julia Jacquette, Blond, Curls I , , oil on wood panel, 12" x 12". And yet some of the most harmful narratives are the ones we create and tell to ourselves. The world hurts. The major difference between today and or years ago is not that things are less safe or more crisis-ridden one only has to be informed about the plague, the years war, or the ravages of colonialism to know this is not the case , but that we know vastly more, and much more quickly, about what is going on.
The individual is both a starkly delineated island of thought, suffering, and potential creative energy and a completely interpellated node in a network of ideological pressures. The reference to Louis Althusser is intentional. There is no simple cause and effect here — this is my mantra to students. What else do we have but the idea that making something might make a difference?
We must believe ourselves capable of having, and producing works, out of agency. Whether or how much this agency is willed is the key philosophical question. Culture is best when it is on this cutting edge between hope and despair, when we makers of culture use our energy to open up the tiny gaps, the interstices in the status quo: viz. Giving up the fight produces cultural forms of bland acquiescence. Certainly other factors could have been avoided such as the wars that needlessly contributed to the ensuing financial recession, but the rise of income inequality has been increasing since the s.
The s was also when post-modernism dominated the discourse which has changed the course of art significantly. The resulting plethora of art today seems incongruent to the realities of the world and because all works directly engage in the production and exchange of capital, more so than ever before even work that has political content cannot escape the hegemony of the market. For most artists, I think it has become more difficult to sustain a practice in this environment. For myself, I see my practice more as a form of resistance and a matter of choice to the overarching manipulation of power and capital.
Clement Greenberg wanted to believe that a manner of visual language can be established formalist abstraction in his case in which it could be immune to the vagaries of political, economic, and social concerns. I think abstraction is emblematic of this conundrum. If it represents anything, this is what it represents and broadly speaking it can encompass a variety of styles and approaches. Within this diversity, one can still find individual styles and idiosyncrasies and respond in a way that enables us to have the ability to imagine beyond what we see and what we know.
Shirley Kaneda is an abstract painter. The lecture was on Black Mountain College, how that place, that required great sacrifice of its participants and was located in a remote part of the country with a small student and faculty body, could be a continual locus for so many groundbreaking and rule-breaking experiments.
After discussing the college, I posed a question to the students: whether or not they thought their art should take on political topics, whether or not, at that particular point in history we had reached, there needed to be some kind of explicit engagement with existing power structures.
Bush that caused the realization that we were living in a would-be fascist state. In terms of my own poetry and criticism, I had always been open to the airs of politics or social justice issues entering at will, but now it seemed imperative to claim that access. After that robbed election, I felt the whole world had been violated and that I had to participate in the resistance.
But how? That seemed sage advice, as jumping into an arena one knows little about often provides embarrassing and counter-productive results. I found that I had to insert thoughts on the state of the world, and of the U. In July, , when John Roberts was nominated by Bush to be a Supreme Court justice, I decided to write a poem, whose words would be culled entirely from The New York Times , but which words I would attack, recombining them, fracturing their syntax, isolating emotional nexuses, in an effort to turn that stultifying prose into poetry. It is always shocking to see how the media presents the world.
Of course, as individuals they are not at all oblivious. They are the intelligent, normal people who make up the populace of any urban center, exhibiting the variety of cultural background and dress that defines their particular moment in time. Nor are the pictures entirely oblivious. The times have made us what we are.
We do what we can, where we can. Vincent Katz and Wayne Gonzales. Vincent Katz is a poet, critic, and teacher, who has published many essays and articles on contemporary art and who teaches in the Art Criticism and Writing Program of the School of Visual Arts, NY. As soon as the towers were hit, we knew the Bush administration reprisals would be harsh and excessive. On September 11, , I was at the Bogliasco Foundation in Liguria, a secular sanctuary of quiet and beauty. But even there, we were filled with dread. During this century, I have found myself once again working in the peace movement, as during my youth.
Now ten years and hundreds of thousands of deaths later, there still is no end in sight. I am in my late 60s and love staying home in my studio, a luxury and privilege, but have found myself more engaged with the world outside than ever before. I wish there were more outraged people in the streets. I wish that a younger generation would find new and effective forms of political activism. For those of us who make art with political and social content, I wish we could communicate with a larger public.
My own art has changed during these times: it is more direct. When my art was accused of being agit prop, I worried for a while and then decided to embrace the characterization. These days, I am drawn to art forms that are loud, angry, messy, and strident, struggling to break through the carelessness and banality of our decadent, media-saturated society. Terrestrial maps and renderings of galaxies are combined to imagine the escalating scale of future wars in space.
The maps of these regions float in deep space among the stars, as if they had been dislodged from the earth. We could not keep all the particulars of it, our suffering, within the confines of our chest and breath with which it, our suffering, battled for room to breathe. News of its terribly specific detail and generally monstrous scope arrives apace with its ever increasing, meaning more frequent and with shorter intervals in between, worsening situation, for, each message is given less time to settle, to make for itself a place whilst taking up more space due to its containing more information than the one which came gunning toward us such a short time before the one that barrels us down so immediately and directly after.
Clamorous competing onslaughts knock the wind out of our only just budding not yet blossoming organs of considerate response. No matter. My dentist says that even his calmest patients now grind. For that I must upgrade my Freelancers insurance from the less expensive but mostly useless high deductible plan but which I like to have in place, in case I get something very expensive, like cancer to the more costly HMO3.
It is the complaint lodged at protesters: a clearly unproductive group of parasites otherwise their life would be as compressed, regimented, incontestable, abject, sad, consumptive, and costly as life as we all now know it and expect it to be. On 13th Street I saw young people bearing large placards on poles and assumed they were staging a protest. Many public traumas are clearly beyond our control; for others we have more influence, like the war in Iraq, the housing bubble crisis, and inherited social inequalities in the US. We bear at least some collective responsibility to try to alter these patterns.
Given the constraints on our perceptual apparatus, how might new approaches break through familiar responses and effect change? In addition, artworks may be best positioned to bring about the reflection necessary to consider more productive alternatives. Simons and Christopher F. Chabris Copyright: D. During the movie, few viewers noticed that an actor dressed in a gorilla suit walked through the scene. Inattention blindness is a phenomenon that reflects constraints on our attentional system that everyone experiences but of which few are consciously aware.
Philosophers have also addressed the subject. I elected to make an artwork about this phenomenon in , and I staged its two components in several exhibitions. The first part was to observe if viewers watching an animation in a gallery could be distracted from noticing the disappearance of stolen museum antiquities the targets by the overlaid flashing images of a card game.
The second was to determine whether repetition of the depicted targets in other media e. My reasoning was that contextual cueing might cause viewers to recognize the overlooked targets. The cues were far from neutral; they were emotionally salient as they referenced the war in Iraq and the destruction of a cultural heritage. In other words, the aim was to assess whether the repetition of images of looted objects in static displays could cause the targets to become more salient and result in viewers redirecting their vision from the foreground to the background of the animation.
In fact I found that, after viewing the entire installation and then re-viewing the animation, most of the viewers who did not initially remark on the disappearing targets in the animation were subsequently able to see them. Ellen K. Levy, Stealing Attention , This composite shows a still from a collaborative animation made with neurophysiologist, Michael E. Goldberg lower right. It is juxtaposed with a collage showing a looted relic overlaid with hands playing the con game, Three-Card Monte, and with a print-out from a database of looted Iraqi antiquities.
current | recent projects
Some have likened attention to a filter. The first filter involved is considered by some to be a sensory conspicuity filter, which discards an object that is not physically salient enough to catch attention. As a result there is no conscious awareness of it. Even if the object is sufficiently salient and has many properties that matched the attentional set, it can still be discarded due to the capacity bottleneck.
My experience in staging this artwork was filled with constraints — not just the cognitive ones experienced by viewers but the limits of space and time during the various exhibitions. I was pleased and a little surprised that I had the opportunity to carry this out, given the fact that economic constraints within the commercial art world do not often allow for such experiments. Protesters operate with real constraints in the world of politics as well.
The question of effecting political change is linked to understanding how attention works because what is often needed is to effect a change of mind-set. If we want to change the operative political climate, perhaps attention needs to be directed to the constraints caused by our ways of formulating these problems in the first place. Levy , a New York-based artist and educator, is Past President of the College Art Association and works in the interface between art and complex systems.
These monuments incorporate lists of names of people related to the tragedy and seem to move the visitor of the site into the role of being a witness to what happened there. Maybe this is part of a larger impulse to frame the memory of the event and implicate a sense of victimhood. What we like about them is the familiarity and materiality of ice creates an open, accessible space for the public. People approach the sculptures. The public seem to know that the strong, beautiful, physical presence they witness is elusive and fragile, too.
Within hours, the sculptures totally disappear. We document this metamorphosis, creating still and time lapse videos of broken words and shards of letters as the sculptures disintegrate. We post images and videos of the sculpture simultaneously as the event unfolds on the Internet and on blogs as a way to open the social space around the sculptures.
Paul, MN, during the presidential conventions in both cities. The State of Things Provisions Library commissioned us to be part of BrushFire, a series of public interventions in the heartland during the presidential campaign of In Denver, the work was installed in front of the contemporary art museum during the Democratic Convention there and lasted throughout the night.