This morning's New York Times includes a review of a summer show at Cinders, a tiny space in Williamsburg, Brooklyn, that critic Holland Cotter calls "as light as lemonade." Reading through the reivew, one notes that several of the artists are also gallerists who run exhibit spaces in their apartments.
I'm very interested in the conversion of studio space into exhibition space (which has happened a few times at SUMFA in one way or another over the last couple of years), and curious how seriously students regard artist-initiated exhibits. A casual conversation I had with one student suggested it was like "playing house", but I'm interested in hearing from others as well.
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5 comments:
"a nostalgic plug for old-time small-town community in a great big urban world..." ha haa ha ha
come on, that is funny.
poor art world; poor art world in new york.
trying to find a place for what you make. Why did it leave your original community to begin with I would ask?
I'm not sure the word "community" has any place in current art discourse anyway. It's a soft and fuzzy way of describig what is in fact an industry. Perhaps everytime we see or say the word "community" we should substitute the word "industry for a week and see how we feel about it...
mr. brown
I think I understand what you mean, but do you suggest to substitute the word "industry" for community or for art? The substitution for art seems more applicable. Even the gentle mr. McCollum seems quite industrious.
mr. knicastro, it seems that wherever you wish to "show" your art will be in the form of presentation. You will either wish to put on its best clothes and have it stand amongst like-minded things or feel the need to apologize for its untoward surruoudings.
Anon,
I was talking about the way that the "art community" is actually the "art industry", but I'm tickled by the idea of "industry community" (if I properly get your intended substitution...), whish is, essentially, the smiling face of ordinary capitalism. Some I was speaking with today, talking about this in a class, jokingly suggested we talk about the "petroleum community" for a week. Perhaps this is in line with your construct?
But really - what do you meanby the question "why did it leave your community to begin with"? Do you see any real and firm boundaries that keep visual culture within certain discursive frames or isn't it actually more the case that once anything is issuesd from the studio(your studio, Disney, what have you) that control has been lost and we shoud start the hurried and essential game of making meaning along with the rest of the world?
gb,
yes
what is a community, how does art fit into or create community; that is of interest. The discipline creates some degree of commonality whether it be petroleum, red bandanas or Mideaval studies. Art obviously is careful niche work these days, and probably has been for a long time, longer than the individualistic impulse starting with the Industrial Age. There is quite a lot of personal flag- flying going on in the art world, even pretending to not be interested in personal recognition is fairly obvious and false. Maybe Mideaval studies is the way to go.
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