Just because people buy your art doesn’t mean that’s the direction your work should take. Do we decide that the collectors are the judges? The people who I respect the most are other artists—more so than critics and I’m sure I’m going to be struck dead for this. Visual artists are working out, intuitively and instinctively, ideas or concepts and feelings that take a while to be digested and articulated concisely. The art writers and critics come after the artists. Their work can more fully develop the ground the visual artist has broken. Idealistically, this leads to an exchange of ideas or some kind of discourse between writer and artist. It’s gotten really askew again. The art writers and collectors are the arbiters of value and not the artists. That shocks me. My artist peers are my critics and collectors—they’re supporting my evolution. To me, collectors aren’t buying precious objects, they are supporting a creative mind to continue working.
Fette, Ohne des Theaters Hilfe, 2013.
I made a little book. The gesture has been tempting for a while now - the wanting to make open edition publications, (more) quickly, yet relentlessly. Sometimes to conclude a series, sometimes as a method to begin a new conversation. I want this bookmaking process to become even more intertwined with the overall process of making work. I want these gestures to become spontaneous, to be less obstructed by the tedious operations associated with editing and producing books.
This book introduces a series of little books that will exist with irregular frequency. Ce sont les épisodes d’un feuilleton qui s’écrit au fur et à mesure.
Some technical specificities: 10.5 x 14.85 cm, 22 pages, B&W, signed and numbered open edition. A first batch was printed in Berlin in August 2013. Each book comes with a 7.5 x 11.5 cm cornered and detachable photograph, this photograph.
I’m kind of obsessed with this photo and its colors / composition.
From the photographer:
The “pond”, of which only a part is shown above, is actually a flooded (and abandoned?) construction site in Williamsburg, at the SE corner of Berry and N 12 St.. A pair of ducks, and some weeds waving in the breeze, supplied the only movement seen that afternoon.
Happy Monday! :)
I’ve read many thoughtful discussions of whether Zero Dark Thirty, the new Hollywood depiction of the United States government’s hunt for Osama bin Laden, endorses torture. I’ve read few discussions, period, of whether the film endorses the Afghanistan War.
Now, 70 years after its disintegration, the White Rose is one of the most widely known resistance groups in German history. Numerous books have been published, dozens of films made, and the photographs that have survived are today accorded almost iconic significance. In contrast, however, and as the historian Kaufmann has learned through conversations with the group’s contemporaries, the members would never have arrogated such heroic status themselves. “They thought they were just doing what everyone should have been doing”, she says. This was expressed not only in Sophie Scholl’s testimony, but also the flyers that they disseminated: “We are your guilty conscience. The White Rose will not let you rest easy.