artandcetera reblogged
Henri Matisse working on The Dance - 1910
artandcetera reblogged
The post-internet art object looks good in the online installation view, photographed under bright lights in the purifying white space of the gallery (which doubles the white field of the browser window supporting the documentation), filtered for high contrast and colors that pop. The post-internet art object looks good online in the way that laundry detergent looks good in a commercial. Detergent doesn’t look as stunning at a laundromat, and neither does post-internet art at a gallery. It’s boring to be around. It’s not really sculpture. It doesn’t activate space. It’s frontal, designed to preen for the camera’s lens. It’s an assemblage of some sort, and there’s little excitement in the way objects are placed together, and nothing is well made except for the mass-market products in it. It’s the art of a cargo cult, made in awe at the way brands thrive and proliferate images in networks, awe at the way networks are ruled by brands. It’s like a new form of landscape painting, a view of the world as it is, and that’s why its visual vocabulary is hard to distinguish from that of advertising and product displays. An artist’s choice to make art that way—as a plain reflection of reality and the power systems that manage it—shows a lack of imagination, when there are so many other ways of making art available. Post-internet artists know what the internet is for, and it’s for promoting their work. Post-internet art flaunts a cheap savvy of image distribution and the role of documentation in the making of an art career. Post-internet art seems like art about the idea of art world success—the art one would make to become a well-known artist if one doesn’t care about anything else.
(via nyctaeus)
(via lurning)
Source: culturetwo.wordpress.com
Richard Avedon was an American photographer best known for his iconic portrait and fashion photographs that defined American culture and aesthetics. In 1944, Avedon started out as an advertising photographer at a department store and quickly climbed his way to the top as fashion photographer for large fashion publications such as Harper's Bazaar. Later on in his career, Avedon would begin taking photos of civil rights workers, political and cultural dissidents, patients of mental hospitals, and the fall of the Berlin Wall. He is often credited for erasing the line between commercial and artistic photography as a result of his intimate and evocative style.
Source: avedonfoundation.org
It's weird that I actually know who Willem de Kooning is now.
artandcetera reblogged
Masks from different regions and different time periods. Just one striking aspect of Phantoms of Asia, on view until September 2. Which is basically really soon.
Creepy...but still pretty cool. They look really well-preserved.