beautifull work of Julie
The artist's name is spelt incorrectly in your title. It's Abramovic, not Ambamovic.
atwood's work in the edible woman couldn't be stronger... or sweeter... or...
point being, with such a rich and gooey precedent, i am eager to see get a taste...
(or is it a piece?)
curious that Dustin Wayne Harris let the women do all the work of stirring things up and found their cakes a metaphor for the full relationship. where is he in this?
words editor, W5RAn.com
Thankyou for perceptive criticisms; I agree with most except for the simplistic " head is up on the clouds" comment for "Afterlife afterthought" Also I feel that the smoothness of the large peices makes the observer identify with their own skin and themselves I dont find the exhibition depressing perhaps imposing and uncomfortable because as is often with Alzamora's work it makes us confront our feelings, EXPRESS our feelings, and question our life
Amazing words for amazing art. Well done Emil and Benjamin!
So great to see this article on affordable art. There is, without a doubt, an abundance of talented, independent artists selling their work for cheap. It's just a matter of helping people to connect and find art that resonates.
I'd also recommend the following galleries which all have online presence:
Hey! Wow, it's not often that you get an answer back when a comment is left on a site, thank you for the clarification and for your work. It's easy to forget that it was just two people working on what really turned out to have an immense impact. Funny that your use the term re(verb), I often think of it as an echo.
Jocko, I don't think ease and democratization are necessarily the same thing. Often, they're quite the opposite.
Personally, I was interested in two things: I wanted to build a kickass web-based feed reader and republisher for my own personal use (I continue to use it every day even now), and I was interested in exploring the specific behavior patterns around publishing flows, citation, and attribution. Making all that stuff a push-button action for the fortnightly Eyebeam Reblogger was fun.
We talked a lot about making it a hosted thing for everyone, but I just don't think the will to follow through on it was ever really there. It was mostly Frumin and I building it, and I think we viewed it as a combination of thing-for-Eyebeam and thing-to-make-a-point. I'm happy that Tumblr appropriated the terminology, they've done something a lot more complete with the concept than we chose to because they've been willing to support a centralized, hosted service. I like that the "re(verb)" terminology is present in Twitter as well, because it takes the abstract idea of copying as interpretation, and makes it something that millions of normal people do every day. I would hope that exposure to this possibility through whatever service a person chooses for their communication and publishing will help make real the derivation and distribution arguments from folks like (CC) and Lawrence Lessig. It's important for people to have first-hand experience with such things, even if it's not with the specific PHP application called Reblog.
Eyebeam can perhaps take credit for the term "Reblog", yet the concept of "reblogging" predates 2004. As far as I can remember "linking" and giving credit to the author or source material started with the birth of the blog and blogger, yet it was done so manually (with code) and probably in greater detail. Also, several developers did have "helper" software available pre-2004 that made it "easier" to reblog items, I'm just not sure Eyebeam pioneered the concept of "reblogging". Also, it must be noted that "reblog" was hardly easy to install, versions were constantly in beta and one needed a server with PHP, MySQL, and Perl CGI scripts, and even then a good deal of tinkering needed to take place under the hood. If Eyebeam was so interested in the ease and democratization of content why did they focus on working with Movable Type (which is NOT free) and why wasn't something developed for Pre-Google owned Blogger, or Blogspot, something easier to install and use that didn't need to be self-hosted?
Huh? The Statue of Liberty is a symbol and reminder of WHY we declared our liberty -- excessive taxation and no representation. These days we are right back to where we were. Look at the debt our governments owe, borrowing by selling bonds for needless spending, promising to pay them back with future generations' excessive taxes. And talk about no representation: most of these taxpayers aren't even born yet! The "sad-sack" costumes tell us to come in and avoid paying more taxes than required by the government theives.
The reblog link has a typo and brings you back to the main page.
Whilst reblog is an amazingly prescient tool, I'd have to fundamentally disagree with the concept that "web curation" was art's great gift to culture this decade. Not only did the link-sharing site delicious start in 2003, but the online curated link collection web zen started even earlier (2002?). My observation is that as the internet gained cultural ground, the idea of curators-as-gatekeepers collapsed when all subculture was indexed and googleable.
Thanks for the mention! We struggled a lot with how to handle attribution in Reblog, and I think there's an interesting contrast between how we implemented it and how it's currently manifested in Tumblr or Twitter's retweet feature. In RB, the attribution always goes back one step in the chain to show where you saw something. In the more unified services it's possible to go back to the beginning, so the chain of attribution is invisible and the original creator is favored.
My dog had sex with Tracey Emin and now he wants a gallery show, too.
painful,yes Why anyone would think these are "great" drawings only means two things you have never seen a great draftsman or content over rides all
QUALITY I really like this blog, now im not 1 for adding links in my replies but I feel this is a great exception, I read a story like this about graffiti artist Darren Cullen on http://www.hire-a-graffiti-artist.co.uk/ he also works with another bunch of graffiti artists called the Graffiti Kings.
From the description above it appears that Emin continues to produce trite,bad art which impresses "art critics". She regards Picasso as nothing more than a misogynist? Oh,please....it really is too embarrasing to think that a lightweight chancer like Emin is lauded by the New York art scene.
What makes presenting feminist causes different from others is that many times, people have a lot of exposure to the misinformation surrounding feminism, but rarely know any of the truths. There are also many conflicting feminist perspectives, so one must be more deliberate in explaining which position they advocate.
The Zentz piece had me slightly confused - the 'skip-it' was a toy designed for both boys and girls, so I'm forced to wonder if the toy had any significance relevant to the exhibit or her (supposedly) repressed youth.
It seems as if Polashenki's piece reinforced the unapolagetic 'equality and equality now' mantra of women's liberation second-wave feminism. The near-comatose positioning of the figure on the couch seems to say "Women are in such dire need of an immediate shift. Where we are now is quite literally killing us."
Miller's piece works on a different level. Miller takes the sexuality that has been imposed on her, and turns it back against the viewer. In a very third-wave feminist fashion, Miller wields her sexuality as if it were some sort of tool. By taking ownership of the societal female sexual standards and perversions that existed long before her, Miller manages to assert her control over them.
It's no accident that links can be seen between the two strongest pieces in the exhibit and two popular feminist movements. Great art comes from compelling ideas. The suffragettes didn't simply want the vote, they absolutely needed to have it. And as Einstein said, "True art is characterized by an irresistible urge in the artist."
Dennis Hopper's photographs are notoriously hard to find (a situation that will presumably be remedied with the publication of this new book), but The Daily Beast has just about the most comprehensive slideshow of Hopper photographs available online:
The slideshow accompanying the show on the Tony Shafrazi Gallery website ain't bad either:
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