Quoted: An "embrace of commerce and the values of the mass media" can mean many things, though. There are degrees of complicity that are distinguished by degrees of self-awareness. Perhaps raging against a tidal wave as powerful as Capitalism will strike some as a waste of energy, but that doesn't mean one has to embrace all of its excesses.

damn straight bruh

Quoted: Comprehensive situationist archive and information resource, containing an exhaustive chronology, extensive links and virtually every situationist text available in the English language.

mcb first gave props but then proceeded to pwn peter halley, using arnheim on both counts (woooo~). so it looks like halley, who pwned the minimalists in the 80s by quoting baudrillard, might have actually left out some details... oops!

Quoted: In recent years, the ubiquity of the market has become an ubiquitous theme. In May, ARTnews magazine, not exactly a bellwether, featured the cover story, "Are You Looking at Prices or Art?" In these pages, Charlie Finch, Donald Kuspit and Jerry Saltz have all taken time out to address the issue, in their own distinctive ways -- and with the recent market turmoil, it’s even more important to understand the effects that money has had on art of late.

Quoted: At any given moment, the artworld’s core members are attracted to particular artists for subjective reasons - ranging from aesthetics and current affairs to pop culture and the society’s broader anxieties/obsessions. But we naturally want to feel like our attractions to those artists are grounded in art history; so we cast backwards for new “pivotal” figures in the past that position our current stars as part of a logical and well-grounded historical continuum, not the product of a more gossamer zeitgeist.

saw this piece at the mca. it was one of my favorite piece at their contemporary photography exhibition... which can be best described as the art history flash cards show. very educational, but as a curated piece not particularly engaging.

Quoted: Rebecca Jones unveils the rich history of appropriation, from collage to the Internet, citing from a variety of sources to engage in cogent connections that reveal the ongoing theoretical "substance" in the "style."

Quoted: A variety of theories to explain the meaning of the photographic image have developed, especially since the 1970s, in association with critiques of realism as an unproblematic reflection of reality, and of the concept of the photograph as an unmediated copy of the world. On the whole, they treat photography as a language, acquiring meaning through cultural and social conventions, and conscious and unconscious processes, which cannot be reduced to subject matter, visual style, and authorial intentions, as modernist writers on the medium have tended to do. They are part of a more general academic tendency, defined as postmodern, rupturing or rejecting modernism.

Quoted: Every media work carries its own potential for interference, and over the years, numerous curatorial strategies have been developed to neutralize them—from using headphones and sit-down computer kiosks to dividing galleries into small screening rooms—some of which are more distracting than the works themselves. But curators and dealers are discovering that rather than attempting to reduce “glare” and other installation challenges, some of the most successful exhibitions take advantage of media work’s idiosyncrasies, using them to craft the overall experience of the exhibition.

Quoted: “Made in Germany” does not seek to illuminate “Germanness.” Thirty-eight of the show’s fifty-two artists live and work in Berlin, which is now a hodgepodge of expats seeking cheap rent; indeed, twenty-two included here are not German-born. The exhibition is an equivalent to the Whitney Biennial, albeit with fewer artists and more real estate for each contribution. And because it is in context with the conceptually weighty and thematic Skulptur Projekte Münster and Documenta 12, the pressure to be all things to all people is lessened, resulting in a rare survey show that is just that: an exhibition featuring a sampling of compelling, focused, and confident art.

reviewed by a former instructor.