James Turrell‘s work has been everywhere recently. A retrospective of his at the Guggenheim just came down last month. A major retrospective of his work, James Turrell: A Retrospective is up at LACMA. Other exhibitions include: James Turrell: The Light Inside at Museum of Fine Arts, Houston; Sooner Than Later, Roden Crater at Kayne Griffin Corcoran Gallery in LA; James Turrell at Almine Rech Gallery in Paris; James Turrell Perspectives at the Art Academy Museum, Easton Maryland; and Roden Crater and Autonomous Structures at Pace Gallery in New York – these are all from 2013. The year prior, the exhibition Phenomenal: California Light, Space, Surface was up at Museum Contemporary Art San Diego. This enormous retrospective spanning 3 major institutions (Guggenheim, LACMA, and Museum of Fine Arts Houston) and 92,000 sq. feet may have arrived at a fitting time.  What can we say about the experiences he creates for us and what does that mean for our world?
Martin Heidegger, the enormously influential 20th century continental philosopher, writes in his essay “The Origin of the Work of Art,” that “to be a work means to set up a world.”  At first blush, this statement seems to coincide with the work that Turrell provides for us as viewer. Then, the question becomes: what is a world, the world? For Heidegger, world is not just an accumulation of objects that exist in the world, a totality of beings, nor is it merely the “region” where these beings exist. Rather, Heidegger defines world as where a being whose being is of concern for it, Dasein, lives as Dasein. This world has various possibilities including that of “public” world and one’s “own” world.  These questions of world are significant to Turrell’s works. How do his installations world a world for us? Further, what is the relationship of his works to truth? Do his works enable us to gain access to truth of this world?
It may seem dry to delve into an examination of Turrell’s installation work in terms of Heidegger, but that this may be a moment where the particular issues surrounding worldliness and truth should be addressed instead of the oft discussed perception, reality, and illusion themes. Turrell’s work, whose material is that of light, space, and perception, can be easily read as illusion, that the works merely play with the frailty or faultiness of human perception. However, this cannot and should not be the main theme we grasp onto. Experiencing his work opens up the perceptual space that allows us to examine our being-in-the-world and our relational condition. What I’d like to argue briefly is that Turrell’s works, particularly the early Projection Pieces, create situations of veiling and unveiling, which for Heidegger are tantamount to discovering and truth. These pieces, in their perceptual complexities, point to our relational nature, our being as Dasein.
Light Explained Away
In a general survey of the literature on Turrell, there are multiple mentions of perceptual psychology and phenomenology, with perceptual psychology, considered as science, taking precedence. When phenomenology is referenced, only Maurice Merleau-Ponty and Edmund Husserl are addressed. Martin Heidegger, a student of Husserl and a major figure in philosophical phenomenology is generally left out of these discussions. Instead of grounding Turrell’s work in the ontological foundation of Being, his work seems to be merely referenced as influenced by phenomenology, particularly of Merleau-Ponty. Turrell’s work, however, can’t just be taken as a product of phenomenology influence; his work participates in the exploration of this philosophy as it relates to our existential being, our being-in-the-world as Dasein, translated literally as being there.
In Heidegger’s Being and Time, he attempts to tackle the problem of being, of ontology. He says that in order to address this question, we first need to establish who is asking the question. This being is Dasein, the being whose being is of concern for her. Closing Division I of the book — “The Preparatory Fundamental Analysis of Dasein” — is §44, “Dasein, Disclosedness, and Truth.” In this section, he lays out the traditional concept of truth, which relies on the statement’s being in agreement with the object in the world that is external to us, and proposes a more primordial theory of truth which is unconcealing, or in Greek, ἀλήθεια. This formulation of truth as an unveiling, uncovering, unconcealing, depends upon Dasein; fundamentally, truth depends on the being whose being is of concern for it. He does warn, though, that this is not an arbitrary subjectivism. 
Before analyzing Turrell’s work, especially Afrum (White), 1967 in relation to Heidegger’s theory of truth, allow me to briefly outline a couple of terms: phenomenon, semblance, appearance.
Heidegger describes phenomenon as “what shows itself in itself,” which is distinct from both semblance (the possibility of beings showing themselves as not themselves) and appearance (“something which does not show itself announces itself through something that does show itself”).  These are all made possible, however, by light, illumination: “‘phenomena,’ are thus the totality of what lies in the light of day or can be brought to light.” 
In Being and Time, the figure of light takes on the meaning of Dasein’s coming into disclosedness. Heidegger states that
“To say that it is “illuminated” means that it is cleared in itself as being-in-the-world, not by another being, but in such a way that it is itself the clearing [Lichtung]. Only for a being thus cleared existentially do objectively present things become possible in the light or concealed in darkness.” 
In his marginal notes, the first “cleared” is marked with an asterisk, which adds “ἀλήθεια — openness — clearing, light, shining.”  Important to this discussion of light is the notion of “radiance” which figures prominently in Heidegger’s essay that appeared ten years after Being and Time, “The Origin of the Work of Art.” Radiance here entails a shining forth or an emanation, something in excess.  Taken in relation to Turrell’s work, his light becomes excessive; it points to its own immaterial limitations, a gesture that pushes us to consider the betweenness and limitations of being. Andrew Mitchell discusses this betweenness that arises in Heidegger’s examinations of Ernst Barlach’s sculpture: “Being takes place between presence and absence, at the surface where the being extends beyond itself and enters the world. Being takes place at the limit of the thing — understanding limit as Heidegger does, not as where something ends but where it begins.” 
In the case of Turrell’s Afrum (White), how do these terms of phenomenon, semblance, and appearance function? Where does illusion factor in? What of the truth in the perceptual experience? What about the spatial relations of the between and the limit? Many of these questions that Turrell’s work poses get addressed through phenomenology, but, as mentioned above, it is normally that of Merleau-Ponty and Husserl. There is an easy case for these two phenomenologists, particularly Merleau-Ponty because of his explicit focus on the corporeality of perception and experience, which can easily address the structure of perceiving Turrell’s installations. Merleau-Ponty’s Phenomenology of Perception allows for the human body to actively participate in our experience and knowledge of the world. This sentiment echoes in Turrell’s reply to the question: “Are your works primarily visual experiences for the person who visits the space, not translations of your experiences?”:
“Yes. Of course, it takes somebody’s vision to have set that up, so the artist does create and limit the universe of possibilities, and within that you’re on your own. In that sense it is like any other art. But it does demand a certain decision to deal with it, which is this art’s price of admission. But every art, I feel, has a price of admission, and often many people don’t pay it. They end up looking at the work rather than into it. I think that’s the biggest problem with contemporary art for a large portion of America. America hasn’t learned it has to pay the price of admission, to look into it rather than just at it.” 
Something more may need to be accounted for, however. Is it a matter of what we can know about our experience or what we can discover about our being? Heidegger’s ontological project, which may always be on the verge of falling into a metaphysics, should still remain an important aspect of our questions about art and experience. What we may need to consider when experiencing these installations is that they create conditions for Dasein’s disclosedness. The installations don’t just make us aware of the mechanics of perception, they make us aware of our being-in-the-world. The method of phenomenology leads us to ontological distinctions, and these distinctions shouldn’t be ignored.
The Truth in Illusion
Dawna Schuld, along with many other critics, talk about Turrell’s Afrum (White) as illusion; Schuld even juxtaposes the piece to the famous Necker Cube, the line drawing of a cube that switches orientations. In her essay for Phenomenal: California Light, Space, Surface, “Practically Nothing: Light, Space, and the Pragmatics of Phenomenology,” she describes the perceptual experiences Turrell creates for the viewer in Acton (1976) and Afrum (White):
“What follows is the delightful awareness that one can return to the illusion simply by repositioning one’s body vis-à-vis the sensing space. This ability to consciously hold perception in flux is also a characteristic of many of Turrell’s projection pieces, notably the Afrum “cube,” which like a Necker illusion can be cognitively manipulated to invert into its corner or revert into a projected cube that juts out toward us, while with a step to the left or the right it “rotates.” Not one interpretation achieves primacy.” 
Further, she claims that “[t]he intentional object is no longer the image on the wall but rather the ways in which we can manipulate our own perceptual mechanisms, within given circumstances.”  Though operative in the works, these claims keep us with the intentional structure of perception Husserl develops, which differ for Heidegger. In viewing Turrell’s work, it is a being-toward, not necessarily a manipulation. Manipulation brings with it the structure of power and control, which isn’t the same thing as unconcealing through the disclosedness of Dasein.
Nancy Marmer’s 1981 review of Turrell’s exhibition at the Whitney, James Turrell: Light and Space, focuses on the “chilling art of deception” which is Turrell’s “more rigorous, even didactic, aspect to [his work] that tends to be ignored.”  This attention to illusion or deception isn’t specific to Marmer. From that same year, Wolfgang Zimmer’s review in ARTnews is titled “Now You See It, Now You…”  This is important. Questions about being and truth are glossed over when the work is only described as illusion and deception, simple plays of perception. This is too simplistic to fully describe Turrell’s work. Rather, it is the interplay of appearance, semblance, and phenomenon (in Heidegger’s sense: of something showing itself from itself in itself). It is not a simple either/or situation, where you either see the illusion, or the “true” material conditions of the piece. The totality of this situation of being-with the piece is the truth of the work, its unconcealedness in the disclosure of Dasein, our being as being-in-the-world.
Turrell claims that “he is not trying to fool the viewer.”  Craig Adcock references Turrell’s rejection of “illusion” to describe his work quoting Turrell: “People have talked about illusion in my work, but I don’t feel it is an illusion because what you see alludes to what in fact it really is — a space where the light is markedly different.”  This statement may coincide with one of Heidegger’s from the work of art essay, that the “work lets the earth be earth,” earth here meaning foundation of world that is not merely matter.  Afrum (White) doesn’t merely point to the way our perception may trick us, it instead opens up world as worldliness. In the measurement or, shall I say, rational description of Turrell’s works, the work disappears. Only in remaining concealed as a totality can it allow for the disclosure of Dasein as being-in-the-world: “Color shines and wants only to shine. When we analyze it in rational terms by measuring its wavelengths, it is gone. It shows itself only when it remains undisclosed and unexplained.” 
In a world where government shuts down and the NSA surveils our telecommunications because everyone is dissembling as a terrorist, what does it mean for us to consider the unveiling of the world? What is the relationship between surveil and unveil? The surveil, the on top of the veil, still maintains the veil of concealedness. Information-gathering does not get us any closer to truth. Maybe it’s time to think of other ways to be in the world. Dancing with the projected light in the corner of the gallery allows me to experience the work of Afrum (White), with work meaning the “setting forth,” which entails a setting to work of truth. I move around the piece, seeing it this way, seeing it that way. It clears the space for my being as a being in this space with this light and with these others that are also in this space with me. I am in this gallery, in this museum, in this city, in this country, in this world, choosing to move with this lighted corner that has unveiled itself as a work of art. Is this choice a narcissism or a solipsism? A nihilism? I would argue no; my perceptual experience with this work has to involve all others that participated in its making and those that are viewing it alongside me.
In the atrium of the Guggenheim, Turrell’s Aten Reign, encourages us to sit together and decide upon the truth of what we are experiencing. This work has drawn some highly critical reception, comparing it poorly to the collective experience of Olafur Eliasson’s The weather project for example. What both of these projects offer us is the sun, the ability to sit and stare at the sun, the light that burns us. “Aten” of Aten Reign, is Aten, or Aton, the highly controversial Egyptian god of the sun and refers to the disk/orb of the sun itself. This reference to the sun brings us to another important aspect of Turrell’s work: his references to the Allegory of the Cave in Plato’s Republic. In this allegory, prisoners are trapped in a cave and can only see objects of the world as shadows on the cave wall — puppets backlit by fire controlled by puppeteers. If a prisoner is set free, her first experience of the true sun beyond the darkness of the cave is so overpowering and blinding that “he [sic] will suffer sharp pains; the glare will distress [him], and he [sic] will be unable to see the realities of which in his [sic] former state he [sic] had seen the shadow.”  This pain makes the prisoner turn away and seek refuge back in the cave where the shadows are more familiar.
What Aten Reign may give us is the space to look into the light without pain. It is a foggy light and may dissemble with its changing colors, but it shows itself in such a way that maybe we can spend the necessary time with it in order to let in unveil itself. Turrell may, in a sense, occupy the position of the puppeteer, but he also opens the opportunity for us to look at the blinding light. One could argue that his skyspaces do this better, and that may be true, but they are also indirect gazes at the sun.
I secretly took a photograph of the installation (I know I wasn’t supposed to). Only later did I realize that a thin veneer of dust and grime had covered the camera lens on my phone. The image that I have of this experience of mine is blurry, foggy, a hazy memory that prompts me to consider what it was that I really experienced.
 Wil S. Hilton, “How James Turrell Knocked the Art World Off Its Feet,” New York Times, (June 13, 2013), 1: http://www.nytimes.com/2013/06/16/magazine/how-james-turrell-knocked-the-art-world-off-its-feet.html
 Martin Heidegger, “The Origin of the Work of Art,” in Basic Writings, ed. David Farrell Krell (San Francisco: HarperCollins, 1993), 170.
 Heidegger, Being and Time, trans. Joan Stambaugh with revisions by Dennis J. Schmidt (Albany, NY: State University of New York Press, 2010), 65.
 Ibid., 227.
 Ibid., 28-29.
 Ibid., 28.
 Ibid., 133.
 Andrew Mitchell, Heidegger Among the Sculptors: Body, Space, and the Art of Dwelling (Stanford: Stanford University Press, 2010),10.
 Ibid., 23.
 Richard Andrews, James Turrell: Sensing Space (Seattle: Henry Gallery Association, 1992), 37.
 Dawna Schuld, “Practically Nothing: Light, Space, and the Pragmatics of Phenomenology,” in Robin Clark (ed.), Phenomenal: California Light, Space, Surface (Berkeley and Los Angeles: University of California Press, 2011), 116-118.
 Ibid., 118.
 Nancy Marmer, “James Turrell: The Art of Deception,” Art in America, vol. 69 (May 1981), 97.
 Wolfgang Zimmer, “Now you see it, Now you…,” ARTnews, vol. 80 (Feb 1981): 225.
 Craig Adcock, James Turrell: The Art of Light and Space (Berkeley and Los Angeles: University of California Press, 1990), 12.
 Turrell interview with Julia Brown in Occluded Front, James Turrell, quoted in Adcock, 13.
 Heidegger, “Work of Art,” 172.
 Ibid., 172.
 Plato, Republic, Book VII, lines 515
Artists Walid Raad, Emily Jacir, Shirin Neshat and over a hundred other artists, curators and writers have signed a petition calling for a boycott of the Frank Gehri-designed Guggenheim Abu Dhabi, which will be built on Saadiyat Island, the United Arab Emirates. They are demanding that “the Guggenheim Foundation and its Abu Dhabi partner take immediate and meaningful steps to safeguard the rights of the workers constructing the new branch museum,” according to a press release issued by an international coalition of artists. “Artists should not be asked to exhibit their work in buildings built on the backs of exploited workers,” says Raad in the release. “Those working with bricks and mortar deserve the same kind of respect as those working with cameras and brushes.”
The Guggenheim is touting its latest branch as “the largest museum in a series of cultural institutions planned as part of the Saadiyat Island Cultural District, which will serve the world as a destination for the advancement of knowledge and the understanding of culture through the arts.”
The protesting coalition’s press release cites two reports issued by Human Rights Watch regarding the treatment of migrant workers within the United Arab Emirates (UAE). This report, the release states, documents “a cycle of abuse that leaves migrant workers deeply indebted, poorly paid, and unable to defend their rights or even quit their jobs. The UAE authorities responsible for developing Saadiyat Island have failed to tackle the root causes of abuse: unlawful recruiting fees, broken promises of wages, and a sponsorship system that gives employers virtually unlimited power over workers.”
Last September, the Guggenheim pledged that they would protect the rights of laborers working on the construction of their new branch. But the petitioners argue that the Guggenheim and its Abu Dhabi partner, the Tourism Development and Investment Company (TDIC) have not yet done enough to ensure that those rights are protected. In the petition, they demand that the Guggenheim Foundation “obtain contractual guarantees that will protect the rights of workers employed in the construction and maintenance of its new branch museum in Abu Dhabi.”
This petition follows a similar initiative organized by NYU faculty and students engaged in ensuring the rights of construction workers who will be building the NYU Abu Dhabi campus, also on Saadiyat Island. Saadiyat is Arabic for “happiness.”
Artists and writers calling for the Guggenheim boycott also include Yto Barrada, Rene Gabri, Mona Hatoum, Akram Zaatari, Andrew Ross, Rirkrit Tiravanija, Janet Cardiff, Willie Doherty, Hans Haacke, Alfredo Jaar, Barbara Kruger, Antonio Muntadas, Paul Pfeiffer, and many others.
Guggenheim gets turned down on its plan to create the Hot Dog Stand Frank Lloyd Wright would have built
The Guggenheim Museum considered the hot dog vendors outside its NYC landmark designed by Wright to not be in keeping with the look and style of the venue and in that vein pitched an idea to the city to build their own. Reports say that they thought the benefits would be increased revenue and a elimination of the generic style brightly colored stands. The New York City Landmarks Preservation Commission turned down the plan unanimously though saying “It detracts from the landmark and causes it to compete with the main building,” Robert B. Tierney, chairman of the commission, said of the proposed kiosk. “All of our standard appropriateness tests are not met here.” Too bad since I would have loved to see what they would have done, someone needs to publish the spec drawings for that plan. Read more here
TED Prize this year goes to Street Photo-Grafitti Artist “JR the Photograffeur”
Part of me is just glad that the joke awarding of food pundit Jamie Oliver is past and Jr is actually interesting albeit I wish I knew more about his work prior to now. NPR’s blog “The Picture Show” does a good job of covering a broad array of his work so I won’t say more then check it out. Read more here
Stereotypical Art Show Award Goes To Sue Williams: ‘Al-Qaeda Is the CIA’
I read about her show in the New York Times (a article with not a single image?) and was both annoyed by the lack of photos but more so curious as to what this show looked like. After looking up the official 303 Gallery website I enjoyably went through every photo. Sadly not for ascetic reasons or conceptual ones but the show is a virtual cornucopia of the current trends, tropes & stereotypes of the gallery scene today all in one places. There is the mish-mash theme, publicly antagonizing titles, the glory in “shitty drawing”, the mix of rich color highly elaborate wallpaper with monochromatic underplayed items, the go to masturbation references, war of the sexes & ironic elevation of the sensational and banal. I would have been able to win my Art World bingo game for the month but was just missing either deer illustration, skull illustration, taxidermy animal or human silhouette. Maybe next time. Read more here & See more here
NUDE in Chicago
Part of the Sculpture Objects & Functional Art (SOFA) exposition this year in Chicago (Nov 5th-7th) will be a exhibition of sculpture being built at booth 920 with help from the audience. Chicago artist Dana Major Kanovitz will be building the sculpture out of paper that the audience will hand to her. This is part of the larger series on show at the Perimeter Gallery which is showing a group show of artist who are looking to take a new stab at the oldest of genres in art, The Nude. You can read the press release and see images here
Danes get upset over Lego Sex
Employees at the town hall of Roskilde near Copenhagen have taken offence at the work on show in the building, paintings of two men made of Lego figures having sex. According to Danish press reports, artist Svend Ahnstrøm’s piece, which shows ‘Kurt and Anders’ pleasuring themselves in a public park, has prompted three internal complaints. But no objections have been raised about Lego depictions of Adolf Hitler and Osama bin Laden. “It’s hard to believe that something like this can offend people in today’s Denmark,” said Ahnstrøm. Deep down I wonder if his real thought was “Three people? a lousy three people? Seriously people are too lazy to protest….” cause look at the work and sing “One of these things is not like the others, One of these things just doesn’t belong” the artist even agrees since he places Kurt and Anders at the bottom of his page last on his site. See more here
Mall in Manchester, England creates replica of Pharaoh Tutankhamun’s Tomb & Treasure
Read more here
Dutch Venice Biennale 2010 – Dutch pavilion
The Dutch pavilion is very interesting this time round and “we make money not art” does a good job of covering it. Read more here
Youtube & The Guggenheim have released their short list for the “Play” Biennial and there is a God since my favorite art video not only is back from the dead but has a new work out. Strindberg and Helium at the Beach tell the tale of a fatalistic Swedish playwright and his best friend a bubble gum pink ballon named Helium. Even though Bad at Sports didn’t make the short list if “Play” does nothing more then vault artist Eun-Ha Park and Strindberg & Helium back into production I call it a roaring success.
- What is this you say? The Art world has a habit of being delinquent on payments (even more so since October of 2008) and that can have larger ramifications throughout the entire ecosystem? Balderdash I say, pure poppycock; where did I put my monocle. Read more here
- A new Art Fair called of all things “VIP” that has no physical location and is 100% virtual on the net, marketing is not discussed nor noticable yet, there is no meet and greet which is the cornerstone of art, you will be expected to buy without ever seeing the work in the flesh & they want to charge $20,000 a booth and be held 22-30 January. If this didn’t have Gagosian, Sadie Coles, Emman uel Perrotin and David Zwirner involved I would be rolling on the floor laughing, oh wait I still am. Laugh more here
- Auction house Christie’s has hired, from outside, a former publishing, record company and Disney executive as its new CEO. Read more here
- Chuck Close does a public interview at the Art Institute of Chicago, where he discusses his life, art, and the creative process. Watch more here
- The Art Institute of Chicago Sues the Engineering Firm that built it’s Modern Wing citing cracks in concrete floors, condensation clouding the main vestibule glass and an air-conditioning system that can’t maintain a safe climate for artwork. The estimated cost of repairs is $10 million. Read more here
- Stuart E. Hample, Humorist and Cartoonist, Dies at 84. Read more here Also Howard Brodie, Combat and Courtroom Artist, Dies at 94 Read more here
- Deep in us we all love science and have had great joy in the data coming from the Large Hadron Collider and even more in the sillyness surrounding it but it’s interesting to watch scientists fall all over themselves trying to address what would happen if the beam hit anything organic. Watch more here
One more video from the “Play” Biennial, this is fun lol.
The fourth plinth in London’s Trafalgar square has been on our radar for a while and I am sure will continue to be so since the British government plans on using it as a compliment to the Turner prize or so by using it as a soapbox to debate and showcase contemporary art.
The current work that is on display at the plinth, Yinka Shonibare’s Nelson’s Ship in a Bottle is slotted to be taken down in 2012 and the fight to see who gets the spot in time for the Olympics has begun. Here is a quick rundown of the shortlist via UK’s The Independent (my money is on Katharina Fritsch) :
Michael Elmgreen and Ingar Dragset A sombre wit underpins the serious nature of work by the Scandanavian couple who have collaborated since they met in 1995. They have made work in memory of gay victims of the Nazi regime and, in 2005, they built a Prada boutique in the middle of the Texan desert. Whatever their proposal for Trafalgar Square, we hope they don’t lose their sense of humour.
Mariele Neudecker German born, 45-year-old Neudecker made her name with sculptures of landscapes, placed inside glass vitrines. Self-contained worlds, that come out of the Romantic tradition in art – although her work is anything but traditional. She used the cry of seagulls on London’s Millenium bridge in 2008. And she sank a boat and a house underwater that question our relationship with the environment.
Allora & Calzadilla Allora and Calzadilla are an artist couple who live in Puerto Rico. Their work is usually political and they have a strong reputation in the UK. At the Serpentine gallery in 2007 they made a large chamber, like a war bunker, and inside musicians played military music. They work in many mediums, using film, sound, sculpture, performance and photography.
Hew Locke Locke’s work explores colonial themes in an exuberant kind of pop art. He has played with ideas about the British royal family. Princess Diana became a voodoo doll and he covered a figure of the Queen Mother with skulls. He critiques the past, looking at how our world interrelates: from African wars to empire, pop culture to Shakespeare.
Katharina Fritsch Like the Surrealists, Fritsch is known for artwork that makes the familiar appear strange and uncanny. Born in Germany, Fritsch has represented her country at the Venice Biennale and had major exhibitions at London museums. Giant rats and monochrome men wearing suits appear in her work, which have popular as well as critical appeal. She is a mature artist and her proposal will be polished and spectacular.
Brian Griffiths An eccentric sense of adventure runs through sculptures by Griffiths. A graduate of Goldsmiths college, the British artist has used old furniture to construct an elaborate wooden gyspy caravan. His work plays with myth as well as history and his sculpture comes from an imaginary world as fantastical as a child’s. No doubt, his proposal for the Fourth Plinth will be made from old junk but his idea, we hope, will contain a touch of magic.
- Also Museum of Contemporary Art Cleveland (MOCA) has been greenlit to start construction on it’s $150-plus million development project in University Circle later this year and be completed in 2012. Read More Here
- We talked a while back about the Guggenheim’s Youtube partnership entitled “Play” where artists were invited to submit their videos to possibly be part of a juried exhibition later this year in every one of their museums. Well that jury list has been announced: Takashi Murakami, Ryan McGinley, Douglas Gordon, Marilyn Minter and Shirin Neshat, artists known for their work in a variety of mediums; Stefan Sagmeister, a graphic designer; Laurie Anderson, the performance artist, musician and filmmaker; the music group Animal Collective; and the filmmakers Darren Aronofsky and Apichatpong Weerasethakul. Read More Here
- Sorry but I have a hard time calling something revolutionary or defying categorization when it’s been done for over two decades in general and over a decade by Michigan Avenue Ad houses. Its akin to saying an artist doing Matrix style bullet time video leaves you speechless if it was done in 2040. Film is sequential still frames that create motion, find something to write about NPR that is actually Art if you want to be breathless NPR not a music video esque work done in After Effects. It’s only slightly annoying when Artists speak of their work as revolutionary, interdisciplinary or an exciting hybrid that redefines a genre since it’s hard to promote as a artist but it is greatly annoying when a publication ruberstamps such hyperbole as true. I know it’s the NPR blog but….. still. Don’t Read More Here