Great christmas day spent taking pictures by the clyde.
So peaceful.
Saturday, 26 December 2009
Thursday, 17 December 2009
Christopher Logue
Come to the edge.
We might fall.
Come to the edge.
It's too high!
COME TO THE EDGE!
And they came,
and he pushed,
and they flew.
Truths for Living
Truths for Living:
"The more generous we are, the more joyous we become. The more cooperative we are, the more valuable we become. The more enthusiastic we are, the more productive we become. The more outgoing we are, the more helpful we become. The more curious we are, the more creative we become. The more patient we are, the more understanding we become. The more persistent we are, the more successful we become." ~ William Arthur Ward, (1921-1994) ~
"The more generous we are, the more joyous we become. The more cooperative we are, the more valuable we become. The more enthusiastic we are, the more productive we become. The more outgoing we are, the more helpful we become. The more curious we are, the more creative we become. The more patient we are, the more understanding we become. The more persistent we are, the more successful we become." ~ William Arthur Ward, (1921-1994) ~
Wednesday, 9 December 2009
Tuesday, 8 December 2009
Movie Inspiration
Two of my favourtie movies, ''The Matrix'' and ''The Beach''
''The Matrix''; so much symbolism, meaning and metaphor relating to our our society,and the world we live in. Are we living in the matrix? Are we being programmed every day? What are our true capabilties? Prompts so many great questions
The Beach; Such an uplifiting film. Friendhsip, letting go, adventure, exploration, excitement, love, travel, having it all then loosing it, memories, sunshine, paradie, sadness, happiness. Such an emotive film for me, pushes so many buttons.
''The Matrix''; so much symbolism, meaning and metaphor relating to our our society,and the world we live in. Are we living in the matrix? Are we being programmed every day? What are our true capabilties? Prompts so many great questions
The Beach; Such an uplifiting film. Friendhsip, letting go, adventure, exploration, excitement, love, travel, having it all then loosing it, memories, sunshine, paradie, sadness, happiness. Such an emotive film for me, pushes so many buttons.
More exercise inspiration
These videos are so great. This is one of the things I love the most about going on holiday to a warm country, being able to run barefoot in the sand, swimming in the ocean, cycling on my bike with just my shorts on, aaahh the memories :), if only it was warmer here in Scotland.
Erwan Le Corre
Inspires me to move.
Way more exciting than running on a treadmile at the gym.
We are designed to move everyday, so get moving more people! :)
Wednesday, 2 December 2009
Tim Knowles
http://www.timknowles.co.uk/Home/tabid/262/Default.aspx
Fullmoon reflections
Long exposure photographs of the fullmoon reflected on undulating water.
Tree Drawings
A series of drawings produced using drawing implements attached to the tips of tree branches,
the wind’s effects on the tree, recorded on paper. Like signatures each drawing reveals the
different qualities and characteristics of each tree.
Nightwalks
A series of illuminated walks made at night and recorded as long exposure photographs.
The Artist walks away from the camera [mounted on a tripod, shutter open] carrying 3 very powerful torches fitted with diffusers, the lights are connected to a 12volt battery in a backpack to prolong their life. As he walks the torches illuminate the route, drawing in the landscape. The walks follow paths, ridgeways or compass bearings some for over an hour.
Fullmoon reflections
Long exposure photographs of the fullmoon reflected on undulating water.
Tree Drawings
A series of drawings produced using drawing implements attached to the tips of tree branches,
the wind’s effects on the tree, recorded on paper. Like signatures each drawing reveals the
different qualities and characteristics of each tree.
Nightwalks
A series of illuminated walks made at night and recorded as long exposure photographs.
The Artist walks away from the camera [mounted on a tripod, shutter open] carrying 3 very powerful torches fitted with diffusers, the lights are connected to a 12volt battery in a backpack to prolong their life. As he walks the torches illuminate the route, drawing in the landscape. The walks follow paths, ridgeways or compass bearings some for over an hour.
Tatsuo Miyajima
http://www.tatsuomiyajima.com/en/index.html
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Everything changes. Nothing could be permanently fixed.
Whatever it is, however long it takes, everything changes.
Art should accept such changes positively and represents them in its own ways.
Immutability has been a key word for the definition of art.
A work of art would be treated as worthless if it were mutable.
In our real life, however, things keep changing.
Art should be a reflection of the reality in one sense or the other,
and hence, should be continuously changing.
It would be able to give people a tip of wisdom.
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Everything is interacted with each other. Nothing could be independent.
Therefore, art should be positively engaged with anything,
and represents them in its own ways.
Art has long been isolated from the real world,
and spoiled within a framework of the 'art world'.
That was a survival guide for art.
It created a tiny paradise, and protected itself from any danger
by dissociating itself from the real world.
However, such a closed environment would terminate art eventually
as intermarriage tended to have a less competitive result in its reproduction process.
Art should be interacted with any kinds of things.
It will be able to obtain power to give people courage.
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Everything keeps going on forever.
Everything moves on a never-ending line as it changes itself.
Being associated with the term, immortality, means being associated with the universe.
Art has been always represent immortality, as people wish to be immortal.
People have been able to experience immortality through a work of art.
Art represents immortality in its course of mutation.
It would be able to give people hopes.
ART IN YOU
Einstein and Tagore met in 1930 for the first time. Their conversation dealt with truth and nature of the reality, with Einstein wondering where beauty existed. He said truth and beauty, like time and space, existed independently of mankind. Tagore objected his premise, arguing that beauty is realised only through human beings. If there is no human beings anymore, the Apollo of Belvedere would be no longer beautiful. Einstein, the Nobel Prize winner of physics, said he agreed with him in terms of beauty.
Works of art (i.e. beauty) exists in interaction with human mind.
There is no art created solely by an artist.
A work becomes an art only with the presence of observers.
Art is a collaboration of artists and observers.
Such a relationship could refer to TV transmission.
TV transmits everywhere, while a TV set is required to see its images.
The sender, an artist's work, is realised only through the receiver,
TV set in this case, and hence, observers.
Observers are nothing special. They refer to all the people in this world.
Greatest works of art all over the world could not exist as much as now, otherwise.
Art exists in people's minds.
Everyone has got his / her art in his / her minds.
A work of art is a devise that inspires people's artistic mind.
It is not independent of mankind. It becomes an art with realistic elements in interaction with observers.
There is no clear division between 'artist' and 'observer'.
All are artists as well as observers with abilities to recognise art (beauty).
Art in You
Art is neither created specially for a particular kind of person or a group,
nor appreciated only by people with special ability.
Art could be created by anyone, and anyone is able to appreciate a work of art.
Art is developed and progressed by human beings.
Atsuo Okamoto
http://www.h2.dion.ne.jp/~okamotoa/e/top_e.html
''Common sence is important for us to be in a community. But the other hand, it has lacked a kind of interest or irony. I've desired something that makes me excited and the cerebrum starts to run more faster and mind is drifting in the far space. So I've always wanted to stray from the common sence. These pages are extracted some usable things from a lot of strange ideas.''
Columns for a sphere / the Earth" - Columns to pierce the Earth. In this installation at Hiroshima International Airport each column sticks into the ground, pointing exactly at the lobbys of other international airports around the world.
Install point Google Map
''Common sence is important for us to be in a community. But the other hand, it has lacked a kind of interest or irony. I've desired something that makes me excited and the cerebrum starts to run more faster and mind is drifting in the far space. So I've always wanted to stray from the common sence. These pages are extracted some usable things from a lot of strange ideas.''
Columns for a sphere / the Earth" - Columns to pierce the Earth. In this installation at Hiroshima International Airport each column sticks into the ground, pointing exactly at the lobbys of other international airports around the world.Install point Google Map
Gerard Mas
http://www.gerardmas.com/esp-obra.htm
Gerard Mas was born in 1976 in Sant Feliu de Guixols, Girona, Spain (Llotja Art School, Barcelona). Gerard’s strategy is to evoke 15th century Florentine portrait busts, applying his superb craft skills with a humour that can only be contemporary. Regardless of their colour, the stone surface of his figures always evokes the qualities of skin.
Gerard Mas was born in 1976 in Sant Feliu de Guixols, Girona, Spain (Llotja Art School, Barcelona). Gerard’s strategy is to evoke 15th century Florentine portrait busts, applying his superb craft skills with a humour that can only be contemporary. Regardless of their colour, the stone surface of his figures always evokes the qualities of skin.
Peter Randall Page
http://www.peterrandall-page.com/about/intro.html
''I grew up in the country and always found the natural world deeply engaging. Later, through my work, I became particularly interested in seeds and fruit. They embody the potential for growth and can be sensual, even erotic. They detach from the parent plant, becoming separate entities full of energy to develop into full-blown plants. I have also always been fascinated by the relationship between outer appearance and internal structure, between surface and volume. One could speak of different species as each having its own song, tone or note. There's a sense in which they are all akin, each playing its own particular tune. I would like my work to have something of this same quality. For me, when a sculpture is ‘right’, when the form has coherence and the object seems at one with itself, it has an almost audible hum, each part having a harmonious relationship with the whole. I think we have a much closer connection with other living things, both flora and fauna, than we realize. We are all part of the same biological system and my desire is not only to know this intellectually but to feel it in my bones. The blurring of boundaries between zoology and botany in my work is, in some ways, an expression of this desire to lose a sense of alienation from the rest of the natural world and to experience the reality of its intimacy... It is obviously a deliberate choice on my part to carve --I have just found for me that carving is an extremely good way of dealing with subtlety, with striking a chord and achieving a kind of resonance through a subtle control of form. PeterMy work is both a celebration of the natural world and an exploration of its expressive potential - a subjective celebration of the underlying energy behind everything that lives and grows. I am not interested in illustrating ideas conceived in words; I am interested in working from direct physical experience. The process of carving, rather than stone itself, is important to me. Carving, like drawing and modeling, is conducive to a meditative process where decision, action, and appraisal become fused in a fluid working dialogue. In short, the act of carving itself helps me to access my imagination. Carving and drawing are good ways of tapping into subconscious feelings and images, through an unself-conscious dialogue in the process itself. The process engenders contemplation. It’s physical and repetitive, keeping the body busy and liberating the imagination at a deeper level. I want my forms to function as a psychological investigation, which hopefully will strike a chord of recognition in the viewer. …It would be pretty remarkable if certain forms didn’t have a resonance since we share an evolutionary history. Much of my work is derived from botanical and other natural things, but …there is quite a strong strain running through the work which is pure invention. For example, I have often used a continuous coil which can be folded and knotted in many different and expressive ways.fruits1 Fundamentally, I want these works to have the sense that they might exist in nature, to have kinship with natural form but not to be a representation of anything specifically identifiable. The importance of this, in terms of the response of the viewer, is that when one comes across something never seen before, one has to work at it in a different way. If you can see immediately what it is based on you can file it away and the perception stops there. I’m trying to make certain forbidden aspects of privacy beautiful, closer to rightness. I’m led by that. Reconciliation is one of the important functions of art. I’ve always had a tremendous feel for sensuality, for form and touching things and volume. I spent a lot of time on my own, looking closer and closer and closer at a [slate] shingle, for instance, and suddenly seeing the geometry of a shell, like another world poking through. My dad made his living as a model-maker, so the idea of making things was there. I went to the British Museum and the Ethnographic Museum as a child. The Egyptian room in the British Museum, the intensity of the objects, moved me. These people made the same images over thousands of years, a cultural distillation like natural selection. Everything non-vital was stripped away. That hit me like a thump in the chest. I’ve never been interested in making sculpture which implies frozen movement or ‘a moment in time’. I’d like to make things which are at rest, where the energy is internalised. Perhaps plant forms, particularly fruit and seeds, lend themselves to this sense of implicit life. They may have the feeling that they could burst into life but from the inside rather than in an obviously animated way. You have to work at the gaps between different images; it’s not quite this and it’s not quite that and hopefully it can evoke a feeling rather than stopping at the identification and naming of the object itself. My drawing has always run parallel to making sculpture. Sometimes the drawings are preparatory to sculpture, sometimes they stand on their own. I did a set of drawings a few years ago called ‘Fruiting Bodies’ which were of an architectural scale.fruit2 I drew them with charcoal attached to a long pole, and they were very physical to make. I like drawing from the shoulder rather than wrist. For me the problem with working from the wrist is that the brain locks into the mode of writing, of putting down information in a coded form; that's why I use charcoal such a lot; you tend not to hold it in the same way as a pencil. Many of the drawings have a lot of black in them; it's a bit like carving, starting with a block and chipping away the bits you don’t want. I approach drawing in a similar way, starting with a white piece of paper and blacking in all that I don’t want to remain. Particularly on big drawings, it's a process of whittling away at the white.
''I grew up in the country and always found the natural world deeply engaging. Later, through my work, I became particularly interested in seeds and fruit. They embody the potential for growth and can be sensual, even erotic. They detach from the parent plant, becoming separate entities full of energy to develop into full-blown plants. I have also always been fascinated by the relationship between outer appearance and internal structure, between surface and volume. One could speak of different species as each having its own song, tone or note. There's a sense in which they are all akin, each playing its own particular tune. I would like my work to have something of this same quality. For me, when a sculpture is ‘right’, when the form has coherence and the object seems at one with itself, it has an almost audible hum, each part having a harmonious relationship with the whole. I think we have a much closer connection with other living things, both flora and fauna, than we realize. We are all part of the same biological system and my desire is not only to know this intellectually but to feel it in my bones. The blurring of boundaries between zoology and botany in my work is, in some ways, an expression of this desire to lose a sense of alienation from the rest of the natural world and to experience the reality of its intimacy... It is obviously a deliberate choice on my part to carve --I have just found for me that carving is an extremely good way of dealing with subtlety, with striking a chord and achieving a kind of resonance through a subtle control of form. PeterMy work is both a celebration of the natural world and an exploration of its expressive potential - a subjective celebration of the underlying energy behind everything that lives and grows. I am not interested in illustrating ideas conceived in words; I am interested in working from direct physical experience. The process of carving, rather than stone itself, is important to me. Carving, like drawing and modeling, is conducive to a meditative process where decision, action, and appraisal become fused in a fluid working dialogue. In short, the act of carving itself helps me to access my imagination. Carving and drawing are good ways of tapping into subconscious feelings and images, through an unself-conscious dialogue in the process itself. The process engenders contemplation. It’s physical and repetitive, keeping the body busy and liberating the imagination at a deeper level. I want my forms to function as a psychological investigation, which hopefully will strike a chord of recognition in the viewer. …It would be pretty remarkable if certain forms didn’t have a resonance since we share an evolutionary history. Much of my work is derived from botanical and other natural things, but …there is quite a strong strain running through the work which is pure invention. For example, I have often used a continuous coil which can be folded and knotted in many different and expressive ways.fruits1 Fundamentally, I want these works to have the sense that they might exist in nature, to have kinship with natural form but not to be a representation of anything specifically identifiable. The importance of this, in terms of the response of the viewer, is that when one comes across something never seen before, one has to work at it in a different way. If you can see immediately what it is based on you can file it away and the perception stops there. I’m trying to make certain forbidden aspects of privacy beautiful, closer to rightness. I’m led by that. Reconciliation is one of the important functions of art. I’ve always had a tremendous feel for sensuality, for form and touching things and volume. I spent a lot of time on my own, looking closer and closer and closer at a [slate] shingle, for instance, and suddenly seeing the geometry of a shell, like another world poking through. My dad made his living as a model-maker, so the idea of making things was there. I went to the British Museum and the Ethnographic Museum as a child. The Egyptian room in the British Museum, the intensity of the objects, moved me. These people made the same images over thousands of years, a cultural distillation like natural selection. Everything non-vital was stripped away. That hit me like a thump in the chest. I’ve never been interested in making sculpture which implies frozen movement or ‘a moment in time’. I’d like to make things which are at rest, where the energy is internalised. Perhaps plant forms, particularly fruit and seeds, lend themselves to this sense of implicit life. They may have the feeling that they could burst into life but from the inside rather than in an obviously animated way. You have to work at the gaps between different images; it’s not quite this and it’s not quite that and hopefully it can evoke a feeling rather than stopping at the identification and naming of the object itself. My drawing has always run parallel to making sculpture. Sometimes the drawings are preparatory to sculpture, sometimes they stand on their own. I did a set of drawings a few years ago called ‘Fruiting Bodies’ which were of an architectural scale.fruit2 I drew them with charcoal attached to a long pole, and they were very physical to make. I like drawing from the shoulder rather than wrist. For me the problem with working from the wrist is that the brain locks into the mode of writing, of putting down information in a coded form; that's why I use charcoal such a lot; you tend not to hold it in the same way as a pencil. Many of the drawings have a lot of black in them; it's a bit like carving, starting with a block and chipping away the bits you don’t want. I approach drawing in a similar way, starting with a white piece of paper and blacking in all that I don’t want to remain. Particularly on big drawings, it's a process of whittling away at the white.
David Batchelor
Chromophobia
David Batchelor's work is concerned above all things with colour, a sheer delight in the myriad brilliant hues of the urban environment and underlined by a critical concern with how we see and respond to colour in this advanced technological age. His studio is a treasure trove piled high with an endless variety of fluorescent plastic objects - clothes pegs, fly-swatters, buckets, spades, children's toys, empty bottles of household products - found in pound shops and markets in cities the world over. He combines these everyday items with a range of light-industrial materials: steel shelving, commercial lightboxes, neon tubing, warehouse dollies, acrylics, plastics and so on to produce extraordinary installations which exalt the ordinary and celebrate the lurid and trashy whilst being, in themselves, often mesmerisingly beautiful.
Batchelor has made a dazzling kaleidoscope of multi-coloured spheres appearing to free-float in space. The sculpture is created from thousands of cheap, brightly coloured plastic sunglasses, bought in Sao Paulo, Brazil. Transformed into spheres and suspended in a cluster from the ceiling of the historic space of the Metropole Gallery via discoball motors, they rotate slowly and silently, a galaxy of spinning globes, throwing pools of transparent colours across the room as they glint in the light.
The title of the work is derived from Fernand Leger’s 1924 film ‘Ballet Mecanique’ and inspired by the gallery, which was formerly the ballroom of The Metropole Hotel.
David Batchelor's work is concerned above all things with colour, a sheer delight in the myriad brilliant hues of the urban environment and underlined by a critical concern with how we see and respond to colour in this advanced technological age. His studio is a treasure trove piled high with an endless variety of fluorescent plastic objects - clothes pegs, fly-swatters, buckets, spades, children's toys, empty bottles of household products - found in pound shops and markets in cities the world over. He combines these everyday items with a range of light-industrial materials: steel shelving, commercial lightboxes, neon tubing, warehouse dollies, acrylics, plastics and so on to produce extraordinary installations which exalt the ordinary and celebrate the lurid and trashy whilst being, in themselves, often mesmerisingly beautiful.
Batchelor has made a dazzling kaleidoscope of multi-coloured spheres appearing to free-float in space. The sculpture is created from thousands of cheap, brightly coloured plastic sunglasses, bought in Sao Paulo, Brazil. Transformed into spheres and suspended in a cluster from the ceiling of the historic space of the Metropole Gallery via discoball motors, they rotate slowly and silently, a galaxy of spinning globes, throwing pools of transparent colours across the room as they glint in the light.
The title of the work is derived from Fernand Leger’s 1924 film ‘Ballet Mecanique’ and inspired by the gallery, which was formerly the ballroom of The Metropole Hotel.
Tuesday, 1 December 2009
Are pegs alive?
Playing around with some pegs, pretty intutitive, just placing pegs on to areas that feel right to me. Also imagining how this would look inside a gallery space on a massive scale, pegs growing and growing into a living breathing object. Are pegs alive?
I love the colours too they work really well together and draw me in more. Bright colours really make a sculpture more inviting and interesting, maybe even more alive, for me anyway.
I love the colours too they work really well together and draw me in more. Bright colours really make a sculpture more inviting and interesting, maybe even more alive, for me anyway.
Monday, 30 November 2009
Elizabeth Gilbert on nurturing creativity
http://www.ted.com/talks/elizabeth_gilbert_on_genius.html
Elizabeth Gilbert faced down a premidlife crisis by doing what we all secretly dream of – running off for a year. Her travels through Italy, India and Indonesia resulted in the megabestselling and deeply beloved memoir Eat, Pray, Love, about her process of finding herself by leaving home.
Selected quotes:
''Being a genius instead of having a genius'' - refering to point in time were peoples beliefs changed. Instead of genius coming from without, from a higher source it now came from within.
Elizabeth Gilbert faced down a premidlife crisis by doing what we all secretly dream of – running off for a year. Her travels through Italy, India and Indonesia resulted in the megabestselling and deeply beloved memoir Eat, Pray, Love, about her process of finding herself by leaving home.
Selected quotes:
''Being a genius instead of having a genius'' - refering to point in time were peoples beliefs changed. Instead of genius coming from without, from a higher source it now came from within.
Does school kill creativity?
http://www.ted.com/talks/ken_robinson_says_schools_kill_creativity.html
Why don't we get the best out of people? Sir Ken Robinson argues that it's because we've been educated to become good workers, rather than creative thinkers. Students with restless minds and bodies -- far from being cultivated for their energy and curiosity -- are ignored or even stigmatized, with terrible consequences. "We are educating people out of their creativity," Robinson says. It's a message with deep resonance. Robinson's TEDTalk has been distributed widely around the Web since its release in June 2006. The most popular words framing blog posts on his talk? "Everyone should watch this."
A visionary cultural leader, Sir Ken led the British government's 1998 advisory committee on creative and cultural education, a massive inquiry into the significance of creativity in the educational system and the economy, and was knighted in 2003 for his achievements. His latest book, The Element: How Finding Your Passion Changes Everything, a deep look at human creativity and education, was published in January 2009.
Selected quotes:
''creativity is as important as literacy''
''If your not prepared to be wrong you will never come up with anything original''
''All children are born artists, the problem is to remain an artist as we grow up''
''We dont grow into creativity we grow out of it, or rather we are educated out of it''
''They (professors) look upon there bodies as a form of transport for there heads''
''Creativity: the process of having original ideas that have value''
''If all the insects were to disappear in 60 years there would be no life on earth.
If humans were to disappear in 60 years all life on earth would be flourishing''
Why don't we get the best out of people? Sir Ken Robinson argues that it's because we've been educated to become good workers, rather than creative thinkers. Students with restless minds and bodies -- far from being cultivated for their energy and curiosity -- are ignored or even stigmatized, with terrible consequences. "We are educating people out of their creativity," Robinson says. It's a message with deep resonance. Robinson's TEDTalk has been distributed widely around the Web since its release in June 2006. The most popular words framing blog posts on his talk? "Everyone should watch this."
A visionary cultural leader, Sir Ken led the British government's 1998 advisory committee on creative and cultural education, a massive inquiry into the significance of creativity in the educational system and the economy, and was knighted in 2003 for his achievements. His latest book, The Element: How Finding Your Passion Changes Everything, a deep look at human creativity and education, was published in January 2009.
Selected quotes:
''creativity is as important as literacy''
''If your not prepared to be wrong you will never come up with anything original''
''All children are born artists, the problem is to remain an artist as we grow up''
''We dont grow into creativity we grow out of it, or rather we are educated out of it''
''They (professors) look upon there bodies as a form of transport for there heads''
''Creativity: the process of having original ideas that have value''
''If all the insects were to disappear in 60 years there would be no life on earth.
If humans were to disappear in 60 years all life on earth would be flourishing''
Liz Coleman on present day education
http://www.ted.com/talks/lang/eng/liz_coleman_s_call_to_reinvent_liberal_arts_education.html
If you followed higher education news in the 1990s, you have an opinion on Liz Coleman. The president of what was once the most expensive college in America, Coleman made a radical, controversial plan to snap the college out of a budget and mission slump -- by ending the tenure system, abolishing academic divisions and yes, firing a lot of professors. It was not a period without drama. But fifteen years on, it appears that the move has paid off. Bennington's emphasis on cross-disciplinary, hands-on learning has attracted capacity classes to the small college, and has built a vibrant environment for a new kind of learning.
What kind of a world should we be making?
What kind of a world can we be making?''
''When the impulse is to change the world, the academy is more likely to engender a learned helplessness than to create a sense of empowerment''
''No one has the answers
Everyone has the responsibility''
''History provides a laboratory in which to see
the actual as well as the intended consequences of ideas''
If you followed higher education news in the 1990s, you have an opinion on Liz Coleman. The president of what was once the most expensive college in America, Coleman made a radical, controversial plan to snap the college out of a budget and mission slump -- by ending the tenure system, abolishing academic divisions and yes, firing a lot of professors. It was not a period without drama. But fifteen years on, it appears that the move has paid off. Bennington's emphasis on cross-disciplinary, hands-on learning has attracted capacity classes to the small college, and has built a vibrant environment for a new kind of learning.
Coleman's idea is that higher education is an active pursuit -- a performing art. Her vision calls for lots of one-on-one interactions between professor and student, deep engagement with primary sources, highly individual majors, and the destruction of the traditional academic department. It's a lofty goal that takes plenty of hard work to keep on course.
Selected Quotes:
What kind of a world should we be making?
What kind of a world can we be making?''
''When the impulse is to change the world, the academy is more likely to engender a learned helplessness than to create a sense of empowerment''
''No one has the answers
Everyone has the responsibility''
''History provides a laboratory in which to see
the actual as well as the intended consequences of ideas''
Karla Black
http://www.frieze.com/issue/article/karla_black_focus
Karla Black often asks herself what she would make if there were no other people in the world. In all likelihood, she imagines, she would become obsessed with beauty, producing colourful, tactile and aesthetically indulgent creations, but the chances are that, as art, these objects wouldn’t be very interesting. She is also aware that, making art in a crowded world, she risks running too far in the opposite direction – of becoming over-conscious of others, even deferential in her acknowledgment of precedents and peers, of histories, trends and expectations. Black knows that in order for her art to engage with its audience it must engage in a tussle between action and reaction, between making things for oneself and making for the benefit of others. She has even gone so far as to say that ultimately her art, perhaps all art, is actually just a series of compromises.
Karla Black often asks herself what she would make if there were no other people in the world. In all likelihood, she imagines, she would become obsessed with beauty, producing colourful, tactile and aesthetically indulgent creations, but the chances are that, as art, these objects wouldn’t be very interesting. She is also aware that, making art in a crowded world, she risks running too far in the opposite direction – of becoming over-conscious of others, even deferential in her acknowledgment of precedents and peers, of histories, trends and expectations. Black knows that in order for her art to engage with its audience it must engage in a tussle between action and reaction, between making things for oneself and making for the benefit of others. She has even gone so far as to say that ultimately her art, perhaps all art, is actually just a series of compromises.
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