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Chris Whitman: Robot Horse Blues
Chris Whitman: Robot Horse Blues
Jacob Bakkila could have made his own Twitter account to post gibberish to. But the point was to appropriate something people were already paying attention to. What we thought was marketing rediscovered as art has turned out to be art rediscovered as marketing.
·christopherwhitman.net·
Chris Whitman: Robot Horse Blues
Linda Holmes: Hey, Kid: Thoughts For The Young Oddballs We Need So Badly (NPR)
Linda Holmes: Hey, Kid: Thoughts For The Young Oddballs We Need So Badly (NPR)
Learn the difference between feedback and criticism. Feedback is primarily for you; criticism (in the sense of "a movie critic" or "an arts critic") is primarily not. Criticism is part of an ongoing cultural conversation that's designed to make everybody smarter and better and more thoughtful and to advance the art form itself; it's done even when the creator of a piece is long dead. It's not really for you. Feedback, on the other hand, is aimed at you to make you better, and that's the only kind of feedback worth paying attention to. If you can't listen to it and take it in without your hackles rising, you will never become good. Period, boom, g'bye.
·npr.org·
Linda Holmes: Hey, Kid: Thoughts For The Young Oddballs We Need So Badly (NPR)
Eric Harvey: Afterword: Storm Thorgerson (Pitchfork)
Eric Harvey: Afterword: Storm Thorgerson (Pitchfork)
Along with Pink Floyd, Thorgerson and Hipgnosis were central figures in the transition from 60s psychedelia to the expansive, million-selling radio rock that defined most of the 70s. More than any single figure, he established intricately composed, surrealist photographic techniques, collages, and pictorial reappropriations as key ingredients of mainstream album art.
·pitchfork.com·
Eric Harvey: Afterword: Storm Thorgerson (Pitchfork)
Jessica Hopper: Bands Abusing Kickstarter Are Exploiting Fans (Village Voice)
Jessica Hopper: Bands Abusing Kickstarter Are Exploiting Fans (Village Voice)
Looking expectantly at the rest of the world to validate your interests, hobbies or art is a set-up to feel bad, to brood and be jaded that you are not understood. You need to reprogram your relationship with money as a creative person, because the one you have is like a hex. You need to grow-up your success dream and stop this focus on how it'll make you feel better.
·blogs.villagevoice.com·
Jessica Hopper: Bands Abusing Kickstarter Are Exploiting Fans (Village Voice)
The Arithmeum: Past Exhibitions: Leon Polk Smith
The Arithmeum: Past Exhibitions: Leon Polk Smith
Leon Polk Smith (1906-1996) was drawn to geometric con- structivist art by the Red Indian attitude to life and nature of his forbears.
·arithmeum.uni-bonn.de·
The Arithmeum: Past Exhibitions: Leon Polk Smith
Julian Sanchez: Protectionism Against the Past (or: Why are Copyright Terms so Long?)
Julian Sanchez: Protectionism Against the Past (or: Why are Copyright Terms so Long?)
Here’s an alternative hypothesis: Insanely long copyright terms are how the culture industries avoid competing with their own back catalogs. Imagine that we still had a copyright term that maxed out at 28 years, the regime the first Americans lived under. The shorter term wouldn’t in itself have much effect on output or incentives to create. But it would mean that, today, every book, song, image, and movie produced before 1984 was freely available to anyone with an Internet connection. Under those conditions, would we be anywhere near as willing to pay a premium for the latest release?
·juliansanchez.com·
Julian Sanchez: Protectionism Against the Past (or: Why are Copyright Terms so Long?)
JustinDraws
JustinDraws
Justin Hopkins AKA Rarebit is also a visual artist.
·cargocollective.com·
JustinDraws
The ASC: John Bailey's Bailiwick: Spomenik—Jan Kempenaers and “The End of History”
The ASC: John Bailey's Bailiwick: Spomenik—Jan Kempenaers and “The End of History”
Beautiful, haunting, gigantic sculptures. “There are hundreds of them scattered throughout villages and rural landscapes in the former Yugoslavia. Once the site of pilgrimages by schoolchildren, military veterans, patriots, and mourners who had lost family in WWII, these Spomeniks (monuments) are today rarely visited. Often built out of concrete in a style dubbed Brutalism, these secular totems were meant to endure, impervious to the mere march of time—a testament and continuous witness to the new unity of the historically fractious Balkan states—the unity of all the Slavs, YUGOSLAVIA.”
·ascmag.com·
The ASC: John Bailey's Bailiwick: Spomenik—Jan Kempenaers and “The End of History”
Teenage Art: Henry Rollins Wants to Do Comedy on 'The Paul Reiser Show'
Teenage Art: Henry Rollins Wants to Do Comedy on 'The Paul Reiser Show'
“Criticism is only useful when it helps us see something we are having difficulty seeing on our own; it’s not helpful when it tells us to stop looking. ‘But what if everyone pays attention to the wrong things? We have to guide them to the right things!’ Well, eventually everyone stops paying attention to everything: time is pretty effective that way. With that in mind, we should only worry about pointing the good out, and not worrying about the bad. And in the age of the Internet, this dictum takes on added force. Think of it as the Paris Hilton effect: talking about the bad just encourages the bad. No one has ever cured a celebrity of anorexia by posting photographs of her on the Internet, or has helped Charlie Sheen get off alcohol by getting exasperated at his stupidity. Trashing bad people and bad art does not make you a good person.”
·teenageart.tumblr.com·
Teenage Art: Henry Rollins Wants to Do Comedy on 'The Paul Reiser Show'
Marc Weidenbaum — Lowlands: A Sigh Collective
Marc Weidenbaum — Lowlands: A Sigh Collective
Another ‘response album’ from Marc Weidenaum's blog minions, this a collection of recordings that use a human sigh as their source material. The response is to the grumpy, narrow-minded art critic Richard Dorment, who questioned the integrity and quality of artist Susan Philipsz’ Turner Prize-winning ‘Lowlands‘, as well as a number of other artistic endeavors that he considers unworthy of anything more than a ‘long low collective sigh’.
·archive.org·
Marc Weidenbaum — Lowlands: A Sigh Collective
Tauba Auerbach — The Auerglass
Tauba Auerbach — The Auerglass
"The Auerglass is a two person pump organ created by Tauba Auerbach and Cameron Mesirow (AKA the musician Glasser). The instrument cannot be played alone. Each player has a keyboard with alternating notes of a four octave scale. Each player must pump to supply the wind to the other player's notes."
·taubaauerbach.com·
Tauba Auerbach — The Auerglass