Tehching Hsieh created among the most radical, strenuous, and bizarre bodies of work in all of art history. Only prisoners with life sentences or captured soldiers could ever relate to the parameters Hsieh set for himself for his five One Year Performances, which he described in chronological order during his lecture at the Institute of Fine Arts. Prisoners of crime or war rarely elect to put themselves in a position that isolated themselves, mentally and physically, for long periods of time.
“Tornadic, whirling movement is something I’ve been involved in right now,” said Alice Aycock. “I’m not really into peaceful things.” This New York–based artist, who turns sixty-eight on November 20, said she trusts turbulence, not balanced or harmonious things, which is typical of her recent work, in particular Park Avenue Paper Chase, a series of seven sculptures on view in the median of an Upper East Side thoroughfare from March to July 2014. During her lecture at the New York Studio School, she talked about this work, her approach to art making, and more to a surprisingly half-full room of rapt listeners.
In her opening remarks for “The World Wide Web at 25: Terms and Conditions” at the art fair Frieze New York, the panel’s moderator Orit Gat remarked that conversation about net neutrality has changed in recent years. Indeed, public awareness regarding the controlling forces behind the delivery infrastructure of the web has risen sharply after two pieces of federal legislation introduced in 2011—the House of Representatives’ Stop Online Piracy Act (SOPA) and Senate’s PROTECT IP Act (PIPA)—failed to develop, along with the “internet blackout” protest on January 28, 2012, and the onslaught of related op-ed pieces over the last couple years.
Lately I’ve thought about the difference between a work of art that is about a particular subject and one that is a critique of that same subject. Many in the art world operate with the mindset that an artwork dealing with a political, social, or economic issue actually critiques that issue, usually from a leftist perspective, but rarely does the work transcend the kind of factual commentary that states “there’s this thing going on in the world that you should know about” or “my work is about this thing going on in the world.” While I don’t recall Mika Tajima specifically referring to her work as a critique during her artist’s lecture at Parsons the New School for Design, others have noted the approach.
Following the symposium’s keynote presentation, the first panel featured two figures from the highly influential Pictures Generation—the artists Robert Longo and Matt Mullican—along with Morgan Fisher, a substitute for the absent Troy Brauntuch. The panel’s moderator, Julia Robinson of New York University, introduced the speakers and loosely moderated a discussion on their personal and professional experiences with the artist Jack Goldstein, the subject of a retrospective at the Jewish Museum.
Moderator Pat Steir is an artist and member of Printed Matter, which publishes and distributes artists’ books. The panelists are all artists who make books. They reviewed what is being done in the field and its potential value and relevance. Steir began by commenting that the genre has become increasingly attractive to artists as a vehicle, allowing them through both form and context to cover areas that traditional painting and sculpture do not.
For “Dennis Oppenheim: Form – Energy – Concept,” Electronic Arts Intermix offered a special program of films from the early 1970s: selections from the artist’s Aspen Projects (1970–71), the rarely screened Disappear (1972), and two of his 2-Stage Transfer Drawings (both 1971). Transferred to DVD, the films were presented as double projections, as Dennis Oppenheim (1938–2011) was said to have exhibited his films and videos in this way or as dual-monitor installations.
The coffee break after the second section was much welcomed, but the talk by Amelia Jones, professor and Grierson Chair at McGill University in Montreal, did little to alleviate my annoyance from the previous section. Jones presented new research on how to think about art after 1960, proposing a shift from object to process and how this shift relates to globalization, digital networking, and a sense of placelessness.