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Cargando... Tell Them I Said Nopor Martin Herbert
   Ninguno Actualmente no hay Conversaciones sobre este libro.  giovannigf | Mar 7, 2017 |    JGL | Apr 11, 2017 | sin reseñas | añadir una reseña
Essays on artists who have withdrawn from the art world or have adopted an openly antagonistic position against it.This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. A large part of the artist's role in today's professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Essays on Lutz Bacher, Stanley Brouwn, Christopher D'Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York. No se han encontrado descripciones de biblioteca. |
Debates activosNingunoCubiertas populares
 Google Books — Cargando...GénerosSistema Decimal Melvil (DDC)700.411The arts Modified subdivisions of the arts Standard subdivisions of the arts Special topics in the arts Arts displaying specific qualities of style, mood, viewpoint Nontraditional viewpointsClasificación de la Biblioteca del CongresoValoraciónPromedio: (4.67)
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The first group, all descendants of Marcel Duchamp, includes David Hammons, who, among other things, has placed installations made of refuse in vacant lots in Harlem and sold snowballs on the street; Stanley Brouwn, who, since 1972, has insisted that no images of his whimsical work or any biographical information be published; Lutz Bacher (a pseudonym), whose mixed-media work spurns categorization, who refuses interviews, and whose gender wasn’t even known for years; and Trisha Donnelly, who has used rumor as part of her artwork, who forbids her gallery to write press releases, and who also refuses interviews (the title of the book is her response through her gallery to a request from Herbert).
The second group’s relationship to the art world seems to be dictated in part by the artists’ temperaments. Agnes Martin suffered from schizophrenia and moved to New Mexico just as her career started taking off. Albert York had difficulty speaking to people and was so tortured by the feeling that his paintings were inadequate, he often avoided exhibitions and sales. Cady Noland said she can no longer make art because tracking how her installation work is misrepresented takes up all her time. And the career of the nearly forgotten Christopher D’Arcangelo — who once had an exhibition in which he asked that his name be replaced by a blank space on publicity materials — only lasted four years before he committed suicide.
The third group simply found the art world insufficient. Charlotte Posenenske stopped making conceptual minimal sculpture to become a social worker, and Laurie Parsons, mortified by the idea that people were buying her work, responded to an invitation for an exhibition in Germany by choosing instead to work at a psychiatric hospital and with developmentally challenged children. (