This video, and the interview re-published at artnode, seem like more proof that the brilliance of the artist is often quite distant from the brilliance of the onlooker. Surrounded by “modern technology”, he might, in retrospect, appear like a child enjoying his toys. Especially in the interview, it seems like it’s the journalist who has all these great ideas, and Warhol just happily agrees with what he hears…
The enthusiasm for new technologies, when watched twenty years later, has something funny, but also something eery about it.
But if you read carefuly, there is one remarkable moment: when the journalist suggests that Andy (and the other artists) can now do everything by themselves – music, video, editing, etc., the artist agrees. But when asked if he has been doing it, he answers he hasn’t had time because he is still exploring the visual art side of the computer.
So beyond this enthusiasm for all that is new, lies an aproach that is at once pragmatic and somehow… healthily conservative?

(via)

Just by merely reading this blog, or participating in the numerous ways Absolute Arts makes is possible, you are entwined in the digital world of art. In some ways, there is nothing real about the ethereal bits and bytes that make up any Web site, art or otherwise. If anything, when you think about it, how it happens is surreal.

Right now, you and I are having a pleasant communication interlude with you at your leisure and me at mine, all courtesy of the World Wide Web with many thanks to Tim Berners-Lee. And, the course of this communication is exemplary of how the digital world and art interact. What we have all come to take for granted in the span of 15 years regarding the Internet and how it affects us all is nothing short of amazing. Personally, I’m thrilled to be alive at a time when all this is possible and when all the possibilities digital everything creates is nothing short of wonderful and truly astounding.

As with many, if not most aspects of life, art and the digital world intersect all over the place. Take for example the emerging body of seriously fine and respectable digital art. Some not so long ago would not consider any art made digitally to be “real” art, and there are, I’m sure, plenty of naysayers today too. Then there are the near ubiquitous digital fine art reproductions, which are still widely known by the giclée moniker. A relatively new development is how many green minded artists seeking to reduce their carbon footprint are turning to the wonders of products such as the wondrous Wacom Cintiq 21UX tablet to either work up sketches and ideas before turning to canvas or moving through a finished product.

How much interest in digital art is there? If the sales of Marilyn Sholin’s new book, The Art of Digital Photo Painting are any indication. It’s huge. Her book has sold out numerous times at Amazon.com because the printer has not been able to keep up with demand. In stark contrast to nearly every Web site with a forum that allows virtually anyone with an email address to join, her www.digitalpaintingforum.com has more than 2,000 loyal paying members.

With photography gone nearly exclusively to digital, and the continual improvement of marvelous tools such as Corel Painter and Adobe Photoshop, there becomes more common ground between artists who seek create visual images with diverse backgrounds, including photographers and graphic artists. I’ve talked about it here and on my Art Print Issues blog. The name that seems the most descriptive and honest to me about the output from the melding of technology and art on this level is Convergence Media.

Like most ideas, Convergence Media conveniently refers to and borrows from another established term, mixed-media. When so much is possible with digital manipulation and so many tools available to enhance an artist’s eye and hand, the notion of convergence art makes sense to me. Perhaps it will to you as well. Either way, please join and enliven the debate here.

Digital life in the arts has taken on all sorts of permutations. There were a large number of artists who managed to forge a career, or at least a profitable part-time income using eBay. Pioneers there such as Natasha Wescoat have moved on to greener pastures and wider national and international exposure. But, what they learned there gave them the platform, knowledge and confidence to grow their art careers. Sites such as Absolute Arts that use their own unique comprehensive means to helping artists and collectors connect have continued to thrive and grow in importance in bringing their core constituent artists and art devotees along with them.

Art.com has risen to become the single largest seller of art worldwide, albeit primarily posters. Although it is a private company, there are still reports from its pre-IPO stages a few years back indicating sales of $30 million annually. That is a lot of paper borne art, even if sales include framed as a finished product. Volume like that made it the number one customer for virtually every fine art poster publisher around the globe. It too helped fuel the rise of certain popular artists there. And, for better or worse, it is just one of many macro factors that have permanently changed the face of the art print market.

Today, Art.com has numerous competitors seeking to take a bite of its market share. Last year, Etsy.com, which had its initial focus on the indie artist handmade crowd jumped into the flat art field with the acquisition of online art site Imagekind.com. It also garnered headlines in the business press with a whopping $27 million round of financing.

There also is EBSQart.com, Boundless Gallery, Red Bubble, Yessy to mention just a few that seek carve out an established Internet presence. While these sites tend to skew more towards the scale of decorative arts that can range from lower and medium price originals to giclées and prints, the quality of the work found on them is often delightfully original and excellent. They are on a much different path and don’t fairly compare to sites such as Absolute Arts when it comes to pricier originals, sculpture and providing a robust online art experience that includes depth in scale of art and art information, news and blogs, etc. This is not a value judgment on other sites as I believe there is a definite need and a place for art at all price points.

Digital artists need and deserve to be taken seriously. Certainly, Absolute Arts has helped the cause. It regularly features blog posts by the talented and thoughtful digital artist Brad Michael Moore. It featured this post in March 2007, “Digital Art 2007/ A Conversation With Don Archer” by Bruce Price. It is a piece worth re-visiting as it skillfully reveals through great questions the incisive thinking of Don Archer’s fertile brain.

In 20 years of attending art shows, the places and events tend to run together in one’s mind, or at least in mine. But, there are moments of lucidity and clarity in remembering meeting some people, seeing their art and marveling at their creativity and vision. Such an encounter was with Bonny Lhotka. As best I can recall, it was at an ArtExpo show in Los Angeles, but it could have been any number of other venues too.

While the venue is hazy, the impression I received was strong and rung a clarion like response in me. That is, it left me knowing I had seen the future, and I liked it. This was perhaps 1995, in the Stone Age of the Internet. Bonny was exhibiting digital works by herself and her co-founding partners, Dorothy Krause and Karin Schminke, of the digital artist collaborative known as the Digital Atelier®. It conducts research on digital imaging for fine art application.

I recall not only be amazed at what these artists were accomplishing, but how they were collaborating over long distances. We take such things for granted now, back then, it was way off the radar of common business practice, even in the arts. Though it was a long way off, well before the term giclée was coined, I sensed something special about what Bonny was doing. Not just that the art in itself was intrinsically beautiful and interesting, but also that it portended things to come.
Since at the time I was tethered to an old-fashioned “that’s the way we have always done it” management and source of income, I had to be satisfied as an interested onlooker rather than one who could help speed along the awareness of the awesome potential digital represented. In other words, I was chagrined at not being able to put resources I knew would help to work for the cause of digital art. When you have seen the future, you can’t go back.

And, of the dozens of people who worked on Decor magazine and it tradeshows, I was the only person to show real curiosity and enthusiasm for digital art then. Now everyone else who worked on magazine and shows has left the art business. They are long gone while I find myself more curious and enthused about the prospects for digital art and the digital world than ever.

If you haven’t given digital art much thought, or have just stopped being in wonderment about how the constant evolution of technology, which is of course, all digital, then perhaps now would be a good time to take it all in. If the geeky, magnanimous philanthropist owner of the Magna Carta, the Corbis library of stock photo and lord of a 20,000 square foot mansion could have the vision long, long ago that art digitally displayed would make a unique statement that would also inform, entertain and educate his family, visitors and himself can be rightly considered a trend spotter, then the future of digital art is safe.

That is to say if Bill Gates was able to grasp the importance and usefulness of digital art so long ago, then we can hope his influence can help fuel the groundswell of growing interest in digital art, aka Convergence Media. The movement could have worse patron saints.

Barney Davey
www.artprintissues.com

Created by Barney Davey On 02/26/09 At 07:52 AM

Here is what I imagine:
I invite all of you to my house, and together we sit and watch I Love Alaska. Maybe it’s not because this is the perfect work to be enjoying with a group of people you’ve only just met. (It probably isn’t). Maybe it has more to do with how surprizingly far this blog has led. In many ways.
One of them is you. Right now, there are hundreds of you coming to this blog every day. There is over a hundred people following New Art “formally” via blogger.com, plus many many others via feeds and such… I’ve been receiving your kind e-mails, and often visit the blogs, portfolios, sites that you publish or recommend. Many of you are in the arts, others are students, for many of you I suppose this is more of a curious entertainment. All this means not only that you enjoy the art I showcase, but certainly, to some extent we share a common sensibility. Wouldn’t it be delicious to have just a part of us meet and enjoy some of this art together? Sit down, have a glass of wine, watch the film, then talk about art and life and simplicity and complexity, and how the mountains are majestic, and America does or doesn’t influence the world, and share other references (all the Brokeback Mountains, Into The Wilds, Cremasters that come to mind…), ideas, passions. (You know, meeting in real life someone you’ve hardly even known online )
And then of course we would party all night, and probably go to the shore of the Vistula river, and maybe make a field trip the next day. But the moment of experiencing a delicate and quiet space, together, would have been ours.
This is what I imagine.
And you know what? – we actually could do it.
Anybody interested?

Oh were this the universe!
Were it but a combination of lines, a simple picture of perfection, were the universe a set of twigs and seeds with their mathematical omnipotence!
Oh were there nothing else, nothing but the point where everything meets, nothing but the shape it all embodies. And the shadow of the reflection of a shadow of the Work, just to outscore its very depth of space, just to give us the distance we need to be closer.
Oh were it all we need, the joyful meeting of vectors, the unswerving presence of fragility.

Oh were there no shadow in the top left corner, coming from elsewhere.

Both pictures are of sculptures by Christiane Löhr.

The artist going by the name of Above made this stencil in Lisbon. (I actually know the lady sitting on the right – she is one of Lisbon’s classic characters). In a gesture the artist herself admits robinwoodesque, Above is selling prints of this picture and will give all the profits to two charities she has previously selected. More info here.

This is a short fragment of my work called The Actors. The first volume – Reconnaissance lasts 50 minutes. You can see this excerpt in sort-of-HD here.
Any galleries interested in showing this work, write me, and I’ll send you a DVD.

The Times Online and the Saatchi gallery have put together a list of 200 twentieth century artists and is asking visitors to vote for their favorite. They include famous painters, sculptors, photographers, video and installation artists.

You can vote for your favorite artist/s on the TimesOnline website here.

I was boring and voted for Pablo Picasso, but painting would also be less interesting without the likes of Paul Cezanne, Francis Bacon, Marc Chagall, Lucian Freud, Alberto Giacometti, Philip Guston, Wassily Kandinsky, Anselm Kiefer, Henri Matisse, Amedeo Modigliani, Claude Monet, Jackson Pollock, Andy Warhol, and a few others.

There’s quite a few artists on the list that I have never heard of. Here’s the list of 200 artists arranged alphabetically..

Marina Abramovic
Tomma Abts
Vito Acconci
Ansel Adams
Bas Jan Ader
Eileen Agar
Craigie Aitchison
Josef Albers
Pierre Alechinsky
Kai Althoff
Francis Alys
Carl Andre
Karel Appel
Nobuyoshi Araki
Diane Arbus
Alexander Archipenko
Arman
Jean Arp
Art & Language
Antonin Artaud
Richard Artschwager
Eugene Atget
Frank Auerbach
Richard Avedon
Milton Avery
Gillian Ayres
Francis Bacon
Leon Bakst
John Baldessari
Miroslaw Balka
Giacomo Balla
Balthus
Ernst Barlach
Matthew Barney
Georg Baselitz
Jean-Michel Basquiat
Willi Baumeister
Lothar Baumgarten
Bernd And Hilla Becher
Max Beckmann
Hans Bellmer
George Wesley Bellows
Thomas Hart Benton
Joseph Beuys
Ashley Bickerton
Max Bill
Peter Blake
Umberto Boccioni
Alighiero E Boetti
Christian Boltanski
David Bomberg
Pierre Bonnard
Michael Borremans
Fernando Botero
Louise Bourgeois
Arthur Boyd
Constantin Brancusi
Bill Brandt
Georges Braque
Brassai (Gyula Halasz)
Victor Brauner
Marcel Broodthaers
Glenn Brown
Cecily Brown
Chris Burden
Daniel Buren
Victor Burgin
Edward Burra
Alberto Burri
Pol Bury
Jean-Marc Bustamante
Alexander Calder
Sophie Calle
Janet Cardiff & George Bures Miller
Anthony Caro
Carlo Carra
Henri Cartier-Bresson
Maurizio Cattelan
Patrick Caulfield
Cesar
Paul Cezanne
Helen Chadwick
Lynn Chadwick
Marc Chagall
John Chamberlain
Dinos and Jake Chapman
Judy Chicago
Eduardo Chillida
Giorgio De Chirico
Larry Clark
Christo And Jeanne Claude
Franceso Clemente
Chuck Close
Prunella Clough
Hannah Collins
George Condo
Le Corbusier
Lovis Corinth
Joseph Cornell
Tony Cragg
Martin Creed
Robert Crumb
John Currin
Salvador Dalí
Hanne Darboven
Stuart Davis
Willem De Kooning
Richard Deacon
Tacita Dean
Sonia Delaunay
Robert Delaunay
Paul Delvaux
Thomas Demand
Charles Demuth
Maurice Denis
Andre Derain
Jan Dibbets
Richard Diebenkorn
Jim Dine
Otto Dix
Theo Van Doesburg
Willie Doherty
Peter Doig
Oscar Dominguez
Kees Van Dongen
Arthur Dove
Jean Dubuffet
Marcel Duchamp
Raymond Duchamp-Villon
Raoul Dufy
Marlene Dumas
William Eggleston
Lissitzky EI
Olafur Eliasson
Tracey Emin
James Ensor
Jacob Epstein
Max Ernst
M.C. Escher
Richard Estes
Walker Evans
Luciano Fabro
Oyvind Fahlstrom
Jean Fautrier
Lyonel Feininger
Eric Fischl
Fischli & Weiss
Barry Flanagan
Dan Flavin
Lucio Fontana
Tsugouharu Foujita
Sam Francis
Robert Frank
Helen Frankenthaler
Lucian Freud
Lee Friedlander
Elisabeth Frink
Katharina Fritsch
Roger Fry
Naum Gabo
Antonio Lopez Garcia
Henri Gaudier-Brzeska
Paul Gauguin
Isa Genzken
Alberto Giacometti
Gilbert & George
Eric Gill
Albert Gliezes
Robert Gober
Nan Goldin
Andy Goldsworthy
Leon Golub
Natalia Goncharova
Julio Gonzalez
Felix Gonzalez-Torres
Douglas Gordon
Arshile Gorky
Anthony Gormley
Adolph Gottlieb
Dan Graham
Paul Graham
Duncan Grant
Juan Gris
George Grosz
Andreas Gursky
Philip Guston
Renato Guttuso
Hans Haacke
Peter Halley
Richard Hamilton
Ian Hamilton-Finlay
David Hammons
Duane Hanson
Keith Haring
Rachel Harrison
Marsden Hartley
Hans Hartung
Mona Hatoum
Raoul Hausmann
John Heartfield
Mary Heilman
Jean Helion
Barbara Hepworth
Patrick Heron
Eva Hesse
Gary Hill
Roger Hilton
Damien Hirst
Ivon Hitchens
David Hockney
Howard Hodgkin
Hans Hofmann
Carsten Holler
Jenny Holzer
Edward Hopper
Roni Horn
Rebecca Horn
Gary Hume
Jorg Immendorff
Robert Indiana
Robert Irwin
Alfred Jaar
Alexei Von Jawlensky
Augustus John
Gwen John
Jasper Johns
Joan Jonas
Allen Jones
Asger Jorn
Donald Judd
Isaac Julien
Ilya Kabakov
Frida Kahlo
Wassily Kandinsky
Anish Kapoor
Alex Katz
On Kawara
Mike Kelley
Ellsworth Kelly
Mary Kelly
William Kentridge
Anselm Kiefer
Ed and Nancy Kienholz
Martin Kippenberger
Ernst Ludwig Kirchner
Per Kirkeby
R.B. Kitaj
Paul Klee
Yves Klein
Gustav Klimt
Franz Kline
Oskar Kokoshka
Kathe Kollwitz
Komar And Melamid
Jeff Koons
Leon Kossoff
Joseph Kosuth
Jannis Kounellis
Lee Krasner
Barbara Kruger
Yayoi Kusama
Wolfgang Laib
Wilfredo Lam
Dorothea Lange
Jacques-Henri Lartigue
Marie Laurencin
Sol LeWitt
Fernand Leger
Percy Wyndham Lewis
Roy Lichtenstein
Max Liebermann
Jacques Lipchitz
Richard Long
Robert Longo
Morris Louis
L.S. Lowry
Sarah Lucas
August Macke
Rene Magritte
Aristide Maillol
Kasimir Malevich
Robert Mangold
Piero Manzoni
Giacumo Manzu
Robert Mapplethorpe
Franz Marc
Brice Marden
Walter De Maria
John Marin
Marisol
Kerry Marshall
Agnes Martin
Kenneth Martin
Andre Masson
Henri Matisse
Roberto Matta
Gordon Matta-Clark
Paul Mccarthy
Steve McQueen
Cildo Meireles
Ana Mendieta
Mario Merz
Annette Messager
Henri Michaux
Lee Miller
Joan Miro
Joan Mitchell
Paula Modersohn-Becker
Amedeo Modigliani
Tina Modotti
Laszlo Moholy-Nagy
Piet Mondrian
Claude Monet
Henry Moore
Giorgio Morandi
Yasumasa Morimura
Malcolm Morley
Robert Morris
Robert Motherwell
Ron Mueck
Matt Mullican
Edvard Munch
Juan Munoz
Takashi Murakami
Elie Nadelman
Paul Nash
David Nash
Bruce Nauman
Alice Neel
Mike Nelson
Louise Nevelson
Barnett Newman
Ben Nicholson
Hermann Nitsch
Noble and Webster
Isamu Noguchi
Sidney Nolan
Kenneth Noland
Emil Nolde
Maria Nordman
Georgia O’Keeffe
Albert Oehlen
Chris Ofili
Helio Oiticica
Claes Oldenburg
Jules Olitski
Yoko Ono
Julian Opie
Meret Oppenheim
Gabriel Orozco
Tony Oursler
Nam June Paik
Eduardo Paolozzi
Cornelia Parker
Martin Parr
Victor Pasmore
Max Pechstein
A.R. Penck
Giuseppe Penone
Roland Penrose
Beverly Pepper
Grayson Perry
Elizabeth Peyton
Niki de Saint Phalle
Vong Phaophanit
Francis Picabia
Pablo Picasso
Adrian Piper
John Piper
Michelangelo Pistoletto
Serge Poliakoff
Sigmar Polke
Jackson Pollock
Liubov Popova
Maurice Prendergast
Richard Prince
Marc Quinn
Arnulf Rainer
Neo Rauch
Robert Rauschenberg
Man Ray
Charles Ray
Odilon Redon
Paula Rego
Ad Reinhardt
Pierre Auguste Renoir
Jason Rhoades
Germaine Richier
Gerhard Richter
Daniel Richter
Leni Riefenstahl
Bridget Riley
Jean-Paul Riopelle
Pipilotti Rist
Diego Rivera
Larry Rivers
Norman Rockwell
Aleksandr Rodchenko
Auguste Rodin
James Rosenquist
Mimmo Rotella
Dieter Roth
Susan Rothenberg
Mark Rothko
Georges Rouault
Henri Rousseau
Ed Ruscha
Robert Ryman
Doris Salcedo
David Salle
Lucas Samaras
Cheri Samba
Fred Sandback
August Sander
Wilhelm Sasnal
Jenny Saville
Christian Schad
Miriam Schapiro
Egon Schiele
Oskar Schlemmer
Julian Schnabel
Gregor Schneider
Thomas Schutte
Kurt Schwitters
Sean Scully
George Segal
Kurt Seligmann
Richard Serra
Gino Severini
Ben Shahn
Charles Sheeler
Cindy Sherman
Stephen Shore
Walter Sickert
Santiago Sierra
Paul Signac
Roman Signer
David Smith
Kiki Smith
Robert Smithson
Pierre Soulages
Chaim Soutine
Stanley Spencer
Nancy Spero
Daniel Spoerri
Nicolas De Stael
Frank Stella
Joseph Stella
Jana Sterbak
Alfred Stieglitz
Clyfford Still
Thomas Struth
Hiroshi Sugimoto
Graham Sutherland
Rufino Tamayo
Yves Tanguy
Dorothea Tanning
Antoni Tapies
Vladimir Tatlin
Pavel Tchelitchew
Wayne Thiebaud
Wolfgang Tillmans
Jean Tinguely
Mark Tobey
Rosemarie Trockel
William Turnbull
James Turrell
Richard Tuttle
Luc Tuymans
Cy Twombly
Euan Uglow
Maurice Utrillo
Victor Vasarely
Ben Vautier
Jack Vettriano
Bill Viola
Banks Violette
Maurice De Vlaminck
Edouard Vuillard
Jeff Wall
Mark Wallinger
Alfred Wallis
Andy Warhol
Gillian Wearing
Max Weber
Weegee
William Wegman
Carel Weight
Lawrence Weiner
Franz West
Edward Weston
Rachel Whiteread
Hannah Wilke
Richard Wilson
Gary Winogrand
Wols
Grant Wood
Christopher Wool
Jack Butler Yeats
Gilberto Zorio

I am convinced that the Modigliani exhibit at the Vittoriano Gallery in Rome was curated with one thing in mind: pencils.
The only way a stodgy museum gift shop could ever get more than 1 Euro for a pencil is by hosting a name brand artist’s exhibition. At the Modigliani exhibit, they were asking 5 euros for one such item. The man was a tubercular caricaturist who did a great Cycladic Idol impersonation. Sure, he did paint a few interesting portraits, but the majority of the wallspace was submerged in wine stained sketches. Recipients of the sketches, which were scribbled in exchange for said wine, probably thought nothing of the indistinct little scraps of barroom genius. Decades later however, the would-be collectors soberly went back to their closets and dug out the sketches when it was established that they were drawn by a bona-fide genius.

I paid 7 euros, with a student discount, to see the exhibit. That means I paid close to 1 Euro per square meter of art – prime beachfront property in Vietnam costs about the same. How do they arrive at such sums? Is there an admission to art ratio I am unaware of? The Louvre costs twenty and is not nearly as scant.

As I said, the story far outweighed the productivity. Why is it that storyless art doesn’t sell? Much like Gould on the piano, playing a lovely five minute piece and then talking about how lovely he played it for two hours afterwards. Modi, on the other hand, has others to speak for him. Probably dealers that want to up the value of their inventory. They talk the city into hosting the show, for free I might add, at the gallery commemorating Vittorio Emmanuele – you couldn’t vote for a better location; the flow of tourists is constant!

The city gets the take from the door, while the organizers get the gift shop proceeds. After packaging Modi properly, they ask 5 Euros for a pencil with his name on it, and the posters cost about 20 Euros. The profit margin is enormous; we are talking about wood and paper! -And the city covers their overhead.

Does this mean that in the future I will be paying 40 euros to see a vomit stain on the wall of a subterranean abode where someone who was thought to have been artistic lived? They will put an M.R.I. scanner on my head to map the amount of neural stimulation my hippocampus received, whereupon I will be charged a second time based on my cerebral response to having seen the vomit stain.
Modi was starving most of his life and now, after his death, the money comes rolling in. He was a martyr who provided collectors with the means to profit by the poor and hungry artist’s own demise. Hungry artists just work better I guess. Drawings must sell better.

These days non traditional art forms have to battle it out to get a brief showing in some obscure gallery on Via Dei Querceti, where the poor artists must then converse with wealthy provincials about their creations. This is a fate worse than Modigliani’s. Living artists must die of exhaustion before they can reach a global audience, or at least a tour group.

My solution is this: a worldwide gift shop pencil price index. It is just like the Big Mac index from The Economist. Every reader who attends an art show from now on must record the price of the pencils in the gift shop, and we’ll average it all out. We will then create a database which we can use to appraise our own work. The idea is this: you no longer have to worry about selling your art; you just sell pencils with your name on them while you give your art away for free. No more talking to nouveau riche art collectors or energy sapping dealers; you just hang out in the gift shop and count those pencils. The employees are more fun anyway!

Once we have an idea of what Picasso pencils get in Japan and Manet pencils get in Romania, it will be easier to give your work away on Craigslist and then have a show of your pencils in Guam. Auction them off at Sotheby’s, sell them wholesale on eBay, or stockpile them for a rainy day. You could even let your dealer sell the pencils for they’ll be otherwise unemployable. Start keeping track of those gift shop sales everyone, I want to have an Excel sheet done by next month…

Created by Jeffrey Andreoni On 02/19/09 At 01:36 PM

Over at the Artopia blog is an interesting post on shit. I don’t know why it’s interesting to me and I probably should stop mentioning shit on this blog before I develop some kind of shit fetish. I just thought I should point it out as John Perreault has obviously spent some time thinking about the topic.

He focuses on the shit of Piero Manzoni, the Italian artist that is best remembered for his canned artist shit, but also mentions the shit of a few other artists like Andres Serrano and Paul McCarthy.

To be honest, I only know of Piero Manzoni because of his canned shit, but according to the post over at Artopia, the artist produced more work..

1. All-white paintings initially made of clay-soaked canvas.
2. Balloons containing the artist’s breath.
3. Living sculptures signed by the artist.
4. Pedestals for “living sculptures” — and one for the earth itself.
5. Very long lines inscribed on scrolls and sealed in tubes.
6. Most notorious and victorious, his very own canned shit.

I’ve been very very busy with the opening of my video installation.
Today is the opening night
I won’t tell you much, and will leave you with the small text that accompanies it instead:

THE ACTORS
Part 1: RECONNAISSANCE

reconnaissance. or: finding oneself. or: recognition. the recognition of someone else. someone is recognized. or: recognizing. you are (this) someone. this is (this) someone. or: meeting again. discovering again something one knew already. electra’s paradox: electra knows, and does not know, that it is her brother standing before her.

reconnaissance. checking. how far. how far one can go. how far one needs to go to. where are the borders. when do i fall into something else. and whatwho is this something else.

i like knowing so little about them.
i like that they remain actors.
and that they are actors in a way no different from all the others.
i like what they’re able to do because of how we called them: actors.

The Actors opens (link in Polish) at the TR Warszawa in Poland.
Hopefuly I’ll be able to post a short excerpt of the video soon…