4.16.2011
To watch the video and read the participating artists' statements click here
Showing posts with label "Jeffrey Deitch". Show all posts
Showing posts with label "Jeffrey Deitch". Show all posts
Monday, April 18, 2011
Culture Wars continue at LA MOCA
Protest during the opening of "Art in the Streets".
4.16.2011
To watch the video and read the participating artists' statements click here
4.16.2011
To watch the video and read the participating artists' statements click here
Sunday, April 17, 2011
"Opening" Protest at MOCA
Culture Wars continue at LA MOCA.
The following video is a short report on the protest that took place during the opening of "Art in the Streets".
Statements from participating artists/performers:
How The West Was Won
MOCA director Deitch couldn't digest the painfully truthful worldwide view of US Imperialism Blu painted. So instead, he whitewashed and replaced it with the US Government/Hollywood sanctioned version we now see. True Blue Amerikan Censorship!
Joe Talkington - Butoh Sculptor
I think it's very dangerous to view MOCA's reaction to BLU's anti-war mural by erasing it as anything less than censorship. I believe not to boycott this show after the mural has been buffed would be to go against the very intention of any street art that isn't about self-aggrandizement. The quickest way to silence dissent is to give the dissenters authority and put them on the payroll.
Khadija Anderson
Poet/Butoh Artist
The following video is a short report on the protest that took place during the opening of "Art in the Streets".
Statements from participating artists/performers:
How The West Was Won
MOCA director Deitch couldn't digest the painfully truthful worldwide view of US Imperialism Blu painted. So instead, he whitewashed and replaced it with the US Government/Hollywood sanctioned version we now see. True Blue Amerikan Censorship!
Joe Talkington - Butoh Sculptor
I think it's very dangerous to view MOCA's reaction to BLU's anti-war mural by erasing it as anything less than censorship. I believe not to boycott this show after the mural has been buffed would be to go against the very intention of any street art that isn't about self-aggrandizement. The quickest way to silence dissent is to give the dissenters authority and put them on the payroll.
Khadija Anderson
Poet/Butoh Artist
Thursday, April 14, 2011
Culture Wars: Crowdsourcing VS Curating
The following article was published on bigthink.com
Mob Rule: Curating via Crowdsourcing
Mob Rule: Curating via Crowdsourcing
The aftershocks of the controversy surrounding the Smithsonian’s National Portrait Gallery’s decision to drop David Wojnarowicz’s 1987 video “A Fire in My Belly” from their exhibition Hide/Seek: Difference and Desire in American Portraiture continue to be felt. I first wrote about this kerfuffle back in December, when it seemed like part of the “War on Christmas” conservatives claim is declared annually in America. The left fired back by putting Wojnarowicz’s video into museums and exhibitions across the country as a sign of solidarity against censorship. Now, the culture war continues, with the Smithsonian opening the door to a new kind of censorship—“crowdsourcing” as a means of curating. Instead of risking offending groups with exhibitions, the Smithsonian allows groups to “preview” the show and “suggest” changes. But can such social media mob rule be good for the arts?
Robin Cembalest writes in a recent issue of ARTnews that a report from the Smithsonian panel organized to study the Hide/Seek controversy “suggested that the Smithsonian provide an opportunity for the public to weigh in at ‘pre‐decisional exhibit planning phases.’" Cembalest, executive editor at ARTnews, acknowledges that the particulars of this “pre-decisional” opportunity for the public haven’t been worked out. However, as Cembalest points out, it is significant that this suggestion “directly contradicts the panel’s assertion that ‘curatorial freedom of expression, expertise, and authority’ are vital.” Cembalest rightly fears that this crowdsourcing could “turn the Smithsonian into a sitting duck for all manner of groups that want to implement an agenda. Opening exhibition preparation to crowdsourcing is not a way to anticipate controversy—it's a way to assure it.” In trying to reseal one can of worms, the Smithsonian seems to have opened another one.
Crowdsourcing does have its uses. Using Facebook, a team of scientists form the Smithsonian virtually harnessed the brainpower of fellow ichthyologists to identify over 5,000 specimens of fish from in less than 24 hours, which allowed them to get the results of a field study out to scholars and ready for exhibition to the public far faster than the old fashioned way. Social media makes such miracles possible. In a way, the recent revolutions in the Middle East can be seen as a form of crowdsourcing where the collective talents for organization and agitation joined in the virtual realm of social media before taking to the physical streets. Test audiences for movies and television programs could be called crowdsourcing, too. What’s the harm in showing an audience two different endings and using the one that they like better? As Charlie Sheen would say—“winning.”
Unfortunately, art exhibitions aren’t movies with multiple endings. Such films probably aren’t cinematic classics to begin with if the director needs such decisions to be made for him. Curators, the “directors” of exhibitions, have the training and knowledge necessary to make the tough choices that average museum-goers can’t. If you want to ride down the slippery slope, you can envision a day when crowds pick only the safe blockbuster-type shows of Impressionists and Old Masters. Art museums would then become the visual equivalent of many orchestras across the country relentlessly playing the standard repertoire of Beethoven and Mozart to dwindling audiences literally graying and dying before their eyes. Such crowdsourcing would essentially bore the art world to death.
Cembalest, however, hints at a more sinister story then sheer boredom by the lowest common denominator of taste. Imagine a museum world where works such as Wojnarowicz’s video never see the light of day. What would have happened if Chris Ofili’s The Virgin Mary (detail shown above) drew the ire of Rudy Giuliani in 1999 before the public ever had a chance to see it? If the Brooklyn Museum of Art “crowdsourced” Giuliani first, the electricity generated by the friction between opponents and supporters of the dung-covered icon would never have happened. What keeps museums alive is that rub. Robbing museums of controversy preemptively short circuits any hope of penetrating the consciousness of society.
“But where’s the democracy?,” you may object. If people want to see Impressionism and nothing else, shouldn’t they be allowed. Not to sound elitist, but I think that the “cost” of that kind of democracy would be the forfeiture of the educational role of art. That brand of democracy would be like listening to a continue loop of the same song. I, for one, want to keep hearing new tunes, even if I don’t like them.
That’s what it comes down to, of course. Like versus dislike. Acceptable versus unacceptable. Crowdsourcing is only as good as the crowd itself. One person’s democracy can be another person’s mob rule. When that mob holds an extreme agenda it turns into an ugly mob. If extreme views hold disproportionate sway, nobody wins. Crowdsourcing is a powerful tool used properly. Taking that power to possibly banish challenging or controversial art is a misuse that doesn’t make museums safer. It makes them useless.
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| Image by LA RAW |
Crowdsourcing does have its uses. Using Facebook, a team of scientists form the Smithsonian virtually harnessed the brainpower of fellow ichthyologists to identify over 5,000 specimens of fish from in less than 24 hours, which allowed them to get the results of a field study out to scholars and ready for exhibition to the public far faster than the old fashioned way. Social media makes such miracles possible. In a way, the recent revolutions in the Middle East can be seen as a form of crowdsourcing where the collective talents for organization and agitation joined in the virtual realm of social media before taking to the physical streets. Test audiences for movies and television programs could be called crowdsourcing, too. What’s the harm in showing an audience two different endings and using the one that they like better? As Charlie Sheen would say—“winning.”
Unfortunately, art exhibitions aren’t movies with multiple endings. Such films probably aren’t cinematic classics to begin with if the director needs such decisions to be made for him. Curators, the “directors” of exhibitions, have the training and knowledge necessary to make the tough choices that average museum-goers can’t. If you want to ride down the slippery slope, you can envision a day when crowds pick only the safe blockbuster-type shows of Impressionists and Old Masters. Art museums would then become the visual equivalent of many orchestras across the country relentlessly playing the standard repertoire of Beethoven and Mozart to dwindling audiences literally graying and dying before their eyes. Such crowdsourcing would essentially bore the art world to death.
Cembalest, however, hints at a more sinister story then sheer boredom by the lowest common denominator of taste. Imagine a museum world where works such as Wojnarowicz’s video never see the light of day. What would have happened if Chris Ofili’s The Virgin Mary (detail shown above) drew the ire of Rudy Giuliani in 1999 before the public ever had a chance to see it? If the Brooklyn Museum of Art “crowdsourced” Giuliani first, the electricity generated by the friction between opponents and supporters of the dung-covered icon would never have happened. What keeps museums alive is that rub. Robbing museums of controversy preemptively short circuits any hope of penetrating the consciousness of society.
“But where’s the democracy?,” you may object. If people want to see Impressionism and nothing else, shouldn’t they be allowed. Not to sound elitist, but I think that the “cost” of that kind of democracy would be the forfeiture of the educational role of art. That brand of democracy would be like listening to a continue loop of the same song. I, for one, want to keep hearing new tunes, even if I don’t like them.
That’s what it comes down to, of course. Like versus dislike. Acceptable versus unacceptable. Crowdsourcing is only as good as the crowd itself. One person’s democracy can be another person’s mob rule. When that mob holds an extreme agenda it turns into an ugly mob. If extreme views hold disproportionate sway, nobody wins. Crowdsourcing is a powerful tool used properly. Taking that power to possibly banish challenging or controversial art is a misuse that doesn’t make museums safer. It makes them useless.
Wednesday, April 6, 2011
"Art in the Streets"
"Art in the Streets" by LA Anonymous
At a time when Museum of Contemporary Art in Los Angeles is about to launch "Art in the Streets, the first major U.S. museum survey of the history of graffiti and street art presented in the United States", the city of Los Angeles has launched an all out attack on "street artists".
At a time when a Billionaire backed museum organizes an exhibit of the street art, where people are required to pay an admission fee to see the show, and are provide with a "safe" venue to purchase exhibit related merchandise, "The Los Angeles city attorney’s office has filed a lawsuit against Gheorghiu and nine other graffiti writers... because they’re selling art works on the strength of their outlaw names and reputations"(Washington Post).
At a time when the second largest city in the U.S. is run by big developers and lacks leadership by its elected officials, it's no surprise that same thing would happen to its museums. The natural outcome of this trend is out in the open for all to see (or NOT see); whitewashing of anti war murals, prosecution of non billionaire sanctioned street artist, etc.
Culture Wars are on, and we're just getting warmed up!
Friday, April 1, 2011
Desperately Seeking Artist!
The following appeared on craigslist on Friday April 1, 2011
Artist Wanted
Contemporary Art “museum” seeks street artist to do a very large mural on the museum's exterior wall.
Great opportunity to generate international publicity for your work!
Requirements:
Sketches should be submitted in advance. Design may NOT include any reference to social/political/cultural issues, ie. education, labor, war, arts budget cuts, censorship, etc.
All submitted designs must be abstract, void of meaning, and lacking substance of any kind.
All submissions MUST include a contract signed by the artist agreeing to the following:
- To release museum of any responsibility in the event of any city regulation violation leading to the removal of said mural.
- To not communicate with press and the media in any form, written, verbal, visual, cyber, etc.
- To not disclose any information you might acquire in the course of your work in regards to city government, officials running for the office of the mayor and the major contributors to their campaigns, be it venture philanthropist/former or current real estate developers or other interested parties in development negotiations with the city.
- To comply with museum's definitions for various words and phrases such as agreeing that removal of artwork is not censorship but is a curatorial decision. This includes any words that may need future definition alteration as seen fit by museum staff.
Museum reserves the right to determine all issues pertaining to sensitivity especially regarding candidates for future city government offices.
All compensation due to the artist will be paid out of museum executive’s personal funds and is not subject to public scrutiny.
Disclaimer:
A- Although museum building might be under the ownership of the city, artist is solely responsible for complying with all city regulations concerning the legal issues pertaining to executing public art and museum does not feel the need to function within the boundaries of government regulations even if said museum may be a public entity.
B- Selected artist is solely responsible towards any future loss of reputation or dignity, especially among colleagues and peers.
C- This announcement is published only to further public discussion of various issues concerning the state of the arts and culture and is not a real job offer.
From craigslist
Artist Wanted
Contemporary Art “museum” seeks street artist to do a very large mural on the museum's exterior wall.
Great opportunity to generate international publicity for your work!
Requirements:
Sketches should be submitted in advance. Design may NOT include any reference to social/political/cultural issues, ie. education, labor, war, arts budget cuts, censorship, etc.
All submitted designs must be abstract, void of meaning, and lacking substance of any kind.
All submissions MUST include a contract signed by the artist agreeing to the following:
- To release museum of any responsibility in the event of any city regulation violation leading to the removal of said mural.
- To not communicate with press and the media in any form, written, verbal, visual, cyber, etc.
- To not disclose any information you might acquire in the course of your work in regards to city government, officials running for the office of the mayor and the major contributors to their campaigns, be it venture philanthropist/former or current real estate developers or other interested parties in development negotiations with the city.
- To comply with museum's definitions for various words and phrases such as agreeing that removal of artwork is not censorship but is a curatorial decision. This includes any words that may need future definition alteration as seen fit by museum staff.
All compensation due to the artist will be paid out of museum executive’s personal funds and is not subject to public scrutiny.
Disclaimer:
A- Although museum building might be under the ownership of the city, artist is solely responsible for complying with all city regulations concerning the legal issues pertaining to executing public art and museum does not feel the need to function within the boundaries of government regulations even if said museum may be a public entity.
B- Selected artist is solely responsible towards any future loss of reputation or dignity, especially among colleagues and peers.
C- This announcement is published only to further public discussion of various issues concerning the state of the arts and culture and is not a real job offer.
From craigslist
Monday, March 28, 2011
"The Culture Wars Are Back"
"The Culture Wars Are Back": A Summit at the Corcoran Draws Lessons From the Smithsonian's Wojnarowicz Censorship Scandal
By Ben Davis
for ARTINFO.COM
The National Portrait Gallery's "Hide/Seek" exhibition may have closed, but the controversy around Smithsonian director G. Wayne Clough's decision to remove a work by David Wojnarowicz from that show simmers on. The Smithsonian has said that it will host a forum on lessons learned from the dispute in April — details have not been fleshed out — but this past weekend, the Corcoran Gallery of Art hosted an all-day symposium on the issues raised by the affair, titled "Culture Wars: Then and Now." The location, of course, is highly symbolic, since the Corcoran was ground zero for an earlier era of tussles between the religious right and the avant garde. And Saturday's key-note speaker was Yale art school dean Robert Storr, who declared that "the culture wars are back," according to the Washington Post.
The symposium drew some 100 attendees, and in addition to Storr included such '90s culture-war veterans as Dennis Barrie, the former director of the Cincinnati Contemporary Art Center who was charged with obscenity for showing Robert Mapplethorpe, and Jane Livingston, who quit her position as associate curator at the Corcoran over the Mappelthorpe scandal in 1989. It also brought together a range of figures from the trenches of the recent National Portrait Gallery protests, including Mike Blasenstein and Michael Dax Iacovone, the activists who opened a temporary Museum of Censored Art to show Wojnarowicz's work outside the NPG, and Orameh Bagheri of the anti-censorship group L.A. Raw, which spearheaded some creative demonstrations against Clough when he appeared in L.A.
To read the full article click here.
By Ben Davis
for ARTINFO.COM
The National Portrait Gallery's "Hide/Seek" exhibition may have closed, but the controversy around Smithsonian director G. Wayne Clough's decision to remove a work by David Wojnarowicz from that show simmers on. The Smithsonian has said that it will host a forum on lessons learned from the dispute in April — details have not been fleshed out — but this past weekend, the Corcoran Gallery of Art hosted an all-day symposium on the issues raised by the affair, titled "Culture Wars: Then and Now." The location, of course, is highly symbolic, since the Corcoran was ground zero for an earlier era of tussles between the religious right and the avant garde. And Saturday's key-note speaker was Yale art school dean Robert Storr, who declared that "the culture wars are back," according to the Washington Post.
The symposium drew some 100 attendees, and in addition to Storr included such '90s culture-war veterans as Dennis Barrie, the former director of the Cincinnati Contemporary Art Center who was charged with obscenity for showing Robert Mapplethorpe, and Jane Livingston, who quit her position as associate curator at the Corcoran over the Mappelthorpe scandal in 1989. It also brought together a range of figures from the trenches of the recent National Portrait Gallery protests, including Mike Blasenstein and Michael Dax Iacovone, the activists who opened a temporary Museum of Censored Art to show Wojnarowicz's work outside the NPG, and Orameh Bagheri of the anti-censorship group L.A. Raw, which spearheaded some creative demonstrations against Clough when he appeared in L.A.
To read the full article click here.
Thursday, January 20, 2011
LA RAW Protests Museum Censorship during Wayne Clough's visit to L.A.
Thursday January, 20, 2011
Wayne Clough, Secretary of the Smithsonian Museum, recently removed David Wojnarowicz’s 1987 video, “A Fire in My Belly,” from a critically acclaimed exhibition about gay-themed portraiture. LA RAW invited Artists and activists, along with supporters of free speech and free expression, to gather at the Biltmore where he was to speak at the Town Hall Los Angeles public issues series, to protest against the escalating art censorship from the Smithsonian to MoCA.
Wayne Clough, Secretary of the Smithsonian Museum, recently removed David Wojnarowicz’s 1987 video, “A Fire in My Belly,” from a critically acclaimed exhibition about gay-themed portraiture. LA RAW invited Artists and activists, along with supporters of free speech and free expression, to gather at the Biltmore where he was to speak at the Town Hall Los Angeles public issues series, to protest against the escalating art censorship from the Smithsonian to MoCA.
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