Stephen Beck’s Video Weaving (1976), shown during a Mets game - Shea Stadium, New York, 1982
"The year 1982 marked the appearance of giant video screens, based on gas discharge plasma bulbs. The Mitsubishi Diamond Vision screens were 30 feet wide, and when an executive from Mitsubishi noticed a chevron-shaped diamond passage in Beck’s Video Weavings at the Tokyo Museum of Art’s "Video Tokyo" exhibition, his firm licensed the artist’s work for a full season’s display on the first Mitsubishi Diamond Vision screen at Shea Stadium in New York for the New York Mets."
December 16 2013 10:02 am • • 18 notes
“But here’s the twist. [The Obama / Helle Thorning-Schmidt selfie photo] was captured by Agence France Presse photographer Roberto Schmidt using a digital SLR camera and a huge 600mm lens, and press photographers hardly ever use iPhones. But should they?”
The death of photography: are camera phones destroying an artform?
December 15 2013 9:27 am • • 7 notes
“One thing that strikes me about relational art is that it treats art spaces like a last refuge of the social—as if social interaction had become so difficult or so depleted elsewhere that it could only happen in the vacated spaces of art. […] I suppose I am more interested in practices that use art as a guise or ruse for other practices altogether, such as pedagogy, say, or politics.”
— Hal Foster
December 13 2013 1:02 pm • • 3 notes
“What drew me to contemporary art originally was the way it seemed both to engage the historical field and to access the contemporary moment. Art history suggested that if you could follow a line, say, from the 19th century to the present, you might grasp the very trajectory of history. That was an illusion, of course, but a powerful one; it was an ego trip, too, to imagine you could surf the dialectic in this manner. Yet it made for a historical consciousness on the part of particular artists and critics that is not so evident today.”
— Hal Foster
December 13 2013 12:56 pm • • 2 notes
“I grant the existence of the libertarian, techno-utopian, Ayn Rand crowd but don’t really care what they have to say in this debate.”
— I’m seeing lots of words about housing in San Francisco.
December 12 2013 9:38 am • • 4 notes
“I tried to stay out of the photography world for a very long time, because I didn’t feel comfortable there. This discipline stuff is really boring. You would never see a group show about acrylic paint, because that’s not what it is about, it is about images and what’s in them and how you contextualize them—that’s much more interesting for me. So, with that argument, I always said no to all these “Is it real?” shows, and, you know, “Photographs from Germany,” “Photographs After 1945,” and anything like that. But Ute Eskildsen, who is a fantastic curator in Germany, told me one day: “Look, the whole photography world tries to get away from that ghetto anyways, so if you say no, you are the one who perpetuates it.” And that made so much sense. So in the end, at some point it becomes stupid to say, “I don’t want to have anything to do with you.” You can do things with it, it’s actually an empty vessel, and people seem to be interested in that vessel, so you can play with it as well.”
— Interview with Thomas Demand
December 11 2013 12:18 am • • 11 notes
A studio visit with Ed Panar
photographs by Nathan Ward
Where is your studio exactly and how long have you been working there?
My studio is in the attic of a little row house where I live in the Lawrenceville neighborhood of Pittsburgh. I have been working here since April 2011.
What are the pros and cons of your…
December 10 2013 5:20 pm • • 133 notes
“I always find technologies interesting when they arrive at the point of general use, because this is also when they have the potential to reach people with a generally accepted vocabulary.”
— Wolgang Tillmans in Neue Welt (via odus-moperandi)
December 9 2013 10:54 pm • • 43 notes