transparency is about a lot of things, but one of the most important
is money yet nobody has mentioned this yet (tho`maybe i missed it?
szeeman had a "significant budget" but no numbers)
despite lots of shining of clever investigations
a project without a budget is a silent project, especially when
working with public money
does anyone on this list publish the budgets of their projects ?
https://docs.google.com/spreadsheet/ccc?key=0AgF2L7baUVrcdEFZZGhOdnEzMTRLLWpIczRNeUt5Zmc
bz
On Thu, Mar 14, 2013 at 8:33 AM, Armin Medosch <[log in to unmask]> wrote:
> Hi,
>
> I think, there was an article in Studio International at the time that was
> critical of the involvement of Philip Morris. There is also this quote in
> Alexander Alberro's book on conceptual art:
>
> 'We at Pillip Morris feel it is appropriate that we participate in bringing
> these works to the attention of the public for there is a key element in
> this "new art" which has its counterpart in the business world. That element
> is innovation - without which it would be impossible for progress to be made
> in any segment of society.' John Murphy, President, Philipp Morris Europe,
> in Live in Your Head: When Attitude Becomes Form, exh. cat. (Bern,
> Kunsthalle Bern n.p.) quoted in Alberro 2003, p. 2
>
> Sarah, I was not aware of that aspect of Tanja's work. Generally I find her
> work on immigration more important. BUt that Biennale project highlighted
> the aspect of gender and power relations in art, especially in curating.
> NOw, of course the term curating ahs taken on new meanings, as everybody is
> curating their youtube playlist.
>
> BTW, I also remember foundly the institute of taxonomy of the UofO and if
> circumstances permit I hope to do something - with others - in the context
> of the Fields project that amounts to a game of naming and discussing
> categories in a kind of folksonomic and playful spirit
>
> all best
> Armin
>
>
>
>
>
>
>
>
> On 03/13/2013 07:25 PM, Sarah Cook wrote:
>>
>> hi michael the conference sounds interesting and I'd love to know
>> more about it... but Julian is not the first to note this, and in
>> fact it is often discussed as part of the history of the show. Bruce
>> Altschuler in his book 'The Avant-Garde in Exhibition' devotes pages
>> to When Attitudes Become Form, and notes very clearly about the
>> sponsorship, that "packs of cigarettes were given away at the
>> opening" (page 254) backed up by a footnote citing 1992 interviews
>> with Joseph Kosuth and Lawrence Weiner. yours, sarah
>>
>> p.s Armin, was it not also that case that Tanja's key goal was for
>> Szeeman to see her pubic hair, groomed to be a Malevich-inspired
>> black square on white? Once he relented and did so her art project of
>> following him around ended?
>>
>>
>>
>> On 13 Mar 2013, at 18:01, Michael Connor wrote:
>>
>>> Speaking of Szeeman and transparency - Julian Myers gave a paper
>>> on 'When Attitudes Become Form' and '9 at Castelli' at the
>>> Exhibition as Medium conference at Harvard this past weekend, and
>>> he made a fascinating point.
>>>
>>> All of the documentation from the opening of 'When Attitudes
>>> Become Form' seems to depict artists smoking - he had plenty of
>>> great example images - and the exhibition was in fact sponsored by
>>> Phillip Morris, one of their first efforts in the area of art
>>> sponsorship. This is a fact that is not usually discussed as part
>>> of the history of this show, but somehow it seems like it's not
>>> irrelevant.
>>>
>>> On Wed, Mar 13, 2013 at 4:40 AM, Armin Medosch
>>> <[log in to unmask]> wrote:
>>>>
>>>> Hello,
>>>>
>>>> I am sure many are familiar with the performance by Serbian
>>>> artist Tanja Ostovic at the biennale of Venice 2001.
>>>>
>>>> Quote Wikipedia: her performance "I'll Be Your Angel" involved
>>>> her following around the independent curator and art historian
>>>> Harald Szeemann - who had at his disposal a significant budget -
>>>> for days, all the time simply smiling fondly at him.[2][7] The
>>>> one-time "great subversive" Szeemann did not see the funny side
>>>> of this, however, and made sure she was excluded from all his
>>>> projects.
>>>>
>>>> best armin
>>>>
>>>>
>>>>
>>>> On 03/13/2013 12:14 PM, KathyRae Huffman wrote:
>>>>>
>>>>>
>>>>> There will be an exhibition on the curatorial work of Szeeman
>>>>> at the Venice Biennale this year, The Getty Research Institute
>>>>> has the archive, and the Prada Foundation is presenting and
>>>>> supporting the exhibition. This will be a must-see!
>>>>>
>>>>> Cheers, Kathy
>>>>>
>>>>> On Wed, Mar 13, 2013 at 12:01 PM, Annick Bureaud
>>>>> <[log in to unmask]> wrote:
>>>>>>
>>>>>>
>>>>>> This sentence by Sarah
>>>>>>
>>>>>>>
>>>>>>> I wonder if we are seeing the next stage in curatorial
>>>>>>> study -- exhibitions devoted to the practice of curators.
>>>>>>> Can anyone name any others? (has the Getty mounted a show
>>>>>>> about Szeeman yet?)
>>>>>>>
>>>>>> is very important, I think.
>>>>>>
>>>>>> I was wandering what it means to have all those images of the
>>>>>> setting up/preparation of an exhibition put online (Flikr or
>>>>>> elsewhere) and being included in catalogs, books, etc.
>>>>>> Transparency for whom ? Transparency of what ? Why do we want
>>>>>> the audience to see "the kitchen" as we say in French when
>>>>>> we (curators, artists, and everyone envolved in building a
>>>>>> show) spend so much energy, time, money to "display" a work
>>>>>> of art in a manner that makes sense, is respectful of the
>>>>>> intention of the artist and that, precisely, hides the
>>>>>> making.
>>>>>>
>>>>>> So, would another "next step" be an exhibition "in the
>>>>>> making", without the works fully "set up" or with the crates,
>>>>>> hammers and all the tools, wires, and dust also on display ?
>>>>>> And then, what would it/should it look like ? and what would
>>>>>> it tell ?
>>>>>>
>>>>>> Annick --
>>>>>>
>>>>>> ------------------------ Annick Bureaud ([log in to unmask])
>>>>>> tel: 33/(0)1 43 20 92 23 mobile/cell : 33/(0)6 86 77 65 76
>>>>>> Leonardo/Olats : http://www.olats.org Web :
>>>>>> http://www.annickbureaud.net Collectif Nunc :
>>>>>> http://www.nunc.com -------------------------
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>
>>>
>>>
>>>
>>> -- Michael Connor +1 646 620 7758
>>
>>
>> ------------------------------------------------
>>
>> Dr. Sarah Cook Reader MA Curating Module Leader
>>
>> Faculty of Arts, Design and Media University of Sunderland
>>
>> David Putnam Media Centre St. Peter's Campus Sunderland, SR7 0DD ex
>> 2134
>>
>> Curator for the Festival of Electronic Arts and Video, Transitio_MX05
>> "Biomediations", September 19-29, 2013 in Mexico City
>>
>> Co-editor and co-founder, The Curatorial Resource for Upstart Media
>> Bliss, www.crumbweb.org
>>
>> Read our books:
>>
>> Euphoria & Dystopia: The Banff New Media Institute Dialogues.
>> e-edition now available for $19.99 CAD!
>> https://itunes.apple.com/ca/book/euphoria-dystopia/id597963828?mt=11&uo=4
>>
>> Rethinking Curating: Art After New Media.
>> http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=12071
>>
>> A Brief History of Curating New Media Art, and A Brief History of
>> Working with New Media Art. http://www.thegreenbox.net
>>
>
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