Triple Candie's program might be of interest to this conversation. It
touches on many topics covered prototypes (in reverse), research
models, and fictions. They have an interesting approach to exhibition:
http://triplecandie.org/Triple%20Candie%20About%20Purposes.html.
Here is their statement of purpose:
"Triple Candie is a place-based, research-oriented gallery that
produces exhibitions about art but devoid of it. A typical exhibition
consists of reproductions, surrogates, models, stage-sets, or common
objects, situated in a textual environment, and displayed using the
rhetorical devises common to art museums, anthropology museums, and
flea markets.
The motivation behind these shows is to find ways to engage with the
ideas of art while functioning completely outside of the market and
its attendant materialism. Most of the shows are conceived as shows
that would be difficult, if not impossible, to show in any other
context, be it museum, small nonprofit, or commercial gallery.
Examples of recent Triple Candie shows include: the most comprehensive
retrospective ever of the art of David Hammons, realized with
photocopies and computer print-outs and without the artist's approval
(David Hammons: The Unauthorized Retrospective); the first survey ever
of Cady Noland's art, consisting of thirteen sculptural approximations
re-built based on incomplete information gleaned from the internet
(Cady Noland Approximately: Selected Work, 1984-2000); the development
of an archive and study center devoted to the life and work of
artist-curator-writer Matthew Higgs (The Matthew Higgs Society); and a
survey of the work of Lester Hayes, a fictional, bi-racial
post-minimal artist (Lester Hayes: Selected Work, 1962-1975). Triple
Candie also maintains a permanent collection of more than 1,200
high-quality art reproductions that it makes available for exhibition
loans (Museo de reproducciones fotograficas).
In general, Triple Candie does not work with artists or outside
curators; all our shows are produced and curated in house. Though
strategies of institutional critique are often employed, the gallery
sees itself as an institution of critique instead, wherein the
critical mindset employed operates at an institutional, rather than a
curatorial, level."
Best,
Robert Thill
On 3/20/09, Alec Robertson <alecr@dmu.ac.uk> wrote:
> Silvie,
>
>
>
> There is a sanitised version of scientific method promoted by the Scientific
> Journals, and some in art&design perhaps too, which includes the fiction
> that any repeated experiment with sensitive initial conditions is done
> without human involvement and is truly replicable, where all the instruments
> assemble themselves like the pots and pans in the kitchen of the Wizard of
> Oz.
>
> 'Is any scientific experiment a work of Art', and 'Is scientific
> research a restricted form of Arts&Design research?
>
> This kind of topic was briefly touched upon at an event entitled
> 'More is More 2' hosted at the Science Museum London, where the view was
> expressed that "complex systems science will change as the knowledge of art
> and design penetrates it". Video proceedings are available at
> http://www.4d-dynamics.net/ddr7/ or a Video Abstract can be seen on YouTube
> at http://www.youtube.com/4ddynamics
>
>
>
> Regards,
>
>
>
> Alec Robertson
>
>
> ________________________________
>
> From: yasmin_discussions-bounces@estia.media.uoa.gr on behalf of Sylvie
> Lacerte
> Sent: Thu 19/03/2009 13:53
> To: YASMIN DISCUSSIONS
> Subject: Re: [Yasmin_discussions] Fwd: ARTISTS AS INVENTORS, art as
> invention
>
>
>
> Robert and Yasminers,
> The posture adopted increasingly by artists as researchers delving into
> experimentations, (eventhough we can trace this stance back to the russian
> constructivists, the Bauhaus, EAT, A&T, conceptual art,etc.) is in part due
> to the fact that many of them are now enrolled in PhD programs where they
> theorize their practice and work processes, in light of the methodologies
> that are specific to the academic and scientific criteria and arenas. Many
> such programs, in Canada, the US, the UK and Europe cater to artists who
> wish to analyze «les tenants et les aboutissants» of their work processes
> from a theoretical and scientific vantage point. It is a way for artists to
> assert that their «research and experimentations» are just as valuable as
> those of scientists. This phenomenon has, slowly but surely, been in the
> making within the last 30-40 years (in the francophone world anyway) when
> the training of artists started to shift from the beaux-arts paradigm to the
> academic/university model. Numerous artists, now holding PhD's or MA's,
> aside from teaching, are very engaged and involved into the academic life
> where they develop new curricula, write for scholarly journals and organize
> colloquia and symposia, mainly based on the scientific model. Now it would
> be interesting to reverse the question and ask if universities could also
> adapt themselves to the artists' multiple and diversified working processes?
> Do artists need the scientific imprimatur to legitimize their practice?
> Those were interrogations often asked by my fellow artists/colleagues
> enrolled in the Art Theory and Practices PhD programme (Études et pratiques
> des arts, UQÀM), where I was studying myself, but as one of the few
> theorists.
> Best,
> Sylvie
>
> ----- Original Message -----
> From: <robert.thill@gmail.com>
> To: <c.tron@voila.fr>; "YASMIN DISCUSSIONS"
> <yasmin_discussions@estia.media.uoa.gr>
> Sent: Wednesday, March 18, 2009 3:47 PM
> Subject: Re: [Yasmin_discussions] Fwd: ARTISTS AS INVENTORS, art as
> invention
>
>
>> Colette,
>>
>> I increasingly hear of artists referring to "research" and
>> "experimentation" in reference to their work process (even in the
>> context of traditional studio practices). In doing so, they seem to be
>> deliberately aligning their art with academic and scientific practices
>> to a certain degree.
>>
>> It is interesting (and has been noted elsewhere) that the idea of
>> "work" is so closely associated with art, as in "artwork" or "work of
>> art," "My work . . . ," etc.
>>
>> Some years back there was a kind of critique of "project-based" work
>> by artists who were making site-specific art. They were asking the
>> questions: What did this mean to be making a project? What kind of
>> model was this vocabulary eluding to? Were artist becoming contracted
>> workers in the culture industry, etc.
>>
>> Best,
>>
>> Robert
>>
>> On 3/18/09, c.tron@voila.fr <c.tron@voila.fr> wrote:
>>> To answer and add questions to many interesting things exchanged all
>>> along
>>> these weeks by the discussion on Artists as inventors.
>>>
>>> - Artists in a cultural industry society are in front of technological
>>> tools and a massive mode of production. So one the question is how to
>>> integrate or refuse the general conditions for the work of creation and
>>> invention ? How to make alive the intellectual and spiritual production
>>> into
>>> the standard products ?
>>>
>>> - Artists and scientists are involved with technology. How to articulate
>>> both inventions ? Is the scientific invention with technology only an
>>> application of scientific solutions or more (and better), it means that a
>>> scientific invention introduce a way of life trough new technical objects
>>> ?
>>> And artist's use of these technical objects would not be an application
>>> of
>>> the possibilities of the tools but another way of life ? How all this can
>>> live together ? Artists and scientists do they have to work close in
>>> order
>>> to imagine and invent ways of life, and so a new society ?
>>>
>>> - Leonardo's work included many fields, from engeenering to painting, and
>>> in
>>> each of ones, he tryed to invent a way to make it work : water machines,
>>> war
>>> objects, painting representation (perspective, proportions)... So he is
>>> considered as an inventor into a large scale. Some say that he had
>>> introduced the modern science by his way of thinking. Leonardo is a
>>> singular
>>> and extraordinary artist. His inventions still continue to exist. Is he
>>> the
>>> model for our times ?
>>>
>>> - Do technological innovation has to generate the need to use it for the
>>> artists, or aesthetic forms and representation questionning have to be
>>> resolved by technological inventions ? Experimentation and research seem
>>> to
>>> have to be an important part of work for artists and scientists. It is my
>>> position and I can see that also in the texts about 3D bitmap or about
>>> photography, or Shoffer 's work, and architect Lynn, and so on...
>>>
>>> Best,
>>> Colette
>>>
>>>
>>> _______________________________________________
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