“As an African-American artist, writer and historian who is completely self-taught, it's probably fair to say that I know a few things about being an outsider. From my proactive perspective I think and act in solution.
My article, which by the way included Creative Growth--an arts center devoted to persons with disability--did not solely focus on the Oakland Art Murmur. As Karen Cusolito and Heather Marie Henderson are independent artists working out of freelance studios in West Oakland. As well, what not a single commenter has mentioned is the fact that though I interviewed both men and women for the piece, I wrote and used images about women artists. And for all this I get lumped into the category of the "homogeneous focus of the press"?
Writers are human beings, we have feelings too. Yet, more than I am a writer, I am an artist. And like most artists, I know what it feels like to be under-appreciated and/or ignored. And on most days, I know what it feels like to exhaust financial resources for my craft(s).
What I do I do not for the money, but for the love of the experience, and in gratitude for the opportunity. If and when the money comes, I welcome it.
“How many galleries, museums and cultural heritage centers are located in Oakland? Which is to say, how long would this article had to have been--including all the photos available--to have properly noted in equanimity every single venue worthy of mention...like, 100,000 words long + 1,000 photos? I am not affiliated with the City of Oakland in any way whatsoever, and have absolutely nothing to do with 21 Grand being shuttered. So, perhaps your grievances would be better received if taken up with those liable. Hopefully, in the meanwhile, 21 Grand will find a new [better] home.”
“Patricia, thanks for writing this. Have you seen Art Digital Magazine artdigitalmagazine.com (AD MAG)? It's a publication I founded in 2008, which speaks to digital art, technology and new media, for which one of the contributing writers is architect and artist Andrew Reach--a former employee to the architectural firm HOK Miami. I've written quite a bit about digital things, theorizing also, and one of the terms that I've come up with to describe people like myself and Reach, who are multi-faceted in creativity, is TADAE (pronounced Today). It's a moniker that stands for any of these things: Traditional And Digital Artist Engineer or Traditional And Digital Artist Entrepreneur or Traditional And Digital Artist Educator. Nearly 100 years ago Walter Gropius--founder of the Bauhaus--said "Art and technology, a new unity." This it seems, is ever relevant today.”
hp blogger Patricia Brizzio on Feb 17, 2011 at 09:17:48
“Thank you Max. I will check Art Digital Magazine right away, thanks for sharing it.”
“Another great article which addresses some difficult topics of race relation that nobody genuinely wants to talk about. I'd love to keep you updated on the efforts to retain and progress the cultural identity in the "new Oakland" including a public forum on the state of the arts, ArtistSpeak!, some exciting upcoming initiatives in West Oakland which will require broad-based inclusion and the work of the policy advocacy group Urban Strategies Council- http://www.urbanstrategies.org/programs/infotech/bayareablacks.php. The truth hurt on both sides of this debate, but without truth, solutions will be hard to come by.”
“Yes Nina--2006, which is what I've noted and told others, and meant to write in my comment about, instead of 1996, being when you started (coined?) using the term Museum 2.0.
Like always, you continue to inspire with such profound articulations, as you've just stated:
"Museums are like church; people are nostalgic for the ritual and the quiet, but that doesn't mean they want museums to be an active part of their lives...the goal is not to find a gee whiz tool but to help people connect with that core cultural experience..."
So Nina, thanks to you and all that you do, and for those not yet familiar with Simon's work, her website museumtwo.com is an ideal place to start. And again, for observers who may have missed it, here is the link to the article I wrote about Simon earlier this year: http://www.huffingtonpost.com/max-eternity/is-your-museum-too-white_b_690276.html”
“Nina Simon, who has been using the term Museum 2.0 since 1996, is the author of a book entitled The Participatory Museum. I conducted an interview with Simon, and wrote an article about her for Huffpo Arts this past summer. Simon is doing great work, digging deep to get to the heart of assisting art and culture institutions in a manner that facilitates them to offer their best face and most useful service(s) to the public-at-large.
“Thanks, Max. It's actually since 2006, but I appreciate the note.
From my perspective, "museums 2.0" is not about flashy apps or finding more ways to push content out at visitors. It's about transforming the institution into a platform for dialogue, for participation, for user creativity--all the things that make Web 2.0 successful.
From my perspective, this post is reactionary. It presumes that museums are supposed to be as they have always been. Museums are like church; people are nostalgic for the ritual and the quiet, but that doesn't mean they want museums to be an active part of their lives.
Those of us who ardently want museums to be essential community places--places for people of all kinds of celebrate, explore, argue about art and ideas--are seeking all kinds of thoughtful ways to make those places exist. New media, interactives, quiet places for reflection, loud places with couches... the goal is not to find a gee whiz tool but to help people connect with that core cultural experience. I'd argue that people like Ariana are very lucky to have had a deep connection with museums throughout their lives. New tools, especially those that personalize and democratize the experience, help more people have those peak experiences with art and culture.”
As editor and publisher to Art Digital Magazine, which has the largest archive in the world of feature-length interviews with digital artists, the idea of acknowledging the digital experience in the [visual] arts definitely has appeal. However in addition to Born's questions within the article, 3 other questions had come to my mind when I first heard about this event over the summer.
1. In making a splashy foray into digital by way of Youtube videos, which may or may not be strictly entertainment, not necessarily visual art, does it serve the interests of new media and digital artists, curators and collectors to have critical issues surrounding digital editioning, authenticity and provenance protocols completely sidestepped. Since digital prints, sculpture, textiles and the like are not included or even acknowledged in this "Digital Biennial"?
2. Is it fair to video artist(s) to have their work used by Google/Youtube/Guggenheim to promote their enjoined venue, without having requested permission of the artist(s) before hand, as was/is the case with the video "Doll Face" created by artist, Andrew Huang.
3. Why weren't individuals like myself, Don Relyea, Bonny Lhotka, Scott Ligon et all--who are very well known and respected amongst peers practicing in digital arts--consulted with by the Guggenheim in the leadup? Doing so would not only have shown us the respect we deserve, but would have also aided in navigating digital art's sometimes slippery slopes.
“While it does seem odd that Apple is getting sole credit in this article for revolutionizing painting, as you so rightfully point out, Sharkcellar, many other digital applications have been around for years prior--decades even. Also, as quoted in the article "...the need for physical media is declining." So umm...iPad is not physical? Of course it is. Even in the Digital Age, physical mediums are still required. However, from my perspective, art is what matters.
I'm the editor of a publication which bears the distinction of having the largest, published, online archive in the world of feature-length interviews with digital and new media artists--Art Digital Magazine--and rarely if ever do I get into discussions about specific tools.
Notwithstanding, the point I'd like to get to is that while museums are showing digital art, I observe an overemphasis on the technology.
What is talent? Find the art.
And, how are digital works to be editioned?
What's the difference between a multiple-original and a reproduction?
2 years ago I wrote a peer-reviewed white paper entitled Collecting Digital Prints, so that some of these questions might be answered. I also wrote an article for Artworks Magazine, entitled "The Digital Dilemma", which spoke to these concerns as well.
Many collectors (private and institutional) are unwilling to collect digital work (beyond a few novelty pieces, just to say they've been there-done that), because they don't have a clue about provenience, conservation and authentication.
For anyone interested in learning more about digital and new media, please visit admag.wordpress.com
It's the world's largest archive of feature-length interviews with digital and new media artists. There's an artists gallery and some terrific essays too.”
“This is an interesting subject of discussion, which in my view is much needed. For myself, as an artist who's also a writer, curator, activist and editor, I'm discovering that the prior boundaries between artist, curator, critic and client have changed dramatically just in the last decade. In other words, if I write an article about an artist who is exhibiting in Gallery X, then at some later date encounter a curator at Gallery X who's interested in my work, am I supposed to say no? Or what about this, if a writer pens a piece for my publication (I'm the editor of Art Digital Magazine) then at some later date writes an article about an exhibition my art is in, should I tell him or her not to do that?
I'm an ethical person and I don't believe in crony relationships, in large part because I see what cronyism has done to scathe the art world, but mostly I just don't get into it because it's not the way I was raised. It feels yukky--not right.
These are some thoughts I'm having, and this idea of self-publishing PR material is certainly a part of the dilemma.
How much does the Internet and other digital technology have to do with this shift in art operations? That's is another question, and I suspect there are no easy answers.”
“The 1960's saw the rise of women's rights, civil rights and gender rights movements, and though we are "post" all of those movements, as a nation--collective and individually--we find ourselves still speaking to those challenges, many of which are well hidden and social acceptable, however counter-productive, discriminatory and/or offensive. So that we (America) are both in a state of being "post" while also being present.
It is a non-linear conceptualization of addressing a complex historical crisis that has evolved, not evaporated.
This is my understanding of what Thelma Golden speaks to in her TED presentation, which builds upon a paper she wrote some years ago about "post-Black" art That document laid out every aspect of her curatorial definition of what "post-Black" artists and art are.
With this knowledge, it is my understanding that "post-Black" art is not the entirety of what African-American artist are doing, it is simply one particular curatorial set of parameters that speak to a genre of art, which appeal to Golden.
Free to watch online, I recommend the film Colored Frames for those seeking a deeper understanding of the African-American struggle in the mainstream (= White) art world.
“Without Roosevelt's Works Project Administration (WPA) would America have today the profound legacy of the Harlem Renaissance? Those who know their history are probably not surprised to hear such a question asked. However some less familiar with what was happening in the art world 70 years ago might wonder why I ask this question. In a nutshell, the WPA employed a lot of working class and poor people, resulting in it being an unintended "reparation" for Black Americans, as it disproportionately benefited us.
Raymond this is a much needed article, and Marcia, you make some wonderful points as well.
I voted whole-heartedly for Obama, I don't see him as the solution I once thought he was.
At my own publication--Art Digital Magazine--I wrote an article in January, right around the MLK holiday, which asked: Is a new form of apartheid creeping in...and in this new decade—this new millennium–where lies the intersection of social justice, art and technology?
“I really like Eliel Saarinen's work, though I must admit his son's name is more familiar to me. So what was you're father's name? Can any information about him be found online?”
ghost geezer on Jul 8, 2010 at 00:43:03
“I found your website, revealed all there. Now that was a no brainer that
I could have thought of before spilling half the beans.”
ghost geezer on Jul 8, 2010 at 00:05:26
“Well, page 6 of Sally Woodbridge's Bay Area Houses shows the Roos
House from 1938, an atypical zinger that kind of blew the minds and
tempers of the neighbors. I'm coy on general principles, do share his name,
try to keep my identity a little foggy on HPOST because I post in several
categories, and I am opinionated. Don't want to tangle with no nuts. But
that will find him. At the time, he was in partnership with Albert Henry
Hill and Eric Mendelsohn, recently arrived as a refugee from Hitler (Einstein
Tower). Dad had bad health, which finally all but destroyed his Bay Area
practice. Bill Wurster then hired him at UCB, followed by Piet Belluschi
at MIT. One more stop at the University of Pennsylvania, and Tulane
made the offer. By the time he died, the AIA rated Tulane's School
of Architecture 8th in the nation. It wasn't that when he arrived. I'm
very proud of him, a courageous, decent, talented man.”
“William Morgan is an artist who knows about structural engineering, archaeology and anthropology. In my view, this is core to being a great architect--a comprehensive grasp on design, in every sense of the word. And this speaks directly to your comment that "..to transcend the rigor of modular architecture, to have fantasy get through the discipline..."
I recommend 2 websites, in addition to Huffpo Arts: