Review | hyperlink thinking -...

Generated on 2021-08-11 12:30:38

Result #1

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE: An Autobiography, the first exhibition of the Los Angeles–based artist John Kinziells work in New York, was devoted to the concept of the autobiography. In his essay, Kinziell asserts that the idea of the autobiographical is a way to explain how we treat art as an act of communication, to ask how we acquire knowledge, how we learn from art. The exhibition presented this as a collection of photos, drawings, and texts taken from his personal archive of works on display at the San Francisco Museum of Modern Art in 1987. This was a show of personal, never-before-seen works on paper, including the pieces that were included in the 1987 Whitney Biennial, as well as some of the artists most recent works. The show also included a number of new pieces, including two sculptures from the artists ongoing series of rendering, rendering, and sculpture, and a series of large photographs, from 1986 and 87, of the artists family. The fact that these works are not only in the public domain but are also the property of the artist, is, Kinziells argument goes, proof of the primacy of the autobiographical. The two large works on display were a series of collages that Kinziell made between 1986 and 1987. The images—all taken from the artists family albums—are of the artists mother and son and include some of the artists most famous images: his mother, as a jester; his father, a cowboy; his mother, as a cowgirl; and his father, as a clown. In one, a dog stares at a doll who is wearing the famous Bill Clinton cowboy hat, the same one that the artist wore when he first saw the works in his parents garage. This is the most recent work in the series, and one that Kinziell made when he was in middle school.

Result #2

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE: THE AMERICAN ARTIST IN THE BRONZE WORLD, 1958–2005The exhibition at the Museum of Contemporary Art, Boston, was divided into two parts. The first, curated by the architect/curator Barbara Kruger, was dedicated to the artists who have been the most influential to her: Louis Kahn, Robert Rauschenberg, and Steve McQueen. The second, curated by the artist/curator Martin C. Miller, was dedicated to the artists who have been the most influential to her: Richard Prince and Lari Pittman. The first section, curated by Kruger, was comprised of photographs and other documents, including a video by Raffaello Sanzio, a retrospective of her work and a brief history of the Boston Biennial. The second, curated by Miller, was composed of photographs and a short text, which, in turn, was composed of notes and letters by the artists.The exhibition, which was organized by the Kunstmuseum Stuttgart, was divided into two rooms, one of which was devoted to the artists who have been most influential to her: Kahn and Pittman. The first room contained a selection of paintings by the two artists. The other works, by the likes of Anthony Caro, John Currin, and Niele Toroni, were grouped together in the second room. The paintings and photographs, all from the 50s and early 60s, were displayed on a white wall, with a few sculptures, including a series of sculptures by Pittman, and a video by Rauschenberg, and a computer-animated video by Paolozzi. It was an impressive selection, but, for me, the most compelling part of the show was a section dedicated to the artists who have been most influential to her: Prince and Pittman. The second room contained a selection of photographs, which were hung in a room by the wall, and the photographs were displayed on a white wall.

Result #3

—EVER SINCE the beginning of the century, art has been the arena of the individual, the individual, and the artist. The most compelling art of this period was that which could be understood as a positive contribution to the world, and therefore as part of it. Today, as a world of globalized global capital and the mass media make the world a more hostile place, art has become the tool of a collective, a community of people. The task of art is to become an arena in which the expression of the collective will to power and the individual will to power can be exercised.

Result #4

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE, SOCIAL NETWORKS, AND THE BOTTOM OF THE MICROBILEAN TILT-AIDED NOSE (THINK OF THE JUDDLY SAGGY BODY) THE TILT-AIDED NOSE. HOPEFULLY THE GREAT GATSU MADE A DECISION. THE DRAWING THEORY OF LOS ANGELES (LA CLUB, THE OPPOSITE THING) LETS GETTING TO THE TOP OF THE NOSE.The drawings are a series of social network diagrams that allow us to imagine a million social networks. The point is to paint a thousand social networks. The drawings are, by and large, white. The intention is to be as transparent as possible, to make the networks as visible as possible. The drawings are made up of a series of pages, each with a full set of network diagrams. The series is titled LOS ANGELES. This is an obvious reference to the American city, to the publics desire for social interaction. But the drawings are not merely the results of the network diagramming; they are a group of very personal and very professional works. They are made up of the drawings and social network diagrams that are used by artists to start a series of works. They are not merely an idea for art.They are a way to get to the top of the nose, to get to the top of the social network.The drawing is a way to get to the top of the nose. The drawing is a way to get to the top of the nose. The drawing is a way to get to the top of the nose. The drawing is a way to get to the top of the nose. The drawing is a way to get to the top of the nose. The drawing is a way to get to the top of the nose. The drawing is a way to get to the top of the nose.

Result #5

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE: The Locus of Control, curated by Kristan Noor, was an exercise in the collection of a specific kind of linguistic data. The works were presented in chronological order, starting with the first photograph taken by the photographer, then followed by one from the artist, and finally one from the photographer and the artist himself. This is the most conventional way of presenting a work of art, and also the one most considered socially. This is a familiar way of talking about a work of art, but here, the artist was also the curator. The exhibition was conceived as a process of accumulation, and the works were read as a sort of library, a cache of information.The photos in the exhibition were taken in the late-1970s in New York, where Noor lives. They were taken by her friends and acquaintances as they pass by her studio in a city that has a rich history of collective memory and the passing of time. The photos were also taken in the early-80s in Amsterdam, where Noor lives. In these photos, her friends are shown as they are always seen in their modern clothes: in suits, in a suit, or in a suit and tie. In the early morning, they all look as if theyve been up for a little while: waiting for the bus, or for a taxi. At the same time, they look as if theyve just had a few drinks: a few drinks and a smile. They seem to be having a good time, and they have a great sense of humor. The work of art in the photo is also an accumulation of information. The photo of a guy who has just had a heart attack, for instance, is accompanied by the one of him who was on the phone with his girlfriend, or the one who was waiting to meet him in a bar. The images are all photographs, and it is the relationship between the subjects that is important. The photos are not about the subjects, but about the people.