Tyranny clipart
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Post-Minimalism only tells you it came after something called Minimalism. Its terms are so specialized and vague they’re only useful to those in the know.
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But our idea of art history is dead already it just doesn’t know it.
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I don’t want them to look like science fairs, flea-markets, Exploratoriums, laboratories, wunderkabinetts, or thrift stores. I don’t want museums to stop staging exhibitions of it. I love the art in our museums and galleries. This paradigm has been in place for 200 years. The problem is anyone who doesn’t fall into this timeline is out of luck. Cubism was “a race toward flatness” Suprematism was “the zero point of painting” Rodchenko said he made “the last painting” Ad Reinhardt one-upped him saying he was “making the last painting which anyone can make.” In this system synthetic shifts and tics combine into things we call movements like Cubism, Constructivism, Futurism, Art Nouveau, Color Field, etc. Artists and isms follow one another in a Biblical begatting based on progress toward a goal or a higher stage. Things are always said to be going forward, and progress is measured mainly in formal ways by changes in ideas of space, color, composition, subject matter, and the like. Our art history is organized teleologically - it’s an arrow. This is because our art history is not chronological not neutral or about simultaneous cross-styles, outliers, and other things going on at any given moment. But most are relegated to specialty collections, foundations, barred, or forgotten. A small portion of them are found in art museums.
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Many of the 30-some makers and collectors in “The Keeper” didn’t self-identify as artists or call what they made art their work isn’t grounded in art history probably they didn’t care about this history and plumbed other axioms. Often, we call the people who make collections like these outsider artists - when we call them artists at all. Most of the work takes the form of collection: virtual coral-reef phantasmagorias collected and collated from things as strange as dead languages, detritus, cats’ cradles, agate, and snowflakes aren’t included in the current category of art.
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Organized by a superb team overseen by Massimiliano Gioni, “The Keeper” is a museum full of museums, possible encyclopedias, indexes of other orders, and miniature models of pain. Right now at the New Museum is a show that casts a much wider net, that gives weirder and more idiosyncratic work much more air to breathe - and which makes everything we’re used to seeing in museums (and even galleries) seem hemmed-in by comparison. Why? It is far too tight to let real art breathe. To be thought of as an artist someone must self-identify as one and make what they think of as art. Especially in the last two centuries - and tenaciously of late - art has examined its own essences, ordinances, techniques, tools, materials, presentational modes, and forms. These days our definition of it is mainly art informed by other art and art history. Francis Ford Coppola forged our vision of the Vietnam War Andy Warhol combined clashing colors that were never together before and that palette is now ubiquitous God creating Adam looks the way Michelangelo painted it Oscar Wilde said “the mysterious loveliness” of fog didn’t exist before poets and painters. Raymond Chandler invented early-20th-century L.A. Typically by first changing how we see, and thereby how we remember. But art does change the world incrementally and by osmosis. Art can’t stop famine in sub-Saharan Africa or eradicate Zika. The art world likes to ask big art-centric questions like “Can art change the world?” We usually answer “Yes.” I usually disagree. Installation view of A Sixty-Two-Year Photo-Biography of Ye Jinglu, discovered by Tong Bingxue, 1907–68.