Category: exs notebook

Two Views

Posted on Posted in A Symbol Life, art stuff, da net, exs notebook, overnight notes

Trying to find words that reveal without condemning. Over the past several years, I have sought a shorthand for describing the commonplace avid photographer. Those who believe photography is an art, but don’t follow art. I’ve not wanted to hit them, even though their chosen position is to disparage much of what I view as constructive in a world.

Most of the <unnamed> use film and have for decades.

Exemplars

Who you know about; who you use as guide of your first efforts — these are the people of your first principles; your foundation. This foundation limits the size as well as the dimensions of growth. How big. How high.

I have known of Jungiin Lee for years, but have only recently heard of Clyde Butcher. These two serve as exemplars of two different paths. I heard of Butcher in online forums as a claimant of the mantle of Ansel Adams, and as working the manner of Hudson River School. Oddly, he misses the key to understanding the color notions, by not using color. Oh well, his real background is in selling clocks and walks.

Make no mistake, he is a success, and has been for decades. And so is Lee. These success are characteristically different. Butcher’s followers are buying art that provides functional memory of a place. Lee provides conversation with a history of art which includes photography. Her followers must understand relationships of place and object.

Their distinctions aren’t desert and swamp; they are ways of working with a place. In both people, we see continued working of their subject.

The Gallery world has accepted Jungiin Lee. Clyde Butcher has made his own gallery. In fact, he made his own destination bed and breakfast, which provides tours.

To my world, Clyde Butcher shouldn’t even be mentioned as contributor to the world of art. He is a journeyman that illustrates one journey of the weekend artist. He makes the simple seem hard, which makes it seem like art to those stuck on their first grade drawing assignment

who’s your daddy?

First Lessons in Color Photography

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  • it is an illusion. a trompe which becomes its versioned reality
  • it is based upon a standard observer and a standard scene. these provoke a normal or typical response
  • the standard observer/light can/does result in subject or scene failure of the technology. Film is less flexible, being designed for mass production processing. 
  • the making of supplies has always assumed many users, not great usage by small volume users.

Index: Idea Art

Posted on Posted in art stuff, exs notebook, morning wood

Copyright © 1973 by Gregory Battcock

  • Dore Ashton: “Monuments for Nowhere or Anywhere.” Reprinted from L’Art Vivant, July, 1970
  • Jonathan Benthall: “The Relevance of Ecology.” Reprinted from Studio International, December, 1969
  • Cheryl Bernstein: “The Fake as More.”
  • Jack Burnham: “Problems of Criticism.” Reprinted from Artforum, Vol. 9, No. 5, January, 1971
  • Joseph Kosuth: “Art After Philosophy, I and II.” Reprinted from Studio International, October and November, 1969
  • Lucy Lippard: “The Art Workers’ Coalition.” Reprinted from Studio International, November, 1970
  • Ursula Meyer: “The Eruption of Anti-Art.”
  • John Perreault: “It’s Only Words.” Reprinted from The Village Voice, May 20, 1971, by permission of the author.
  • Arthur Rose: “Four Interviews.” Reprinted from Arts Magazine, Vol. 43, No. 4, February, H:l6\:l,
  • Harold Rosenberg: “Art and Words.” Reprinted from The New Yorker, March 29, 1969. Copyright e 1969 by The New Yorker Magazine, Inc.
  • Seth Siegelaub: “On Exhibitions and the World at Large: A Conversation with Seth Siegelaub.” Studio International, December, 1969
  • Lawrence Weiner, Daniel Buren, Mel Bochner, Sol Le Witt: “Documentation in Conceptual Art.” Arts Magazine, April, 1970
  • Robert Hughes: “The Decline and Fall of the Avant-Garde.” TIME, The Weekly Newsmagazine; copyright e 1972 Time, Inc.
  • Les Levine: “Les Levine Replies.”
scn_ideaArtAboutEditor
KEYWORD: NEW

The Operational Word is: NEW

Gregory Battcock, Dore Ashton, Jonathan Benthall, Cheryl Bernstein, Jack Burnham, Joseph Kosuth, Lucy Lippard, Ursula Meyer, John Perreault, Arthur Rose, Harold Rosenberg, Seth Siegelaub, Lawrence Weiner, Daniel Buren, Mel Bochner, Sol LeWitt, Robert Hughes, Les Levine

Critical anthology of pivotal texts edited by Gregory Battcock. Essays “Monuments for Nowhere or Anywhere,” by Dore Ashton; ” “Art in the Service of the Left?,” by Battcock; “The Relevance of Ecology,” by Jonathan Benthall; “The Fake as More,” by Cheryl Bernstein; “Problems of Criticism,” by Jack Burnham; “Art After Philosopy, I and II,” by Joseph Kosuth; “The Art Workers’ Coalition,” by Lucy Lippard; “The Eruption of Anti-Art,” by Ursula Meyer; “It’s Only Words,” by John Perreault; “Four Interviews,” Arthur Rose [Robert Barry, Douglas Huebler, Joseph Kosuth, Lawrence Weiner]; “Art and Words,” by Harold Rosenberg; “On Exhibitions and the World at Large: A Conversation with Seth Siegelaub”; “Documentation in Conceptual Art,” by Lawrence Weiner, Daniel Buren, Mel Bochner, and Sol LeWitt; “The Decline and Fall of the Avant-Garde,” by Robert Hughes; and “Les Levine Replies,” by Les Levine. “By 1970 it was clear that a new type of art was emerging in the New York and European art worlds. Quickly labeled Conceptual Art or Idea Art, the form encompassed an extraordinary variety of works. What they all seemed to have in common was a rejection of the ‘bourgeois’ aspects of traditional art. Works of Idea Art frequently did not actually exist as objects. Rather, the remained ideas; often, what did exist was only some kind of documentation referring to the concept. The chief purpose of this anthology is to present in a direct way some of the action, diversity, and rationale behind Idea Art. And it attempts to do so by presenting the students and educator with some of the original and important theoretical documents that helped set the direction of the new artistic emphasis.” –– from book’s back cover.